An eclectic combination of confidence, self-doubt, love, and lust ooze from “Lost Friends,” the debut album from Australian trio, Middle Kids. The vocals of singer/guitarist Hannah Joy radiate self-assurance, but the lyrics tell a story of uncertainty and woe. Combined with the powerful instrumentals of Tim Fitz and Harry Day, the fresh-faced band navigates rocky waters throughout 12 tracks, ultimately finding their footing and showing promise as a compelling force in indie rock.
The first two tracks radiate angst and frustration, with the opening track “Bought It” expressing immense, hopeless frustration. The words, “My friend, I need a little help / To fend the darkness at the end” serve as an introspective, foreshadowing nod to the tracks that follow. It marches on with an uptempo, catchy chorus reminiscent of an early aughts alt-pop sound. “Mistake” continues with a similar angst, exploding with sounds that somehow feel pleasantly nostalgic and strangely outdated all at the same time.The lyrics and composition seem like something that would have been written 10 years ago, yet Joy’s vocals thrust it into the contemporary. Despite the too-new-to-be-retro, too-old-to-be-cool feel it gives off upon first listen, it all still lands. The emboldened lyrics are refreshingly relatable, while the powerful, larger-than-life instrumentals are more than impressive coming from a band of three.
The fourth track, “Maryland,” serves as a refreshing break from the chaotic opening three tracks, and the band seems to be settling into their skin at this point in the album. As the tracks build, the album begins to find a new, more mature path that feels more self-assured than the upbeat, mystified jolts of energy found in the opening tracks. Lost Friends continues to build from here, with “On My Knees” expressing lost bewilderment that’s vague enough to be relatable, telling a heartfelt, compelling story of the ever-winding frictions of life and love.
Pieces of the album show great promise for the future of the band, although there are points where the trio’s maturity as a band falters. At parts, the lack of complex emotions exposes weaknesses in the lyrics. “Don’t Be Hiding” feels shallow and uniform in comparison to the labyrinth of emotions and sounds the band is so clearly capable of. But, while the listener is left wanting more off and on throughout the tracks, the complex scope of arrangements shows promise for the future of Middle Kids’ development.
The scatterbrained, diverse organization of the tracks in the album actually become a redeeming quality, conveying vulnerability, empathy, and accessibility. The title track is tear-jerking and exposing, showing a naked fearlessness that so many artists fall short of finding. Overall, the unwavering fortitude in the band’s musical tone, combined with the confessions of hopelessness and confusion found within the lyrics, establish Middle Kids as a force to be reckoned with for many albums to come.
The Orange Constant has become somewhat of a hidden gem in Georgia since their start in Statesboro, GA in 2012. Now residing in Athens, GA, the Southern-rock-meets-jam-meets-funk quintet has worked hard to garner the attention of local fans. From headlining a packed show at the Georgia Theatre to playing at Atlanta’s Sweetwater 420 Fest, the Orange Constant is picking up speed and making a serious name for themselves. I had the chance to chat founding member and vocalist/guitarist, Andrew Brantley, and drummer Sam Groveman before their show at the 40 Watt Club in Athens to talk about their growth as a band and their approach to van life on the road.
VM: What initially caused you guys to move your band from Statesboro to Athens?
Andrew Brantley: Me and Nickalous [Benson]…he’s the other founder of the band…we just kind of wanted to leave Statesboro. We were kind of feeling like, you know, we had graduated. We were kind of done with that circuit and whatever. We wanted to be in Athens to be closer to Atlanta and closer to our families, and being in a bigger city. In a better music city. So, really three factors.
VM: Do you feel like The Orange Constant’s music is influenced by being in Georgia, and being in Statesboro and Athens?
AB: Georgia absolutely has influenced our styles. You know, my style is pretty influenced by like, Widespread Panic and Zac Brown. Nickalous…he grew up around the guys in Drivin’ n Cryin’. We definitely have a southern rock aspect to our music that’s just because, you know, we’re from the South.
Sam Groveman: It’s constantly changing too ‘cause we have five guys in the band now that all come from different musical tastes, and they bring new songs, and we’re always kind of adapting to their musical styles. Which also helps us as musicians, you know, to learn those new styles, and kind of developing that new sound with this new generation of musicians.
AB: Yeah, for sure. We’ve got that Southern influence, but we don’t adhere to it always.
VM: Do you guys feel like you’re going to be sticking around in Athens for awhile, or do you have any moves on the horizon?
AB: Well, I think for now we’re going to be an Athens band. You know, we like it here; we’ve had success here. We’ve grown in this city. We’ve thrown around the idea of going out west and trying to establish out there as well, but I think for the next, you know, three to five year plan we’re going to be here. And even so, I think we’ll always be a Georgia band. All of us are from Georgia so, you know, no matter how many times or places we might move, this or there, we’re a Georgia band.
VM: Your last album, Point of Reference, came out in 2017, so I know it’s been a little bit, but with five guys in your band, what’s the songwriting process like? Do you guys all collaborate?
AB: So that album was written predominantly by The Orange Constant, like the previous lineup. Which was a different drummer and a different bass player. But we did have our new bass player, Tyler [Walker], record on that album. And Chris [Freiberg], our keyboard player, he recorded on it too. But the material wasn’t necessarily written much by them. A lot of it was written by myself and Nickalous and Lee [Guentert] who was the other drummer, and Will who was the other drummer. Me and Nickalous are the predominant lyrical writers of what you can listen to on Spotify, but it’s still a mixed bag…everyone has their influence.
VM: Do you guys have any new albums coming up, or are you working on any new music? Has the songwriting process changed as the band lineup has changed?
AB: The songwriting process is still pretty similar in the sense that we don’t stick to any kind of formula, or formulated plan, it’s like, “we got a song, you wanna throw something in? You got an idea?” We really try to make it pretty democratic, like, everybody’s got some input. But yeah, we’re hoping to get in the studio October, November, December and release another album next year. But yeah, we have plenty of material.
SG: We’re trying to get with John Keane, who worked with Widespread Panic. We recorded our first album with him as the producer.
AB: Yeah, so hopefully we can get in the studio at the end of this year.
VM: And in the meantime, y’all have been touring a lot. Sam was telling me earlier that it’s been every weekend in a different place. You’ve been mostly in the southeast though, so do you have any plans to expand outward, or are you just kind of waiting to grow your fanbase here and then expand from there?
AB: We’re trying to expand the tour to the greater southeast, you know, trying to get more into Virginia, Kentucky, Texas, Louisiana, Mississippi, all those. Still, it’s a nice trek. It’s not necessarily South Carolina and Georgia.
SG: It’s nice actually honing in on the southeast, because a lot of bands that we know, they always go to Colorado, and if you only go back there once a year it’s really hard to build a fanbase. And you wear on your van, and you don’t make as much money to live off of, so really working on this market down here is really helping us.
AB: ‘Cause there’s so many big cities, you know? Like, you can sell 200 tickets in Atlanta and Athens, but if you just start going to these places that are really far away, you haven’t capitalized on Charleston, Columbia, Tallahassee and Birmingham. You know, that’s kind of what we’re focusing on now is to really make sure that our southeast market is as good as it can be. Because we’re just a few hours away from markets that don’t know who we are as well as Athens or Atlanta does.
VM: It makes sense. I feel like you guys have done a really solid job of developing a fanbase here. But when you’re touring and constantly in a van with five guys, does it get old? Are you guys sick of it, or are you planning on touring even more often now?
AB: I mean it’s gonna increase.
SG: That’s the goal.
VM: That’s a good thing, right?
AB: I mean, it’s work. It’s definitely hard. It takes a lot of work, but so does everything.
SG: Waking up next to Andrew and then going to sleep next to him for a couple of days in a row gets a little old, but you know, you realize when to let the man be by himself. You figure each other out after awhile.
AB: Yeah, you do. You kind of learn each other’s personalities. I mean, it’s just the way the game is played, I guess. It’s an adventure, you know. It’s fun if you can kind of take yourself out of it and be like, “man, this is a cool story,” no matter how crappy of a situation it might be. And luckily, we do have a nice, reliable van. It’s not like we’re in a little, tiny Volkswagen or something.
SB: A lot of times when you have a bad weekend, you just look back and laugh.
The future is bright for the guys of the Orange Constant. While working towards recording new music, they plan on amping up their already intense touring schedule, with a summer tour from June to July. They never repeat a set and always try to keep their shows interesting, feeding off of each others’ jams and improvising new sounds as they go. Athens fans can catch them at local grassroots festival, Sigh in July, on July 20.
The start of Courtney Barnett’s sophomore album, Tell Me How You Really Feel, sets the scene for the chaotic, emotional turmoil to come with the words, “Take your broken heart / turn it into art.” While this first track, “Hopefulessness,” seems to drone on upon first listen, with its slow rhythm and monotonous vocals, it later becomes evident that each layer of the album serves a unique, intentional purpose. While “Hopefulessness” certainly doesn’t shine as a standalone track, it succeeds in easing the listener into the ups-and-downs that come throughout the collection.
In many ways, Tell Me How You Really Feel shows a maturation of Barnett in all aspects. Although the album is contradictory, uncertain and self-conscious throughout, her unflinching dedication to expressing her fears and vulnerabilities continually sets her apart as a daring, introspective artist. Her anger and frustration get the best of her in “Nameless, Faceless,” with the track serving as a nod to Kurt Cobain and a simultaneous jab at double standards in gender roles with the lyrics, “I wanna walk through the park in the dark, men are scared that women will laugh at them / I wanna walk through the park in the dark, women are scared that men will kill them.” Her anger reaches its peak in the explosive “I’m Not Your Mother, I’m Not Your Bitch,” with impassioned, infuriated screeching vocals. This frenzied, aggression-ridden track is uncharacteristic of Barnett’s typical style, but displays a unique versatility reminiscent of the White Stripes.
But it’s not all anger and aggression; Barnett continuously illustrates herself as both poignant and empathetic. In “Need a Little Time,” she’s apologetic, level-headed and self-reflective. Her exasperation with both herself and those around her is a refreshingly relatable contemplation. She continues peeling back her layers, up until the tender final track, “Sunday Roast.” Ending the chaos of Tell Me How You Really Feel with a softer, more loving piece leaves the listener with a welcome sense of calm after the myriad of emotions expressed.
Overall, the unexpected irrationality, self contradictions, and internal battles found in Tell Me How You Really Feel are what make the album so appealing. While Barnett shows her self-conscious side throughout, her creative arrangements, hard-hitting vocals, and fearlessness in self-expression portray a confident, unapologetic artist. The track “Crippling Self Doubt and a General Lack of Self-Confidence” puts it all out there, displaying an unwavering vulnerability largely uncommon in today’s world ridden with Instagram likes and filtered selfies. And it doesn’t stop there. Like most of the tracks on her newest album, “Crippling Self Doubt and a General Lack of Self-Confidence” switches its tune. Just as you think Barnett is full of self-loathing and despair, she lifts the mirror and quickly points out the faults of whoever hurt her (and by the looks of it, someone hurt her). Lesson to be learned from all of this? Don’t f**k with Courtney Barnett. Nobody’s perfect, even her, but if she’s a woman confident enough to put her insecurities on display for the entire world to see and come across this strong, then there’s no telling what else she’s capable of.
Indie pop band Wild Child has grown a lot since Alexander Beggins and Kelsey Wilson initially formed the group seven years ago. What started as a duo with a ukulele and violin has now turned into a seven-piece mini orchestra. In the wake of their fourth studio album, Expectations, I sat down for a Q&A interview with Beggins and Wilson at Savannah Stopover Music Festival to talk growth, inspiration, and the songwriting process.
VM: How did you two go about meeting everyone else and recruiting the other members of your band?
KW: I mean, we’ve gone through a few different lineups actually in the past couple years, especially with drummers and bass players. It’s kind of always been just whatever friends we have around us that want to play with us. This lineup we have now actually feels like Wild Child. It’s the dream team.
VM: Yeah, I feel like Wild Child has definitely grown a lot.
KW: It has. We’ve added guitar, a trombone, and we used to only have horns for the bigger Texas shows, but now we have a brass section. We didn’t even have a bass player for the first two years. We’ve just been slowly getting bigger and bigger.
VM: So let’s talk about your new album, Expectations. I know you’ve said your previous album, Fools, was kind of your breakup album, so where would you say Expectations falls on that spectrum? Is there a way to define it?
AB: Well, it’s kind of the closest thing to opening up a page in our journals and what’s going on at the time. With this one, there’s a little bit of duality in the title. The expectations of being our fourth record and wanting it to do well, and the kind of precedence we set for ourselves, and expectations of the relationships we’ve been in and out of the past couple of years.
KW: This one is—as much as we did write a lot just in and out of relationships—this one felt a lot more like just us, you know? Just us singing about who we are, really, and what we’ve learned so far. This is kind of like, we even wrote songs all together as a band in the studio for the first time. We haven’t done that before on any record.
VM: I know you’ve said in the past that the two of you write the skeleton of the song and then let the band add to it. So did you kind of change the songwriting process for this album and use a different method?
KW: Yeah, on this one Alexander came forward with more full songs, and then I came forward with full songs, and then some of the songs we wrote together as a band. It was a lot more collaborative.
AB: It’s kind of like the nature, the beast of this record was just write when we can. Because we were touring a lot at the time it was kind of like we were writing songs during soundchecks and writing songs in the van. It wasn’t like, “okay, today’s going to be a writing day!” There were a couple of writing retreats that we did, but for the most part we kind of would just write whenever it was convenient. And that kind of created a different kind of atmosphere.
KW: And normally we wrote when we needed to. Like, something would be happening, and we’d be like okay, let’s get together, drink some wine, and let’s write a song about it.
AB: And we kind of took our time with this record. We were like whenever it’s done, it’s done.
VM: Did you guys have a definite idea of how you wanted this album to sound, or did you just kind of let it happen how it happened?
KW: We usually just let it happen. With this one, we were working with so many different producers, and we love and respect all of them so much that we kind of left a lot of room for them to steer us. We finished the writing of the songs, but we thought when it comes to the speed, the arrangement and the vibe, we just wanted to see what the producers each had to say…they each kind of picked the songs they wanted to do, so they had ideas. So we just kind of let it ride. Initially, we were just going to release like a song a month for a year and just not do a record, ‘cause records are kind of dying, and it’s really heartbreaking. It’s all about Spotify singles now.
VM: Yeah, and you guys did release a lot of singles leading up to this album.
AB: We kind of “hybrid-ed” the idea in anticipation of this record.
VM: I feel like that’s true what you said about records dying. It’s not like many people go to record stores and buy the physical album when it’s released anymore.
AB: Yeah, it’s like you release an album when it comes out, and everyone’s stoked for like, two weeks. Then it’s over, you know? It’s done and out there in the world. So, we released singles in pairs for like three months before the record dropped. Which I thought was cool, because it kind of created some hype around it.
KW: Yeah, and we did music videos for like half the record.
VM: Do you guys have a favorite music video from Expectations?
KW: The “Think It Over” one we just did was so much fun. Literally it was just absolutely only our friends and family dressed up. We built a club in a giant empty warehouse in one day. It was just a garage, basically.
AB: Yeah, in that one we just got to have fun. Sometimes you make a video for you. We had this idea and we were like, let’s just ride with this as far as we can. The director is our homie and he knew the vibe that we wanted to try and communicate.
VM: [How has] your sound has evolved since your, slower original songs?
AB: I think that we…when we started we were just naive babies trying to make music, and I think we’ve gotten better.
KW: Yeah, we didn’t really know what we were doing. It’s always been good for us though, because we’re not limited to the rules of music. We didn’t know shit about anything, so we were just like, “I guess that sounds good I don’t know!” So we’ve just gotten better over the years about knowing what sounds good.
Wild Child is on tour now in support of Expectations, with shows across the US and in Europe. They played at Savannah Stopover at the historic Trinity United Methodist Church.
Approaching Savannah Stopover Music Festival, I sat down with local Athens, Georgia band, Cicada Rhythm. The couple’s unique sound captures the essence of modern folk music, and they bring a chemistry with them that is evident both on and off stage. I met Andrea DeMarcus and Dave Kirslis at Normaltown Hall in Athens while they were working on an upcoming music video to talk Georgia roots, being in a band with someone you love, and beekeeping. Check out the interview below.
VM: You are both from Georgia, born and raised. How has the South, and Georgia specifically, influenced your sound?
Dave: I really started getting into music when I was living in North Georgia, and at that time it was a lot of traditional music- just banjo picking. And I always found it interesting, but I never was drawn to playing like that. Later I moved to Atlanta and that’s where I really started kind of getting myself into the music scene there. There was an Atlanta blues scene at Northside Tavern and some guys named Nate Nelson, and I guess The Wood Brothers were in Atlanta. Those guys, we would just pretty much try to go see them whenever we could. That’s what got me into music. Then we came to Athens and kind of fell in love with everybody here.
Andrea: And everybody’s a musician here.
Dave: Yeah!
Andrea: It’s great.
Dave: It’s really cool; Athens is, you know. I always say here it’s more of a mission than a competition. Everyone’s just here to help each other out and push each other forward, it’s just – it’s an inspiring place, definitely.
Andrea: I would say I kind of got into music through my dad. He’s a very avid music lover and we listened to The Beatles growing up and stuff. But, we had a great orchestra, the ASO in Atlanta, so when I started playing bass, I started taking [lessons] from the principle bassist in the ASO, and it was a great orchestra and he was great. It’s just a really like, Atlanta has a really strong group of players and it might not be as conducive and connected as Athens is for like smaller groups and more creative, younger people and stuff, but Atlanta does have a lot of great players. And so that’s kind of how I was introduced to the music scene. And then when I moved here…I really realized that music could be anything that you want it to be, and that helped me to write music, and create, and hookup with this guy. So yeah, I think in Georgia, it’s always been full of music. We’re really lucky to be from here, definitely.
VM: So what’s the songwriting process like for y’all? Do you both contribute to the process?
Andrea: Yeah, well we usually start out with an idea and maybe we’ve completed the song…there’s probably been maybe two or three songs that we’ve truly collaborated 50/50, but the rest of them, you know, it’s kind of your thing. And maybe I’ll need help with the chorus, or an outro, or a bridge or something, and he’ll help me with that and vice versa. But, we’re pretty much sole songwriters.
Dave: We help each other finish them sometimes.
VM: So is that kind of the same way y’all decide who’s going to sing which song?
Andrea: Yeah basically whoever writes whatever song sings it.
Dave: For the most part yeah.
Andrea: I’ve kind of always wanted to write a song for him to sing.
Dave: Likewise!
Andrea: But it hasn’t happened yet so we’ll see. Maybe one of the oldies of your songs I’ll take over that you don’t want to play anymore.
Dave: Sure!
VM: Cicada Rhythm has a very unique sound, kind of a modern take on folk music, and it’s very distinct. Are there any certain artists that have influenced your music directly?
Andrea: Definitely. Like Dave was saying before, The Wood Brothers are a super big influence. I really love the string work in Nickel Creek and The Beatles. String work in rock music is one of my favorite things and obviously I’m a string player so, but to put that on top of the song already, is, I don’t know, I just love that so much…I’d also have to say Gillian Welch, like she’s the ultimate songwriter for me…the way that she makes you feel is how I would want to make somebody feel.
Dave: Yeah you know for me…so much different stuff…so I just try to be a sponge, you know? And just soak it all in. But my dad was really into jazz…my mom was an Irish immigrant- she was really into Johnny Cash and Ray Charles and Willie Nelson so she was kind of giving me a foundation of really American music. But, really everything, but most particularly the people I mentioned are just the local artists in Atlanta.
VM: So how did y’all initially form and come up with the name Cicada Rhythm?
Andrea: Well, I moved to Athens in 2010, and I kind of was trying to get away from music. Dave and I were friends, but he lived in Atlanta at the time and he called me and said, “Why aren’t you in a band? Athens is full of bands; you need to be in a band. You know you can’t just not play music.” And I tried playing in a couple bands and they just did not fit right. And Dave was like, “Well why don’t you just play with me?” So we started learning each other’s songs and we really felt like it was working well, so we booked a show and we weren’t prepared, but they liked it. I guess before the show we were like, crap we need to have a name before the show! So we kept texting each other words or suggestions. It took us about a week to come up with it. I came up with Cicada Village and he was like “Oh I like that! What about Rhythm Wild?” and I was like, oh that’s pretty cool. So we kind of just compromised and mashed them together. We pretty much were on a deadline, but we wanted to pick something that sounded like southern.
VM: So I know when you both met, Andrea you were at Julliard, and Dave, you were hopping trains?
Dave: I was hopping trains for a while. I was really into it. I was reading about the Great Depression and it was my senior year of high school and my friend and I were broke.
Andrea: Wait I thought you were in college?
Dave: Well I started thinking about it in high school, then I graduated and was a poor college student and couldn’t really go anywhere for vacation. So we thought that would be a nice way to check out America. We would ride around the South. A lot of times we would ride down to Athens, coincidentally, and then ride back to Atlanta. And I hopped off one day when I was riding back from Athens to Atlanta, and I called my friend who she was with at the time, and they came and picked us up. And, it wasn’t love at first sight-
Andrea: He was very dirty!
Dave: Yeah, you get extremely dirty in boxcars cause they’re just, you know…but, that’s how we first met! We stayed friends for a long time, and then eventually it became more.
VM: So Andrea, you were at Julliard at the time?
Andrea: When we met, yeah. I think it must have been my junior year, or my sophomore year maybe. I was always calling their house because my boyfriend at the time wouldn’t answer his phone, and Dave would always pick up. Yeah it was a landline, and Dave would pick up, and we would chat. I would always be like “Where’s David?” and he’d be like, “I don’t know, but we can talk!”
Dave: [laughs] Yeah, then I stole her! A couple of years later, but yeah.
VM: Yeah it sounds like you had these motives for awhile?
Dave: I always admired Andrea…
Andrea: I wasn’t his type!
Dave: I didn’t consider it. And then I guess we were both single and playing music together and for a while I was trying to keep it professional.
Andrea: Yeah e wanted to keep it professional.
Dave: Yeah, but that lasted like two weeks. But here we are! We’re getting married in October!
VM: How long have y’all been engaged?
Dave: We got engaged in May.
VM: So how does that work being in a relationship and then also being in a band together? Is it hard to separate the two?
Dave: We actually separate it pretty well. Like, people will email us and expect us to talk to each other about it, but we don’t, and that’s actually sometimes an issue. If people don’t text both of us we won’t even talk about it. Cause we do so much Cicada on the road and behind the scenes here, so when we’re with each other we just try to be with each other. But, it’s been easy. But there have been battles too,
Andrea: Yeah, I mean it’s definitely…at this point it’s easy, it’s like second nature, but there was a time when we were writing songs and we just weren’t in agreement of how the song should go, or if we should play this song, and we’d have fights about ‘I like this song I think it’s good we should play it!’ and ‘I don’t think it’s good we shouldn’t play it!’ And it would hurt our feelings, cause songs are a part of you, you know, like they’re little parts of you, and if somebody you love rejects them, it hurts. But we’ve, I mean we’ve gotten past that now. If it works, it works. If it doesn’t, we move on.
Dave: Our tastes have kind of molded together in a way, with most things.
Andrea: Yeah.
VM: When you both aren’t playing music, what do you do in your spare time?
Dave: I mean we love nature and we love our dogs. I do a lot of working on the house. We have a little farmhouse just outside of Athens, and I’m always working on it, or trying to improve the yard, things like that.
Andrea: We also try to spend time with our families. We’ve got family in Atlanta, so it makes it easy to go over there.
Dave: I’m hoping to get into beekeeping this year! We’ll see. I’ve got a bunch of beehives…
Andrea: [laughs] He keeps saying that for like three years.
Dave: I know, but each year I get closer and closer!
Andrea: That would be really cool. It would be nice to have the honey! I don’t know about all the bees. Apparently they have facial recognition.
Dave: Yeah, they can recognize your face! I’ve been reading a lot about them and they’re just absolutely incredible.
VM: So, how are y’all gearing up for Savannah Stopover and SXSW? Are y’all getting excited!
Andrea: Yeah!
Dave: We’ve mainly just been working really hard on our two upcoming music videos, so I haven’t really had a chance to think about it. But I am excited cause we really like Savannah Stopover it’s really great.
Andrea: Yeah I love Savannah Stopover- it’s a great town. Everything’s really walkable, the food is really good…they also treat artists very well.
Dave: Austin’s gonna be really awesome too [for SXSW]. We love just going out towards the West- it’s a different world out there. I’m excited for both Savannah Stopover and South by Southwest.
Cicada Rhythm is played Savannah Stopover Friday, March 9th as part of the New West Records 20th Anniversary Showcase. The two have a busy few months ahead of them between touring, shooting music videos, and prepping for the release of their forthcoming album, Everywhere I Go, out April 27 on New West Records.
With the monumental success of Portugal. the Man’s latest album, the band has had to cope with being extremely successful while still staying true to their original sound. Tickets for their two-day run at the Georgia Theatre in Athens February 26-27 sold out relatively quickly, leaving many of their longtime fans worrying that their show would be more of an ode to “Feel It Still” than anything else, but this was not the case. If their Athens, Georgia shows are any indicators of the future of Portugal. the Man, fans can rest assured that the band won’t forget their roots anytime soon, no matter how successful they become.
The setlist of their Tuesday night show in Athens was anything but predictable. While there’s no avoiding playing crowd favorites from their newest album, ‘Woodstock,’ the band still was able to incorporate tracks from their other albums, including ‘Evil Friends,’ ‘In The Mountain In The Cloud’ and ‘The Satanic Satanist.’
Commonly known for covering and repurposing classic hits, Portugal. the Man wowed fans by starting their set with Metallica’s “For Whom the Bell Tolls” and Pink Floyd’s “Another Brick in the Wall,” thus setting the stage for the heavy guitar and theatrical light show to come. By no means did the band play song after song just as they come on their albums, but rather, they enhanced their songs with guitar solos and jams. This, combined with the impressive, trippy laser shows and graphic designs, led to a very experience-driven performance. The band succeeded in combining heavy rock, indie-pop and funk to make for an excellent show.
Photo: Sage Barnard
When it comes to personality, the members of Portugal. the Man seemed to embrace a dry, yet loveable sense of humor. At the beginning of the show, the band projected the words “We are not very good at stage banter, so tonight’s performance will feature some slogans written by our management. Thank you for your continued understanding,” on the screen. Sure enough, much of the “banter” was done through screen projections including, “Do you like to smoke weed” and “Thank you for downloading, or stealing, our album.” Their merch also included a shirt that read “I liked Portugal. the Man before they sold out.” Even some of the staff at the Georgia Theatre spoke of how funny and easy-going the band was.
And although they kept talking to a minimum, when someone from the band did speak up, it came across as very genuine. After the band went off stage before the encore, guitarist Zach Carothers came back on with a drink in tow to tell fans how much he appreciated them and how much he enjoyed his time in the “beautiful town” of Athens, Georgia. The rest of the band then joined Carothers for an encore of “Sleep Forever,” “Smile” and a crowd-pleasing cover of the Beatles’ “Hey Jude.”
As fans left the theatre, overall morale was high thanks to the creativity and passion of Portugal. the Man. It’s rare to see a band embrace sudden success in such a positive way, and it seems that the band is only getting better with time.
Savannah Stopover is something of a hidden gem as far as music festivals go. Located in Savannah, Georgia, the three-day festival boasts a packed lineup of up-and-coming artists of all backgrounds and genres. Throughout the weekend, shows take place in small to mid-sized venues across Savannah’s historic district, establishing an intimacy that is rare among festivals today. This year will mark Savannah Stopover’s eighth year running, with no shortage of diverse talent. With March 8 just around the corner, here’s a list of the top 15 must-see artists at this year’s Savannah Stopover Music Festival.
15. Wild Moccasins
There’s something infectious about the unique, eclectic look and sound of Wild Moccasins. With a strong female lead vocalist and vintage beats, their sound is reminiscent of ‘80s pop. Known for their creative costume design and infectious stage presence, they’re sure to put on a good show.
14. John Stickley Trio
If you’re looking for good ol’ bluegrass music you can dance to, look no further than the John Stickley Trio. These extremely skilled musicians take their audience on a musical journey with their flawless technique and exploratory jams. Their sound should fit in perfectly with the rustic, coastal scene of Savannah, Georgia.
13. The Vegabonds
Part Americana, part rock ‘n roll, The Vegabonds seem to be gaining more and more momentum each day. The band has grown a great deal since their start in the college circuit back in 2009. Now with three European tours under their belt, The Vegabonds don’t appear to be slowing down anytime soon.
12. David Barbe & Inward Dream Ebb
College professor by day, punk-rock lead singer by night, David Barbe does it all. Rooted in Athens, Georgia, Barbe has successfully embedded himself deep within Athens’ vibrant music scene. His band’s sound is a product of the evolution of punk and rock throughout the years, bringing with it a sound that doesn’t quite conform to any one genre.
11. KOLARS
KOLARS is a two member band consisting of Rob Kolar and Lauren Brown. The combination of Kolar’s vocals (think David Bowie meets The Killers) and Brown’s innovative performance drumming makes for a strange and wonderful chemistry. KOLARS is a prime example of the extensive musical variety that can be found at Savannah Stopover.
10. Acid Dad
Acid Dad’s sound is reminiscent of something you might hear in an underground club twenty years ago, and don’t get me wrong, that’s a good thing. Their ‘we don’t give a damn’ attitude and punk meets hard-rock sound gives them an appearance of self assurance and decisiveness that is often hard to come by in new talent, putting them at number ten on my list of must-see artists.
9. Lola Marsh
Savannah Stopover’s lineup this year is seeing a plethora of strong female vocalists, and Lola Marsh is no exception. Since their impressive self-released EP in 2016, the duo has seen a quick rise in popularity with tours across the US and Europe. Consisting of singer Yael Shoshana Cohen and guitarist Gil Landau, the duo has developed a strong fanbase thanks to their unique, upbeat sound.
8. Stoop Kids
There’s nothing like the infectious energy of bands who look like they’re having a genuinely great time with each other on stage, and that’s exactly the kind of vibe Stoop Kids gives off. The New Orleans-born quintet delivers an updated version of classic sounds found in New Orleans’ rich culture, from hip-hop, to jazz, to rock.
Indie pop band Future Generations has really taken off since their debut album in 2016. The album has seen millions of streams on Spotify and the group has been regularly touring across the US. Their music is reminiscent of bands like STRFKR, Moon Taxi and Portugal. The Man, with an alt-indie sound that is popular among most audiences today.
The Bones of J.R. Jones is the one-man blues and roots act of New York native Jonathon Linaberry. It’s hard not to admire Linaberry’s extensive skills as he does percussion, vocals and a combination of either guitar or banjo, with an occasional harmonica all at once. If not for his musical ability, it’s worth seeing The Bones of J.R. Jones just to witness the passion in his performance.
5. Larkin Poe
This sister duo is keeping the spirit of old school music alive with their soulful, gritty rock ‘n roll sound. Originally from Georgia and now living in Nashville, Rebecca and Megan Lovell draw inspiration from their southern roots, and after growing up in the same household, they’ve developed an undeniable chemistry in their music.
4. Nikki Lane
I just can’t get over how many great female artists are blessing Savannah Stopover this year! Americana wonder Nikki Lane is a bad**s southern woman with her own personal style and distinctive vocals. Her set is definitely worth making it to.
3. of Montreal
It’s hard to describe the art of Kevin Barnes, the mastermind behind of Montreal. With his extended club mix 80’s pop sound, drag looks and out-of-this world performances and music videos, Barnes is making a serious impression on today’s music scene. With a look similar to Andy Warhol and a self-proclaimed paranoia of big government, Barnes seems to have an artistic complexity within himself that is evident in his music.
2. Cicada Rhythm
These folk/americana Athens locals bring a soulful sound that’s largely uncommon today, along with sincere, impassioned performances. The chilling harmonies of Andrea DeMarcus and Dave Kirslis put them high on my list of must-see artists, and once you see them live, you’ll understand why their sound is so hypnotic.
1. Wild Child
What started as the brainchild of Kelsey Wilson and Alexander Biggins in Austin, Texas has blossomed into a seven-piece indie-pop band complete with ukelele, violin, cello, trumpet, harmonica, drums, guitar and keyboard. With four studio albums under their belt and multiple worldwide tours, the band has gained a solid, steady momentum and developed a devoted fanbase. Their newest album, ‘Expectations,’ exemplifies a mature, confident sound as the artists drew from inspirations all over the world while writing the music while on tour. It’s hard not to smile while watching the band’s undeniable chemistry unfold as they grin cheek-to-cheek while performing.
There are love songs, there are breakup songs and then there are the songs on indie-pop band Wild Child’s newest album, Expectations. They describe relationships in limbo, which is an all-to-relatable status nowadays. The members of Wild Child have successfully managed to mature sonically while still remaining true to their fundamentals. While the band has certainly grown in numbers over the years, the tracks on their newest album succeed in paying homage to their earlier, simpler days.
Expectations is by far the Austin-based band’s most passionate album. The lyrics are introspective and especially impactful alongside Kelsey Wilson’s powerful vocals.
While the first track, “Alex,” is my personal least favorite of the album, I have to respect the choice to kick off the somewhat serious album with a more lighthearted sound. Now don’t get me wrong; the track still has the same push-and-pull relationship drama storyline that much of Expectations deals with. Title track “Expectations” builds momentum until around 3:20, where you can really hear Wilson’s emotions pour out through the vocals. At one point, her voice actually reaches a scream, which would almost seem out of place for Wild Child, but context justifies the move, and the experiment is magnificently successful.
The title track, along with other up-tempo tracks including “Back & Forth” and “Think It Over,” demonstrate not only Wilson’s vocal chops and passion, but also the growth and development of the rest of the band. This many-layered album is a particularly good example of the wide range of talent Wild Child contains. Whether it’s a trumpet, violin, cello or ukulele, the band seems to always find a way to build upon their sound.
The slower tracks on Expectations are no exception. “Follow Me” is arguably the band’s most sensual song to date. And I can’t ignore the fact that the combination of “Sinking Ship,” “My Town” and “The One” legitimately made me cry. You know you’ve got a powerful album when one fourth of it brings out actual tears.
There were times in Wild Child’s 2015 album, Fools where I felt they were getting dangerously close to losing their signature, stripped down and simple sound. Where Fools lost that, Expectations has found it again with ease. “The One,” released as a single and as a music video, reminds me that it’s the harmonies of Kelsey Wilson and Alex Beggins that first made me fall for this band. While the rich texture found in their more upbeat tracks relays more passion at times, there’s nothing like Beggins’ ukulele.
Overall, Expectations pulls at your heartstrings. I hate to fan girl even more, but here’s to hoping we won’t see the last of Wild Child anytime soon.
No matter what you think of MGMT, you’ve got to give them props for refusing to become stale. The band has evolved from their original bohemian rocker aesthetic, refusing to be defined solely by Oracular Spectacular, the hit album that boosted them into the spotlight over a decade ago. That being said, their newest album, Little Dark Age, tells me that they’re still not quite sure who they want to be.
Their first two singles, “Little Dark Age” and “When You Die,” which were both accompanied by music videos, made many think that they had begun to find an image. The “Little Dark Age” video shows a transition to a new, goth-pop territory; while “When You Die” makes it clear that they’re still not done using trippy, out of this world visuals.
In many ways, Little Dark Age does succeed in balancing the fine line between experimentation and clutter, in ways that their 2013 self-titled album failed to achieve.
The return of catchy hooks and seemingly effortless lyrics found in their first two singles, along with many others on the album, give the impression that the band is finally willing to lean into the commercial success of Oracular Spectacular and the upbeat rhythms, synths, and special effects that come along with it, without abandoning their obvious desire to develop more maturity in their sound.
In many tracks, including “One Thing Left to Try,” “Me and Michael” and the title track, “Little Dark Age,” MGMT demonstrates an evolution of sorts as they embrace the darker sounds of ‘80s synth pop, which works for them. After the “Little Dark Age” video was released, many comparisons were drawn between MGMT and The Cure, with a confident Andrew VanWyngarden boasting long, dark hair and eye makeup as he sang the gothic lyrics of the track.
However, “She Works Out Too Much,” and “TSLAMP” find the band back to grasping at straws when it comes to their sound. “She Works Out Too Much” is an overexertion of energy (no pun intended), sounding more like parody than originality. MGMT has succeeded in the past, and even on this album, in making powerful, societal remarks throughout their songs, but “TSLAMP” is too on-the-nose and obvious to be impactful. “TSLAMP”–standing for “Time Spent Looking At My Phone”–speaks of the trivial obsession with the cell phone, honing in on a message that’s far from revolutionary, bringing nothing new to the conversation but a cringeworthy attempt at a call-out.
Overall, Little Dark Age shows some serious growth for MGMT but still falls short at points. Slower tracks like “When You’re Smaller” and “Hand It Over” are reminiscent of Congratulations, (in a very welcomeway), while “James,” which was recorded while the entire band and the producer were tripping, exemplifies MGMT’s tendency to try too hard to be unique and far out.
This album is difficult to decipher, albeit an important next step in MGMT’s journey to self-identification. The band is still teetering somewhere in between not caring what people think and caring too much, but their ability to converge organic sounds, steady beats and melodies is ever undeniable.
