Sauve and sultry voice
Velvety smooth production
Syd’s dropped her debut
King of baritone
A one man gospel choir
We’re under his spell
Jhené on a track
Flow got Curry inspired
Sean Don has bounced back
From The Cranberries to U2, Ireland has blessed the music world with talented, iconic acts that continue to inspire artists today. In the spirit of keeping the country’s music scene alive, Irish music-lovers throw an annual festival known as Hard Working Class Heroes which gives up-and-coming acts a platform to share their art. The event, described as a “music trail,” is held in Dublin every October, showcasing The Emerald Isle’s freshest faces in spots all throughout the capital. For those of you who didn’t get to attend the event all the way across the pond, we’ve compiled a list of the top 15 acts that performed at HWCH that you need to keep your eye on.
1. Chris Kabs
Producer and artist Chris Kabs transcends genre, making music that bridges R&B, soul, and pop. His eclectic arrangements are undeniably cool and advanced, which is expected of someone who has been playing music since he was five years old.
2. New Portals
In the age of CHVRCHES, Shura, and Garden City Movement, crisply-produced beat machines and 80’s synths are the new ultimate combo for electropop. Hailing from Belfast, the duo New Portals have taken advantage of this emerging trend while adding their own flare.
3. Maija Sofia
Maija Sofia’s raw lyricism and overall aesthetic make a great pair to accompany her haunting vocals and lo-fi production. She’s vulnerable, but still adopts a take-no-shit attitude à la Fiona Apple.
https://www.youtube.com/watch?v=qgkkCp_quBg
4. Super Silly
Dublin-based four piece Super Silly is possibly the coolest family band ever. Having been raised on the sounds of gospel and R&B classics, this group makes “futuristic sexy music with meticulous joy.”
5. Jafaris
Rapper Jafaris is one of the few hip-hop artists out of Ireland. His style deviates between that of Roy Woods and Cam’ron, bridging the gap between generational hip-hop styles. It wouldn’t be socking to see his name on Drake’s OVO roster sometime soon.
6. Erica-Cody
North Dublin singer-songwriter Erica-Cody is proof that all a good song needs is a soulful female vocal sailing over a dangerously slick beat. Her music strikes the perfect balance; it’s able to mellow you out without putting you to sleep, much like that of her PR&B contemporaries Jhené Aiko and SZA.
7. Loah
Sallay Matu Garnett, whose goes by the stage name of Loah, is heavily influenced by her West African heritage. Her sound is, simply put, unique. While her vocal is tinted with a hint of Sade, the production on each track varies, keeping the listener on their toes.
8. Wyvern Lingo
Even if there were another gospel-infused alternative girl group in Ireland, we’re sure they would be the coolest. The trio has garnered quite a following already, which isn’t hard to imagine considering how impressively catchy their music is.
9. Tebi Rex
This alternative hip-hop duo is making waves with their experimental style. Tebi Rex consists of producer Matt O’Baoill and rapper Max Zanga. Zanga’s raps are slick and melody-infused, reminiscent of Childish Gambino’s “Because the Internet.”
10. AikJ
AikJ doesn’t like to confine his music into a single genre. After a listen, it’s easy to see why. There really is no way to condense even a single song into a specific genre; from spoken word to electronica, AikJ is one of the most versatile artists in the game.
11. Dammy Ari
Carlow singer-songwriter Dammy Ari is a quintessential artist; he makes music as a way of documenting, writing his life story in his work. From rap to soul to jazz, Dammy does it all.
12. SOULÉ
SOULÉ is, without a doubt, the dopest artist in Ireland. The music of this urban electronic songstress evokes memories of Vogue-era Madonna. It’s so sleek and catchy that by the end of a track you’re not sure exactly what you just listened to, but you know you want to listen to it again.
13. Le Boom
This duo from Dublin is electropop gold. With seamless production and a distinguishable vocal, Le Boom could very well see mainstream success in the near future.
14. Miles Graham
Backed by a multi-faceted band, Miles Graham delivers soulful songs that sound like they arrived from another time. “She Knows” has a hook that could easily make it a hit on Top 40 radio, taking cues from similar artists like Hozier and James Bay.
15. Samyel
Samyel’s quaint and simple songs belong on the soundtrack of a Wes Anderson film. He also makes music videos featuring his dog, which makes listening to his voice that much more enjoyable.
What better way to send off 2016 than with a star-studded mega concert? iHeartRadio’s Jingle Ball series delivered this year, with a lineup that changed in every city and featured just about every Top 40 artist currently on the charts. We got in on the action at the Atlanta show – hosted by Power 96.1 – and hung out with some of the biggest names in music.
We showed you the artists’ red carpet looks, but most of the noteworthy moments happened onstage and in between sets. We saw Fifth Harmony perform one of their last shows as a five-piece and witnessed Joe Jonas feed someone a hardboiled egg backstage. We also almost physically ran into Ariana Grande, who is stunningly beautiful and moves quietly and quickly, trailing behind her a cloud of Chanel No. 5. The strange environment was a fitting place to close out a strange year.
Check out our video recap featuring clips from the concert, as well as interviews with Jingle Ball artists Lukas Graham and Daya.
Massive acts took the stage at this year’s Power 96.1 Jingle Ball to bring 2016 to a close. The star-studded lineup included Alessia Cara, Fifth Harmony and Ariana Grande. In addition to playing their own hits, some artists crashed other sets to perform collaborations. Pop singer Daya joined The Chainsmokers to sing “Don’t Let Me Down,” and Fifth Harmony’s Camila Cabello partnered with Machine Gun Kelly to perform their Fastball-sampling single “Bad Things.”
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On a rainy November night in Athens, Ga., a muffled, distorted guitar can be heard through the walls of a home off of South Milledge Avenue.
The distinguishable sound is the work of fresh-faced Athens darlings The Vinyl Suns.
Formed just recently in August of 2015, the four-piece has established themselves as one of the most prominent bands in the city, playing blues, rock, and “a hint of everything.” To prepare for their upcoming gig at the local 40 Watt Club, the band is holding a practice to work on finalizing their set list.
The practice is held in a rustic room that has been gutted and stripped down to accommodate instruments and other musical gear; equipment is strewn about the garage-like space, furnished with a couple of sofas, an oriental rug in the center of the cement floor, a large Walter White poster filling one of the walls and a cooler with a lid that features the album artwork for Chance the Rapper’s Acid Rap.
Lead guitarist Chris Callahan explains that they are guests in the home and that the owner works at the Georgia Theatre. “We put up an ad saying we needed a place to practice, and he answered,” he recalls.
In the college town that produced R.E.M. and The B-52’s, it’s not at all odd for music lovers to lend each other a helping hand. In one corner of the room, a stack of old posters for Georgia Theatre shows that have come and gone serve as mementos for the homeowner and more décor for the practice space.
The bassist has yet to arrive, so the three present band members are not in full practice mode. Classically trained drummer Jack Lloyd strings Christmas lights around the floor and his drum set, while Paxton McClelland, guitarist and lead singer, is tuning his electric with his shoes off. Chris is working on a riff, and Paxton joins.
“Give me the freshest thing on your head. Besides your hair,” Paxton quips.
Chris’ strumming slows and his mouth gapes as he loses focus: “I don’t work good on the spot.”
When left to his own devices, his fingers move up and down the frets like the strings are laced with butter; the more complex the movements, the tighter his eyes squeeze shut.
Just as Chris and Paxton get into their groove, bassist Trae Berry arrives, sneaking in the door with his bass and a Wendy’s bag in tow, a hoodie protecting his long hair from the rain outside. He finds his way to an office chair and plugs his bass into an amp, merging seamlessly into the current jam session that has broken out.
The topic of today’s practice is deciding what song they’ll mesh into the end of one of their originals at their gig at the 40 Watt.
“I think we should do ‘Seven Nation Army,’” says Trae, earning the approval of Paxton.
Chris is on the fence, and Jack isn’t shy about his dislike for the track, “I hate that song. It sucks. It’s just so simple.” While seemingly harsh, the playful bickering is how the band comes to reach an agreement on artistic decisions.
“Well, Bo Diddley only knew how to play one thing. That’s why everybody loved his shit,” Chris retorts in a voice mimicking that of the blues legend. He starts improvising melodies on his electric as Jack and Paxton catch up.
Trae stands up and observes the three of them from the middle of the room with his arms crossed, intently watching and analyzing, evoking an image of an ingenious mad scientist. As the only member of The Vinyl Suns who doesn’t attend the University of Georgia, Trae gives music lessons in his hometown about an hour away from Athens. When the improvised jam session is over, and the group returns to debating their cover song, Trae has some more input, “I don’t want to just play song after song on our set list. I want it to be a memorable experience.”
After a few more moments of deliberating, they decide to take a break. Chris and Paxton both walk outside with unlit cigarettes hanging from their lips.
“I’ve been playing guitar since forever. I couldn’t even tell you when I started playing. My dad played in a band and got me into it when I was really young,” says Chris.
When Jack and Trae eventually make their way outside, they all begin reminiscing about their formation while Brenda Lee’s “Rockin’ Around the Christmas Tree” blares from inside the practice room, courtesy of Jack.
“We lived right next to each other,” says Paxton, pointing at Trae, “And he was always playing guitar. And I played guitar but I kind of sucked.”
The lessons turned into jam sessions with Chris, who they knew from high school, and they became a more serious group. But, they were still in need of a drummer. They knew Jack as one of their friend’s new “random roommates,” and happened to be there on the day he moved in.
Jack cuts in, wanting to tell the story from his perspective, “Within two hours of me moving to Athens – my mom hadn’t even left yet –somehow the news came around that I played drums. Chris was like, as he was walking out, ‘Hey, I heard you play drums.’ So, the day I came to Athens, I joined a band.”
“I think we should play ‘Time’ all the way through,” interjects Trae, shifting gears.
Chris asks for clarification, “Pink Floyd’s ‘Time’ or our ‘Time?’”
The “Time” Trae is referring to is shorthand for the band’s original, “Time Keeps Slippin.’”
The track embodies the band’s collective persona, clever and cheeky with “a hint of everything.” As they practice the song they’ve played at least a hundred times before in the empty practice room, they perform with an energy that would suggest they were standing in front of a packed house at the Bowery. This is the passion that they bring to their art. It’s in the contortion of Chris’ face when he slides his fingers over the neck of the guitar and the power of Jack’s drum hits. It’s in the gruffness of Paxton’s vocal and the rhythm of Trae’s bass. Music is not just their craft; it’s part of them.
Listen to The Vinyl Suns
At just 20 years old, Alessia Cara already has three certified singles under her belt, one of which is double platinum “Here,” which rocketed the singer-songwriter to pop stardom. Currently wrapping up touring for her debut album Know-It-All, Cara took some time to talk to Vinyl about her latest single and what fans can expect from her next record.
VM: First let’s talk about “Scars to Your Beautiful.” It’s a great song with a beautiful message. What inspired you to start a sort of self-love campaign surrounding the single?
AC: That’s exactly what the song is, you know, it’s a self-love song. It’s about tough love and embracing yourself and all different kinds of beauty. Of course I’m not 100 percent perfect at it but actions should always match words, which is why I’m doing stuff like not wearing makeup during TV performances.
VM: It’s climbing the charts. Congratulations on that. Canadians are all over the pop charts in the United States right now. You, Shawn [Mendes], Justin [Bieber], Drake, The Weeknd… when you come to the U.S., is there anything you miss about Canada?
AC: Tim Hortons. It’s a better, cooler version of Starbucks.
VM: Are you working on album number two?
AC: As an artist, you’re always creating. I haven’t had time to lay anything down in the studio yet, but I’m plotting it out.
VM: What’s the vibe? Is it more R&B or pop or are you experimenting with your sound?
AC: It’s hard to tell right now because everything is acoustic. A lot of it sounds like my usual stuff, and there’s a lot of soulful stuff too, which is my roots.
VM: When you make your music are there any artists you look to for inspiration?
AC: There are artists who have their own sound, like Frank Ocean, Amy Winehouse, and Drake. They have an identity; you can always tell it’s them. I try to make music so that you would you be able to tell it’s me.
VM: Any new albums you’re into?
AC: There’s so much new music. Frank Ocean’s Blonde, Anderson .Paak’s Malibu, Chance the Rapper’s Coloring Book, JoJo’s new album, and Banks’ new album.
VM: What’s an album you never get tired of?
AC: Amy Winehouse’s Back to Black.
VM: If you could bring back one artist from the dead who would you pick?
AC: Amy Winehouse.
VM: Acoustic or electric guitar?
AC: Electric.
VM: Coffee or tea?
AC: Coffee.
VM: Take Care or Nothing Was the Same?
AC: Take Care.
VM: Prince or MJ?
AC: Prince for musicianship. MJ for his presence.
VM: TLC or Destiny’s Child?
AC: Destiny’s Child.
VM: Since it’s almost Halloween we’ll end with this one. What’s your favorite scary movie?
AC: None of them. I hate scary movies.
This interview has been edited and condensed for clarity.
The soulful girl who provided the soundtrack to preteen breakups in the mid-2000’s is grown and has a new album to prove it.
JoJo, who was thrust onto the mainstream music scene in 2004 with the anthem “Leave (Get Out),” dropped her third album Mad Love on Friday – a decade after her previous LP The High Road – trading in her signature stripped-back R&B style for a more refined pop sound. As expected, JoJo has done some maturing since her last effort. Sonically and lyrically, this album marks a turning point in her career.
In honor of JoJo’s much anticipated return, here’s a track-by-track breakdown of Mad Love.
Track 1: “Music.”
Perhaps the most vulnerable song on the album, this ballad is an ode to her late father, who passed just last year. It features JoJo laying bare vocals over a faint piano, crooning the line, “Tell me who would I be without you?” in the song’s chorus. “Music” grabs your attention and sets the tone for the rest of the record.
Track 2: “I Can Only.” (feat. Alessia Cara)
“I Can Only” introduces the theme of self-awareness that carries throughout the Mad Love. The song embodies the pop genre with its simple arrangement and effortlessly charming hook. Cara, who is also on the track’s writing credits, appears in the second verse and takes on the following chorus by herself, adding her unique vocal flavor.
Track 3: “F*** Apologies.” (feat. Wiz Khalifa)
As the lead single from Mad Love, “F*** Apologies.” has been the face of the record thus far. It’s a fun, catchy track that encapsulates everything a pop song should be. Enlisting the ever-imaginative Wiz Khalifa to feature doesn’t hurt either. Check out the Francesco Carrozzini-directed music video below.
Track 4: “FAB.” (feat. Remy Ma)
“FAB.” (which stands for Fake Ass Bitches) is a metaphorical middle finger. Terror Squad alum Remy Ma, who was recently at the top of the charts with her and Fat Joe’s summer smash “All the Way Up,” lends her rhymes to the track in her typical no-nonsense fashion.
Track 5: “Mad Love.”
If you only listen to one song off of Mad Love, make it this one. A nod to her R&B roots, “Mad Love.” earns its position as the title track. While the instrumental bears similarities to Beyoncé’s “All Night,” the song is a vocal treat, with JoJo hitting almost every note in her repertoire.
Track 6: “Vibe.”
Very much a radio-ready hit, the song’s defining feature is its bumping bass. “Vibe.” is produced by Rock Mafia, the same hit-makers behind acts like Selena Gomez and Miley Cyrus. It wouldn’t be surprising to see this song climbing the Billboard Hot 100 in the near future.
Track 7: “Honest.”
With its confessional lyrics, ‘Honest.” is true to the album’s themes of growth and acceptance. In it JoJo unapologetically tells her significant other that she is who she is, no exceptions or façades. Once again, her seemingly boundary-less range shines
Track 8: “Like This.”
JoJo has outdone herself with this one, which is equal parts endearing and sexy. The adult-oriented theme is accompanied by slick, low-key production, letting the ambiance of the track speak for itself.
Track 9: “Edibles.”
“Edibles.” is complementary to the previous track. Although more fast-paced than “Like This.” the subject matter remains the same. Both songs are standouts on the record.
Track 10: “High Heels.”
This track is so ruthless it almost makes you feel bad for the guy it was written about. “High Heels.” chronicles a situation of infidelity and how JoJo intends to come out on top. She belts the chorus over larger-than-life production, promising to “look damn good for all of your friends.”
Track 11: “I Am.”
The most stripped-back song on the record is reminiscent of the first track, consisting only of JoJo singing over a piano. It’s a proclamation of her worth both as an artist and as a person and a powerful message of self-love.
Track 12: “Clovers.”
The first of the bonus tracks on the deluxe record, “Clovers.” is an electropop track that proves JoJo isn’t defined to any genre. She ad-libs over her own distorted vocals in the chorus, which is as fun as it is infectious.
Track 13: “Reckless.”
“Reckless” draws inspiration from new wave R&B, taking stylistic cues from artists like Miguel and Bryson Tiller. While the lyrics have a serious undertone, the production is impossibly alluring.
Track 14: “Good Thing.”
“Good Thing.” is an up-tempo dance tune. The club-ready track is certainly a departure from the sound of the rest of Mad Love, but it holds its own.
Track 15: “Rise Up.”
The record ends on a positive note with “Rise Up.” The track is symbolic of JoJo’s legal battle with Blackground Records and the other struggles she faced in the making of this much-overdo album.
Overall, Mad Love is a breath of fresh air and solidifies JoJo’s presence in the pop scene. We can’t wait to see what she does next.
In an effort to deter the possibility of a Donald Trump presidency, an online campaign known as 30 Days, 30 Songs will release a protest song by a well-known artist each day until the election on November 8.
The songs, as expected, will all have anti-Trump themes. Still, the goal of the project is not just to warn people of the unrest that would result from a President Trump, but also to ignite support for Hillary Clinton. The site features open letters of persuasion to groups – such as “Obama supporters not feeling it for Clinton” – who are hesitant to give their vote to her.
Their approach is not to overwhelm readers with the potential positive aspects of a Clinton presidency, but to highlight her as the only viable alternative “who can prevent the apocalypse that would be Donald Trump as president.”
So far, three songs have been released from the online campaign. The first from the 30-day effort is Death Cab for Cutie’s “Million Dollar Loan,” which alludes to the “small” loan of $1 million Trump received from his father to start his business. Lyrics to the tune include, “Call your father on the phone and get that million dollar loan,” and “He countersues from any corner he’s backed into.”
The song’s message was clearly enough to rile Trump, who tried to minimize the song’s credibility by telling Sean Hannity the band is “small potatoes.” The second song is by outspoken singer-songwriter Aimee Mann, titled “Can’t You Tell?” which is written from the perspective of Trump himself. And out today is “With Love from Russia” by Bhi Bhiman.
Trump has yet to comment.
Other artists set to release songs as part of the project include R.E.M. and My Morning Jacket. The music is available on the 30 Days, 30 Songs website as well as Spotify. Streaming proceeds from the campaign will be donated to The Center for Popular Democracy.
The annual Atlanta Pride Festival was held in Piedmont Park this past weekend, drawing in people from all over the Southeast with its welcoming atmosphere and its high-profile music lineup.
Although Atlanta Pride has been underwhelming in terms of music acts in the past few years, this year was a different story. Power 96.1 sponsored two of the performing artists, bringing Top 40 sensations Kiiara and Zara Larsson to the festival.
The headliner was none other than R&B icon Jody Watley, accompanied by members of her former group Shalamar. Towards the end of the day on Saturday, each of these women took to the Coca Cola Stage to perform their sets. The star power undoubtedly helped boost attendance at 2016 Pride to 300,000, which far exceeds the 200,000 expected to attend and makes the festival the most attended in Pride History.
This was good news not only for members of the Atlanta LGBT community but also for Atlanta businesses. In between the two performance stages was about a mile long strip of stations where local businesses and nonprofits lined up to meet potential customers and donors. Drawing a crowd is crucial for these businesses to expand to and growth within the LGBT community, which is why revamping the festival’s musical element was imperative for an attendance boost.
The Atlanta Pride Committee partners only with local gay and gay-friendly businesses who adore their involvement with the festival and organization, some of which are already engrained in the LGBT community. Joanne “Jo” Steiner of Sips n Strokes in Toco Hills has been a partner “since a time when it wasn’t popular to do so.” Just as she supports Pride, Atlanta Pride supports her and Sip n Strokes, “We are truly partners. We’re all here for one another.”
According to Pride’s 2014 survey, 72 percent of attendees purchase a product or use a service from a company that they were introduced to at Pride, and 90 percent of attendees are likely to do business with a company because of their involvement with the organization. Thanks to 2016 Pride’s stellar lineup, local businesses that are part of and friends to the LGBT community will reap these benefits on a much larger scale than ever before.
In an all-day event last Saturday, Project Pabst lit up East Village to kickoff October in Atlanta. The festival, which highlights local artists of all mediums in each of the four cities it visits, was a blend of music, art and PBR-fueled fun.
The lineup for the event consisted of smaller bands like Jacuzzi Boys and Titus Andronicus as well as more established artists like The Internet and Santigold. The musical highpoint was headlining hip-hop group Run the Jewels, pulling a crowd of about 1,000 at the day’s end. Group member and Atlanta native Killer Mike has been vocal about his support of Bernie Sanders, which drew younger fans to Run the Jewels and, subsequently, to Project Pabst.
The large crowd meant a spike in local business; the festival area encompassed the strips that run along Glenwood Avenue and Flat Shoals Avenue, which were packed to the brim throughout the day.
Between the restaurants, bars and shops, festivalgoers could find an Atlanta-specific can of PBR at a mobile Pabst station. Pabst also provided “hydration stations” that gave out free bottles of water – a much-needed service any frequent festival attendee knows is rare to come by.
Another facet of the festival was the Red Clay Comedy Show, where comedians like Mike Denny performed in between taking part in the festivities themselves. Denny, who is from New York City, calls the Atlanta event “mellow” in comparison to his usual experiences at festivals.
With such a high turnout and an overall successful collaboration with the local Atlanta music and art scene, Project Pabst may be back next year for anther round.