Buket Urgen

Buket is a graduate of the University of Georgia (Music Business Alum) and the current Editor-in-Chief of Vinyl Mag. She believes that a sincere lover of music can find something to like in just about any song. She loves to write to escape the grueling drudgery of capitalism. She is currently based in Georgia, but might soon be coming to a music festival near you.

Shaky Knees Diaries: Day 2

Posted on by Buket Urgen

Shaky Knees Diaries: Day 2

Make sure to check out my recap of Day 1 if you haven’t already!

1:00 p.m. – Carlie Hanson

We get to Central Park with the rest of the early birds to catch the first few shows of the day. I really appreciate that all the events start after noon at Shaky Knees, because damn, did I need to sleep in. First up is Carlie Hanson on the Peachtree Stage. Hanson walks out on stage with her freshly, freshly = three weeks ago, shaved head, and I am bemused by the thought that I would hate to perform bald with the sun beaming me during the hottest part of the day (Can you get sunburnt on your scalp?). From where I’m watching, this doesn’t seem to slow her down at all. Her performance is energetic and dynamic. She shows sincere love for the people of Atlanta. Meanwhile, I am sitting on the grass feeling slight to moderate levels of existential dread after realizing she is younger than I am.  

1:30 p.m. – Kid Sistr

We leave Carlie Hanson’s show a little early to catch the end of Kid Sistr’s performance on the Criminal Records Stage. I had not previously listened to the all-women band before then, but so many friends recommended the act that we had to check them out. Happy to report that I’m pleased we got to see them perform. The trio clearly consists of seasoned and charming musicians, who are tremendously down-to-earth. Kid Sistr gained a steady following using TikTok during the pandemic and released a six-song self-titled debut EP. To me, it was obvious they were grateful to be back on stage, performing their first festival show. 

2:15 p.m. – Arlo Parks

We arrive at Arlo Parks about 15 minutes early and take our places near the stage, which is set up with vibrant flower decorations and a simple yet elegant banner with her name on it. As the show begins at 2:30 p.m., I glance behind me. The field has gotten significantly more crowded. To be honest, I’m surprised Arlo was placed at such an early slot with only 45 minutes of stage time instead of a full hour. She certainly has the streaming numbers to justify a longer set; and although I couldn’t see the full extent of the crowd from the front, it seemed like a big one. Her performance was striking and endearing to witness. During the middle of the set, she plays three of the biggest crowd-pleasers back-to-back, going from “Too Good” to “Caroline” to “Eugene”. It was definitely a set worth seeing all the way through. 

3:15 p.m. – 6:15 p.m. – During this three-hour period, my boyfriend and I don’t really commit to any of the shows. We catch a little bit of everything from Neal Francis to The Collection to Mercury Rev to Larkin Poe. We enjoy the pleasant October weather, thankful for a fall Shaky Knees, which is as perfect as the weather in Georgia can be. It’s warm but breezy. I almost wish it was in October every year, and I think a lot of people would agree. 

For all the acts so far, we have enjoyed the show from a distance or in a sparse crowd by the stage. Tonight is going to be different. We’re going to get as close as we can to see today’s headliner – Run the Jewels. But this is a marathon, not a race. Getting front row at a festival requires perseverance and a little bit of prep. 

So, first up: dinner. This time we go to the main food truck area by the two bigger stages where the food options are grand. They have everything from noodles to pizza to smoothies. Luckily, the food lines are pretty short compared to the lengthy bar lines. I settle for a chicken gyro and my boyfriend gets a pulled pork sandwich. These are much better than yesterday’s chicken fingers and salty fries. I grab a few lite snacks (Oreos and Nutter Butters) from the press lounge for the road (AKA holding our spot). 

Before we stop by Peachtree Stage to scout the situation, I finally cave and use a porta-potty. I managed to go without them yesterday, but I know today I can’t risk it. But hey, here I am, I survived to tell the story. 

6:30 p.m. – Garbage’s set on the Peachtree stage ends in 15 minutes. We sit by the grassy hills once again and watch everyone rock out to “When I Grow Up” (no, not the Pussycat Dolls’ song sadly). The set ends at 6:45 p.m. As expected, there’s a good crowd by the stage that doesn’t seem to be moving. So, we decide to join them and make our way down there to wait for the next set. At this point, we’re about six people away from the stage so things are looking good. There’s a group of women in front of us who say they’ve been here for six hours to see Portugal. the Man from the front row – that’s festival life for you.    

7:45 p.m. – Portugal. The Man

Before Portugal’s set begins, one of the band members steps out onto the stage. He explains that for every place they get to perform, they ask someone from the indigenous community in the area to begin with an Indigenous land acknowledgment. So tonight, a member of the Atlanta Indigenous Peoples Association joins us over a video to acknowledge that the land originally belonged to the Cherokee and Muscogee communities. She goes on to say that for many Indigenous communities land is considered sacred. She asks for a moment of silence. Once it’s over, a video clip starts interloping Portugal’s hit single Feel It Still with other various clips. It gets the crowd going immediately. Their set is minimal except for a projector that plays various psychedelic images and videos for the entirety of the show. They range from declarations of love from the band to their fans to lots of naked dolls. Not once did the band stop to talk, except for maybe four words I don’t remember anymore. They played songs non-stop. It was a show that was immensely fun to see so up close and personal.   

8:45 p.m. – Portugal the Man wraps up right on time. Promptly, Alice Cooper takes the stage at the Ponce de Leon, but unfortunately, we cannot make it. We’ll have to settle for hearing it in the distance. (From the looks of it though, we missed quite the show. Alice Cooper seemed to have taken the Halloween theme to heart.) Anyways, back to me. Shortly after Portugal’s set ends, their fans dutifully leave the crowd. I weasel my tiny self from the sixth row right up to the second. The girls in front of me say they’re not staying for the full set for the headliner and that we can take their place once they leave. Everything is going according to plan.  

For the next hour, we watch as the stage is broken down and set up again. At this point, it’s gotten colder, and I’ve put on the new hoodie my boyfriend bought at the merch stand. It’s fluorescent pink with an image of the iconic Run the Jewels logo. On the stage, the crew suspends a larger-than-life version of the same logo above everything else. And if you don’t know what I’m talking about, check it out below. 

9:45 p.m. – 11:00 p.m. – Run the Jewels

Alice Cooper fades out in the distance and the anticipation where we’re standing picks up. Right at 9:45 p.m., the crowd begins to chant “RTJ” repeatedly. Then, the DJ steps out onto the stage for the introductions with a remix of “We Are the Champions” playing in the back. The crowd responds by putting up a fist with one hand and a pistol with the other. Killer Mike and El-P step out onto the stage and the show picks up. The speakers in front of the stage are so loud, I can see the cardboard trash can in front of me vibrate. I have a lot of regrets in my life. Getting to the front of the stage for this show is not one of them. Neglecting to bring earplugs is absolutely one of them. There’s so much that happens during the next hour and 15 minutes that I’m not sure I can even do it justice, but I will certainly try. 

El-P lovingly jokes that he never sees Killer Mike get nervous to perform, but tonight it seemed as though Mike was in fact nervous to perform for his home city of Atlanta. On top of that, this is the duo’s fourth show in three years. Needless to say, it certainly feels like a special event for everyone. Thirty minutes in and the girls in front of us leave as planned and so, I am now at the barrier still wearing the pink RTJ hoodie.

Run the Jewels, who are known for their politically charged lyrics and activism, interlace a lot of it into their shows. Like when the crowd chants “look at all these slave masters posin’ on yo’ dollar.” At another point, during “Close Your Eyes (And Count to Fuck)” I raise my camera up to record the show, and right at that second Killer Mike spots me and performs his lines pointing directly and me and my camera:’) – an absolutely unforgettable moment. 

Later on, somebody behind us throws their shoe on stage and security immediately jumps over the barrier to find the culprit that everyone is already pointing at. On the stage (unrelated to the shoe incident), Killer Mike preaches “developing empathy and compassion is gold. Love is gold. And every woman in this crowd deserves to be loved and cherished.” The audience responds sincerely to his sentiments.

Then, the duo does something unusual for a festival. They say their goodbyes ten minutes early and leave the stage. A minute passes, the “RTJ” chant starts back up, and they burst back out for an encore. They perform a few more songs. Finally, Mike takes a moment to bring his kids out onto the stage and asks them to stay for the final song. The show is over but Killer Mike and El-P come back out after the lights go out to thank everyone, but the mics were already cut so we couldn’t hear them. We join the crowds and depart after a second successful day at Shaky Knees.

Shaky Knees Diaries: Day 1

Posted on by Buket Urgen

7:15 a.m. – It is Friday morning. My alarm goes off and I am not quite ready to leave my bed, but I know I must because Atlanta traffic is a bitch and I’m coming in all the way from Athens for Shaky Knees. So, I haul ass out of bed. I shower, put on my first-day outfit, and pack a few last items. I make my coffee and head out the door. 

8:30 a.m. – I pick up my boyfriend and we are headed to Atlanta. For most of the ride, we listen to the artists we’ll be seeing this weekend and get hype. 

10:40 a.m. – We arrive in Atlanta with miraculously little traffic along the way, and we head over to pick up our wristbands at will call. 

(There is a brief intermission period here in which I take us in the wrong direction heading to the festival gate, which means we take a 20-minute detour going around the park. And then, I take us in the wrong direction inside the festival trying to find the first act we want to see. The sad part is I was looking at a map both times. Hereafter, I am no longer allowed to navigate anywhere, ever again.)

12:00 p.m. – Specialists

Even though my poor navigation skills cost us a good bit of time, we manage to reach the Criminal Records Stage just in time to catch the Specialists kick off the festival. Hailing in from New York, Specialists have certainly brought the heat (and a few of their friends) for their first-ever show in Georgia. These guys are more than ready to party hard at noon. The energy they have on stage is insanely fun. Once the show ended, I couldn’t help but think “what a perfect way to kick off this weekend.”

12:45 p.m. – Tejon Street Corner Thieves

Then, we walk over to the Ponce De Leon Stage to catch Tejon Street Corner Thieves. Truthfully, I had no idea what to expect from this show. (Looking back on it, I still have no idea what I witnessed.) Tejon Street Corner Thieves gave the audience Americana galore, and they loved it. Much to my surprise, I also loved it. One of them was playing what they called a “washboard skateboard,” which is (get this) a skateboard with a washboard and cymbal attached to the bottom hanging around someone’s neck. There were so many songs about whiskey I lost count. Before ending their set, Tejon Street Corner Thieves ask the audience to circle dance and the audience quickly forms an oval in front of the stage and dances away. Perhaps the most unique act of the day?

1:30 p.m. – It’s been a long day already and having skipped breakfast, I am hungry. For lunch, we turn to the festival food stand, and today, we settle for chicken tenders and fries (at an exorbitant price I would never pay in any other scenario – except perhaps at the airport). The fries are so salty they burn my lips but I’m still happy to be here. 

3:00 p.m. – After lunch, we decide we want to sit down and map out the rest of our afternoon and evening. We walk across the grounds and head towards the main stages. Right as we are about to walk away, the next act at the Peachtree Stage begins. A few seconds in, my boyfriend and I exchange a look that says “damn, this sounds good.” So, we sit on the hills that look out towards the Peachtree Stage and find out who it is that made this killer entrance. Turns out to be Noga Erez, an Israel-based electronic musician and producer. 

After a few short minutes on the hill, we decide it’s too good and we must get closer. I am immediately glad we do. She looks up close as cool as she sounds from afar. She knows how to occupy the stage so well that I am shocked when she says this is the biggest stage she’s ever performed on. During her set, she covers Kenrick Lamar’s Black Friday and makes it entirely her own. I was surprised that such a small international artist on her first U.S. tour landed on the biggest stage, but whoever made that call behind the scenes at Shaky Knees knew what they were doing. It was clear from my surroundings and the reactions online that everyone who overheard Noga’s charismatic performance would return home and stream her songs (and I certainly did).   

4:30 p.m. – The Cults have 15 minutes left on Zelle on Piedmont before the next act is up. I can hear them perform Always Forever in the background as I snack on some Oreos and search for the best place to sit for the next act I am excited to see. 

4:45 p.m. – Dermot Kennedy

Like clockwork, Dermot Kennedy takes the Peachtree Stage as soon as the Cults fade out. He establishes a powerful presence immediately. His live performance sounds a lot more rock than his records, but the intensity remains the same. His voice is clear and strong. Enjoying his poetic lyrics with the warm Georgia-November sun shining down, sitting on the grassy hills, and a lively frisbee game happening on the field in front of me, the show was nothing short of perfect (but I might be biased). 

5:45 p.m. – Dominic Fike is up next on Zelle on Piedmont. For the life of me, I could not figure out what genre this man was trying to convey, and I am not sure he knew either. When introducing his band, he very pointedly fawned over his “sexy ass drummer” who was “looking so good tonight.” This prompted my boyfriend to say, “this guy sounds like he wants to fuck his drummer.” And that’s really all I can recall from this show. 

6:45 p.m. – St. Vincent

St. Vincent came prepared with an hour-long Broadway performance for her sunset show complete with a city backdrop, backup dancers in costumes, props, and spoken interludes. It was the most theatrical performance I had seen on the stage so far and incredibly fun to watch. Even from a distance, it was clear to me that she was a performer in every sense of the word, missing no details at all. 

7:45 p.m. – Amigo the Devil

We left St. Vincent’s performance a couple of minutes early to catch the beginning of Amigo’s set over at the Ponce De Leon Stage, and it did not disappoint. The whole reason I wanted to be there was that I got the general vibe that he was very weird, and I needed to see him live. Amigo proved to be as theatrical as St. Vincent except that he was a one-man show – just a guy, his guitar, and his guitar pedalboard. It was violently graphic and humorous at the same time – perfect for a guy named Amigo the Devil. He fooled most of the audience with a slow take on the classic “Pina Colada Song” (not me though), sang (multiple) songs about murder, and dropped nuggets of wisdom like “life is like a sewer. You get out of it what you put in.” Remember when I called Tejon Street Corner Thieves the most unique act? Amigo definitely gives them a run for their money. I think it’s no coincidence they’re signed to Amigo’s label, though. 

8:45 p.m. – The Foo Fighters

The weekend’s biggest headliner takes the stage right on time. We hang back for this one too but that’s because we know we’ll be fighting for that front-row seat tomorrow. The Foo Fighters are pros at this point and know how to work a crowd. Everyone is having a blast and it is a wonderful end to the first day of Shaky Knees 2021. 

Review: The Dazy Chains: “Electric Sunshine”

Posted on by Buket Urgen

The Dazy Chains, a relatively new homegrown Athens band, didn’t let the past year and a half stop them from writing, recording, and releasing their debut full-length album Electric Sunshine, which came out Oct 8th at midnight. The album cover, like the contents within the album, is a psychedelic piece of art. It features the iconic steeple located on Oconee Street as an homage to Nuci’s Space, where the album was conceived, recorded, and mastered. On Electric Sunshine, the band travels through and merges multiple genres. Elements of psychedelia, rock, grunge, and funk converge with the distinctive vocalizations of Hannah Meachum to top it off. The end result is a garage rock album with different genres peeking through at select moments – a unique tribute to why making music with your friends matter. 

Debut album cover, Electric Sunshine. Featuring the iconic R.E.M. steeplechase at local nonprofit Nuçi’s Space.

The songs on the record are reflective and self-aware, not afraid to admit personal vulnerabilities or shortcomings. The admissions are curt and to the point. On “Counter-Clockwise,” Hannah passionately sings “you tell me I’m broken / well I don’t give a damn.” In “What You Are,” Hannah dryly admits, “you used me now / I’m not the same.” The admission is simple but there is a punch to the delivery. On “Hypnotize,” the narrator’s internal struggle is evident in the lyrics. With a clever shift in lyrics, the narrator’s perspective changes from being intoxicated with someone to feeling betrayed by them. It’s clever yet raw. These songs show that the band is in touch with their intentions and not afraid to vocalize their emotions.      

On their debut album, the Dazy Chains frequently time bends, speeding up and slowing down without warning. On “Flow,” slick and rapid guitar licks and drumbeats transform briskly (yet smoothly) into a slower funkier melody. It’s pretty fun to listen to on the record and I imagine it would be just as cool, if not cooler, live. 

Photos courtesy of Braxton Watts of Thinking Cap Media.

This album is a melting pot of genres, and it reminds me of why I enjoy listening to local acts and (yet) unknown bands. Making music one cares about is the most important part. Everyone has something they enjoy and being able to bring that to life is a gift. The size of the audience is the least significant part. Congrats to the Dazy Chains for bringing to life a vision of theirs on their debut. 

You can catch their album release show TONIGHT at Smith’s Old Bar in Atlanta with Alien Funk Academy and A.D. Blanco as the supporting acts. Doors are at 8 PM. Or you can catch them at this year’s first Nuci’s Space Jam on Monday.

Electric Sunshine by the Dazy Chains is out now on all streaming platforms.

Review: Hotel Fiction: ‘Soft Focus’

Posted on by Buket Urgen
Hotel Fiction photographed by Sydonné Blake and styled by Katelyn Bass

Hotel Fiction’s debut album Soft Focus is finally out today. Written and recorded over the past two years, Soft Focus is a complete introduction to the potential Hotel Fiction brings to the table as musicians, writers, and creatives. It’s rare that a musical act steps forward with such a complete vision and polished presence, but Hotel Fiction has done just that and more – it’s no wonder they keep climbing. 

Since the release of “Astronaut Kids,” the duo has been hard at work gaining a following within and outside of Athens with five follow-up singles and multiple supporting tours. (Their first song has now garnered over a million plays on Spotify; they’ve also landed on two playlists curated by Spotify with their last single “Daydrifter.”) Now, in addition to their full-length album, they have an impressive line-up of show dates for the fall, including some dates opening for Adam Melchor. 

If you’ve seen the band perform live, it quickly becomes apparent that Jade, Jessica, and their band ensemble (which continues to expand) possess unique chemistry on stage and have the skills and experience to deliver their vision to its full artistic capacity. These same qualities that make them so fun to watch live translate extremely well throughout this record. With a clear understanding of what makes a good record and what makes a great record, they create their own multiverse throughout each song with hidden musical elements, overarching themes, and small little details that tie everything together. The rhymes and the melodies throughout are so well-crafted and the production so refined, you’ll keep hitting repeat.

Soft Focus is a collection of coming-of-age songs set in the current zeitgeist. Hotel Fiction knows what it feels like to grow into adulthood in a time of ecological collapse, political unrest, social isolation, and the shattered illusions of “you can be whatever you want to be.” “Soft Focus” — the title track — is an incredible tribute to each of these and is surely the thesis of the whole album. It both understands that sometimes life is a shitshow and “the world is on fire,” but reassures you that as long as you keep things in perspective (or… soft focus, rather), you’ll be just fine. Both lyrically and sonically, the song transforms from longing for simpler times into the vibrant, messy present. 

The album’s closer, “17,” is an emotional ode to missing the times you’ll never get back. It’s about leaving behind childhood. But also, about that moment when the floor gave out from under all of us and the things we loved so much (like dancing in our favorite clothes) were no longer an option. The bittersweet nostalgia of it all is ever so present here. By being themselves and telling their own stories, Hotel Fiction does what every band hopes to do which is connect with their listeners and make them feel less alone. 

Soft Focus is available for streaming now on all platforms.

If you want to experience the magic in person, head to the 40 Watt tonight to catch Hotel Fiction, CLOUDLAND, and Daddy’s Beemer perform.

Not in Athens? Catch them on tour!

  • 08/28 — Gainesville, FL
  • 08/29 — Lee, SC (Hypefest)
  • 09/09 — Asheville, NC
  • 09/10 — Atlanta, GA
  • 09/11 — Nashville, TN
  • 09/16 — Richmond, VA
  • 09/17 — Abingdon, VA
  • 09/24 — Athens, GA (Athfest)
  • 09/25 — Sevierville, TN
  • 10/12 — Cleveland, OH
  • 10/13 — Cincinnati, OH
  • 10/14 — Indianapolis, IN
  • 10/15 — Chicago, IL
  • 10/16 — Appleton, WI

Review: Hotel Fiction: “Daydrifter”

Posted on by Buket Urgen

Athens-based duo Hotel Fiction released their latest single ‘Daydrifter’ last Friday. Like every other song in their catalog, this one was also produced by Tommy Trautwein of We Bought a Zoo Records. Best friends Jade Long and Jessica Thompson are determined to bring a fresh sound to the table with every new track they put out; “Daydrifter” is no exception. 

The beginning of “Daydrifter” starts off with bird songs, which was coincidentally–or maybe intentionally?– how their last single “Think Twice” ended. The song instantly sounds like a campfire tune from the bright strum of the guitar to the smooth rhymes of each phrase. Although sonically different than their previous singles, Daydrifter returns to the psychedelic lyrics and imagery that made listeners fall in love with Jade and Jessica in the first place. In their first single, “Astronaut Kids,” Hotel Fiction wanted urgently to escape the growing pains of being 20 by becoming “an astronaut who sails the sea.” And now, two years later, things have come (almost) full. As shapeshifters in “Daydrifter,” the two pronounce that they are ‘sun sailors,’ watching the sky burn. In a similar vein, Hotel Fiction desired to go to the moon and take off into the sky in “Astronaut Kids.” Now, they are still far off in the atmosphere but in a more self-assured tone. This time they are the moon craters, watching the earth turn. 

The pair (or rather the trio because I have a hunch that Tommy frequently plays an important role here) have previously shown just how much they enjoy changing their sound midway through a song, either by adding something new or by taking something away. For example, in “Think Twice,” when the first segment of the song ends, they add in a minute and half long instrumental that crescendos and then floats back down. Or like in “Ghost Train,” during the bridge, when the strings drop away momentarily and all you hear is piano chords, an echoey harmony, and Jade’s vocals with a new vocal effect. And on and on… A similar shift is seen in this song. The second half adds in dreamy slides, a little twinkle in the background, and even a whole new narrative in the lyrics. Just like previous songs, the subtle tone change here works beautifully, enough to make a listener want to keep listening (and coming back). 

Hotel Fiction Fall Tour 2021 dates and locations. Poster made by Jade Ireland Long.

Hotel Fiction’s album comes out next month. And maybe you can catch them in your city during their Fall 2021 tour. “Daydrifter” is available to stream on all platforms.      

Review: Lucy Dacus: ‘Home Video’

Posted on by Buket Urgen

Home Video is a stunning collection of delicate coming-of-age moments packed with emotional vulnerability and scenic poetry. Lucy Dacus, 26, brings to life nostalgic tales of her Christian youth camp days, friends dating subpar boys, awkward firsts and confused teens replacing pop culture references for a personality.   Presumably, the effectiveness comes from the way she read through her teenage diaries on the road towards the finished product. In reflecting on the past, she has masterfully (and perhaps unintentionally) created a looking glass for listeners to project their own teenage emotions and formative experiences onto. 

The charm of these songs comes from Lucy’s conversational tone, wit and self-awareness. “First Time” finds Lucy confessing, “I am just the fool you took me for.” She professes via Apple Music that the song explores discovering “your body and your emotional capacity” for the first time and the fear that you’ll never feel that way again. Then she admits, “I haven’t–but I have felt other wonderful things.” “Partner in Crime” reminisces on her early relationship with an older someone; Dacus makes her first experimental step into autotune, describing her desire to pretend and act older. In a casual voice, she sings, “You drop a hint that you got a girlfriend / I tried my best not to take it” over distorted guitars. 

Home Video is a glimpse at art that is so personal, intimate and vivid that the stories it tells become approachable, cozy and universal. As you zoom into the picture, you find that there’s details that you can latch onto and make yours. Its diverse palette and keen observations enables one to shapeshift. Sometimes, you feel like the songs are about you, and sometimes, you feel like you’re Lucy and you’re seeing your friends through her interpretation. In “Please Stay,” the first verse describes the unkempt house of an individual struggling to find a reason to stay alive. The outro, assisted by her boygenius bandmates, sings pleadingly and desperately for the subject of the song to do anything but leave. In another song (“Christine”), Lucy describes the way her friend justifies staying with a boy who doesn’t treat her right. With unadulterated honesty, Lucy confesses that she would risk losing her friends respect to stop them getting married if it came down to it. Throughout each song, both the observer and the subject are continuously done justice in this way.

In the end, I can’t help but wonder how it must feel for the people in Lucy’s life to hear the songs that tell their stories, to hear their worlds come alive in a picture book painted by someone else entirely. In some ways, as a listener, it feels invasive to realize that these songs implicate real people. The consequences of putting these songs out into the world are genuine and to some degree, change how one consumes them. In a recent interview with Rolling Stone Music Now, Lucy describes the anxiety of anticipating to hear from the subjects of her songs. She confesses that the subject of “Brando” contacted her after the song was released and expressed hurt. On the other hand, “Thumbs” and “Christine” are two songs that she asked for permission to record from the people it’s about. Songs like “Triple Dog Dare,” “Cartwheel,” and “VBS” could still be conversations waiting to happen between Lucy and the people she is singing to, which is the price paid for hyper-specificity. She acknowledges that some of these conversations she welcomes and others she would dread but leaves you guessing as to which category they fall under.

When the world shut down in March 2020, we were forced to spend time thinking about the past because there was literally nothing else to do. There was nothing happening in the now and nothing to look towards or anticipate. Although recorded before quarantine, Home Video somehow captures this feeling, at least for me. This album is unique in that it reflects on pivotal moments in one’s life from the end of the road, yet the distance isn’t so far that the details have become hazy, and the aftereffects have been lost during interpretation.

Home Video is available for listening on all streaming platforms.