Category: News
Vinyl Mag Presents: Georgia Theatre Rooftop
Now, presenting… Vinyl Mag Presents, a show series highlighting Athens’ diverse musical talent.
On Wednesday, October 8th, Vinyl Mag and Zero Mile held a jointly promoted show on the Georgia Theatre Rooftop as the first for the series. The charming and ever-exciting Handholder, Convince the Kid with their layered synth landscapes, and newcomers Roommate performed. With their help, we sold out the Georgia Theatre Rooftop, gathering music fans across Athens to celebrate each band and its music. All were fantastic, drawing in the crowd set after set. Special thanks go to Vinyl Mag contributor Jake Feinberg, for his effort in putting the lineup together and coordinating the show.
Roommate
At 8:10, four-piece band Roommate took the stage with a cover of Maroon 5‘s “Sunday Morning.” Incorporating the jazzy elements of the original arrangement, the band made use of a synth organ to put its own flavor into the song. The rest of the set was primarily covers, and members of the crowd were singing along the whole time. These songs included “Valerie,” popularized for Gen Z by Amy Winehouse, “All These Things I’ve Done” by The Killers, “Yellow” by Coldplay, and “Where Is My Mind?” by The Pixies.
They ended the set with an original unreleased song, repeating the lyrics “I’ve got the August blues.” By far the most cohesive song performed by them, the time put into practice was evident. Overall, they made a great impression on the crowd, really working to raise the energy on the rooftop even though it wasn’t near capacity yet.
Convince the Kid
In contrast to the previous act, the four-piece synth rock band Convince the Kid performed mostly original songs. They started exactly at 9:00 with a mostly instrumental and exceptionally “synthy” song. With a band like theirs, it feels like a disservice to attempt to capture their essence in words. Instrumentation oftentimes took precedence over lyrics as the nature of the music (and synths) oscillated between being spacey, surfy, chaotic, and subdued. The dynamic between the live drum set and the drum machine was critical to the band’s tension.
Near the end of the set, Charlie Enter, multi-instrumentalist and member of the band Sex Cell, came up to play the lead guitar riff on the band’s cover of Radiohead‘s “Weird Fishes / Arpeggi.” This was a highlight of the whole show, with the band keeping the original character of the song and the synths coming to the forefront at the latter part of the song. In terms of attendance, the crowd approached its peak at this time. I think it is especially fitting that this atmospheric collection of songs was played as the light faded completely from the sky into total darkness.
Handholder
While standing in the crowd before they came on, I heard several people and groups say “I’m here for Handholder.” Fortunately, my high expectations were quickly confirmed. Their set started with a polished boy band sound. The dynamic between the guitarist and the rhythm section was the driving force behind such a pleasant introduction to the band’s sound. The performance was soon elevated, however, as keyboardist Alex White brought out a soprano saxophone. He was shredding, particularly during intros and outros, and the crowd responded enthusiastically.
One of Handholder’s major strengths was balancing these drawn-out sax solos and riffs with the catchy and bouncy element present in several of their songs. This music concurrently served as easy listening for those at the back and something you could easily get lost in for those in the heart of the crowd. I was thoroughly impressed with the band’s consistent quality and songwriting ability, and am looking forward to hearing more of them soon.
Show Review: All Time Low’s Atlanta Concert Brings Us Back to the 2000s for a Night
My favorite ritual before going to a concert is listening to the artist on the way to the venue. It’s like pregaming for a night of music, with a dose of that same music. So, I drive toward Atlanta’s Coca-Cola Roxy, singing along to All Time Low for the first time in a really long time. I didn’t know I was going to the show until 24 hours ago, but obviously, I could never turn down an invite to see a band that was a staple of my teenage playlists. What better place to be when you’re 23 with absolutely no clue of what to do next with your life? When you’re grieving the end of youthful aloofness that 23 doesn’t allow for? Pop punk is the natural answer, in all its angsty glory against the ails of suburban life and the isolation of late-stage capitalist U.S.A., now fused with the nostalgia of teenhood.
At the Roxy, members of the crowd are shrouded in flannel jackets, most of them donning facial piercings and colorfully dyed hair, a typical crowd for the genre. Later on, during the show, when Alex Gaskarth asks “Who’s been to an All Time Low show before?”, over half of the crowd will roar in affirmation. The remainder will be chastised by Gaskarth—”we’ve been a band for twenty fucking years.”
Gym Class Heroes, the final of the three opening acts, creates a unique buzz leading up to All Time Low’s set. I hear people behind me commenting that they haven’t heard a mention of GCH in 10 years. Even still, with just one full-length album that was released in 2011, GCH has enough hits to further fuel my nostalgia. They take us through a whirlwind consisting of “Stereo Hearts”, “Billionaire”, and “Ass Back Home”. The crowd sings along gleefully, for all intents and purposes, confirming my suspicions that for most of us, this show is a callback to our younger years.
When All Time Low band members finally trickle in, they wordlessly launch into their early hits, beginning with “Lost In Stereo” and “Damned If I Do Ya (Damned If I Don’t)” from 2009’s Nothing Personal, followed by “Six Feet Under The Stars” and “Poppin’ Champagne” from 2007’s So Wrong, It’s Right.
When they turn to some of their newer songs off their latest album, Tell Me I’m Alive, they kick it off with “Modern Love”, followed by the title track. All Time Low formed when its members met in high school in 2003. Now, 35 years old, the band acts as a time capsule for the era they emerged out of, with the same cheeky song lyrics (“I’m messy, I’m reckless / I fuck shit up for breakfast”), a healthy dose of disillusionment (”you’re obsessed with drugs and dating / modern love is too complicated”), and a lot of guitar.
Gaskarth in particular looks remarkably youthful, with a head of bleach blonde locks peaking out of a baseball cap, dressed in a white shirt that reads “SWANKIE SAYS CALM DOWN” from their own merch line. In between songs, mimicking their song “Stella”, he says “Will you take me home, Atlanta? Will you tuck me into bed and kiss my cheeks, Atlanta?”.
At the Sound of Letting Go Tour, pop-punk remains on the safe side of disobedience and defiance, the same way I felt listening to All Time Low as a teenager. The crowd is tame. After “Fake As Hell”, All Time Low’s latest single alongside Avril Lavigne, Gaskarth prods the audience to mosh after noticing what he called a “negotiation to mosh or not” happening in the midst of the crowd. During the next song “PMA”, which stands for ‘post-modern anxiety’, a mosh pit emerges in the center of the floor, but it doesn’t last more than a few minutes. All Time Low isn’t necessarily a show people go to and expect a mosh pit.
After three more songs, Gaskarth’s bandmates exit as he sits behind a piano for an intimate intro to “The Way You Miss Me”, which smoothly turns into a full band ensemble by the second verse. Disappearing and then returning to the stage with an acoustic guitar, Gaskarth plays the beginning notes to “Missing You”, a highlight from 2015’s Future Hearts album. It’s an easily relatable track that both promises hope and delivers a reality check with a scream-along bridge that goes “Grit your teeth, pull your hair / Paint the walls black and scream / ‘Fuck the world cause it’s my life / I’m gonna take it back’”.
Edging closer to the end of their two-hour set, Gaskarth says that we’re at the point in the show where he starts to feel “delirious” and “unhinged”, thanking the audience for “cheering on [his] unraveling”. After bantering back and forth with bandmate Jack Barakat and promising a swift return for another show in Atlanta, Gaskarth explains the meaning behind the name of their tour, which comes from the hope that fans can take whatever bullshit they’ve been hanging onto and let the fuck go. The audience claps and, like churchgoers responding with a chorus of amens, repeat to themselves “wooo yeah, let it go”. Naturally, they play “The Sound of Letting Go” next.
During another strategically placed piano intro, this time for “Calm Down”, a bashful Gaskarth gives a sheepish smile on the very zoomed-in camera pointing at his face. It’s a new track from their last album and (yet another) doomsday anthem that dwells on the infuriating feeling of losing your mind over worldly matters that others find immaterial; the refrain goes “Don’t tell me to calm down, tell me to calm down / It’s freaking me out that you’re not freaking out”. At this point, another mosh pit momentarily emerges and then fades back out.
Next, it’s time for the fan-voted song of the evening, wherein the band asks fans to vote for one of four songs via QR code before the show. With a cutesy egg-race video game animation up on the stage screen, the band discovers the song of the evening along with the fans. Tonight, it’s “Last Young Renegade”. Gaskarth jokingly says that this one’s been a fan-favorite so far on tour, which felt ironic to him considering the album had a mixed reception or in his words “everyone was like ‘what the fuck is this’.
Nearing the end of the main setlist, All Time Low digs deep into their discography with “Weightless”, a song I haven’t listened to in years, but still know exactly where every syllable falls when I hear it. Written by Gaskarth when he was 21, alongside songwriter Matt Squire, the song has grown in significance to me since I first heard it at (most probably) twelve years old. I could feel the words “I’m stuck in this fucking rut” and “I’m over getting older” leading into the hopeful exuberance of “Maybe it’s not my weekend / but it’s gonna be my year” with clarity and determination I haven’t felt in a long time.
With one last song (”Monsters”), All Time Low gives their fake goodbyes until it is time for the encore, which begins shortly after with “Sleepwalking”. Afterward, they bring forward a stool with a big red button in the center, prompting someone to come from backstage and press it, which will then activate the slot machine being projected onto the screen behind them. There are three song options and after a couple of spins, it lands on “Vegas” for the night, but the audience is far from fooled. A few stray voices shout “Dear Maria”, before the band dutifully launches into their most iconic track “Dear Maria, Count Me In”. Anyone attempting to leave at this point is getting dirty looks from the people they kindly ask to move aside. Most fans stay for the euphoric endnote of this delightfully 2000s nostalgia-fueled evening.
Atlanta Setlist:
“Lost In Stereo”
“Damned If I Do Ya(Damned If I Don’t)”
“Six Feet Under The Stars”
“Poppin’ Champagne”
“Modern Love” (with “Stella” snippet)
“Tell Me I’m Alive”
“Sleeping In”
“Heroes”
“Fake As Hell”
“PMA”
“New Religion”
“Favorite Place”
“Dark Side of Your Room”
“The Way You Miss Me”
“Missing You”
“The Sound of Letting Go”
“Calm Down”
“Last Young Renegade” (fan-voted song)
“Weightless”
“Monsters”
Encore:
“Sleepwalking”
“Dear Maria, Count Me In”
Review: Recess Party: ‘Paid In Full’
Recess Party is the brainchild of four current and former University of Georgia students. Blending a wide range of indie, rock, and metal influences, the quartet has now released their debut album, Paid In Full, to the world. Keeping the energy always present at their live performances, this moody project is cohesive while still ensuring that every band member is spotlighted. Upon inquiry, bassist Sam Smith disclosed that “the whole album outside of ‘Foot’ is pretty much [frontman] Riley [Stillwagon]’s perspective and experiences.
The first track, “Foot”, begins with some light strumming and the lyrics “Give me all of you; there’s not much to see / Cause I’ll take everything, when everything’s meant for me” before the rest of the band comes in. Riley asserts that openness and vulnerability are nothing of significance and that a future with an unnamed subject of desire could be destiny. This is one of the strongest performances of instrumentation on the record. Drummer Meghan Stewart and lead guitarist Christian Pullen are especially vibrant with the last minute of the song being purely instrumental. Consistently building up to its peak, the song reaches its emotional and lyrical climax in the last verse:
Don’t you speak for yourself if you’re self-diagnosing?
Recess Party, Foot
Well, I promise I’ve got noth.ing worthy of solving
And I finished it once, aren’t my sins worth absolving?
Well, I know you well
Track three, “Different Bodies / Lights”, is brimming with energy. The raspy nature of Riley’s voice lends itself well to conveying a strong sense of distress. Speaking over the drums in the song, Meghan explains, “The constant busyness/motion of the groove is intended to create a feeling of barely restrained chaos within the song.” Lyrically, the relationship we are hearing about is toxic and incompatible. “Why can’t you spit it out; you wonder why I’ve grown so thin? / Can we just sound this out? Won’t you bless me with your wounds again?” These aren’t the words of someone whose relationship is uplifting them but rather someone who’s been left “suffocating” with “bloodshot eyes”.
“Happy Accidents” continues the through line of love hurting, and placing it fourth on the tracklist was a great decision. As we come to understand more about the nature of the relationship in question, Riley starts coming to terms with his own reality. He cries out to this woman in the chorus, “Unstable / Pick and choose again / Until you / You’re bound by emptiness.” The vocals are breathier and the track is more stripped back as the band builds up to the chorus. The almost three-minute instrumental outro is cinematic with excellent dynamics. The whole band, and most notably Christian, is really shredding here, so having heard it performed live several times, I can confidently say this is one of my favorites.
Track five, “Second Time” is the first to make use of an acoustic guitar. Here, Riley expresses ire towards his lover while still recognizing how much he doesn’t want to let go of what they have.
I don’t owe you; you don’t know my name
Recess Party, Second Time
But our breaths are held in compromised exchange
I don’t owe you; you don’t know her name
Can you take a second look and maybe
However, the words of this chorus soon change in both perspective and emotion.
You don’t owe me; please just say my name
Recess Party, Second Time
While I’m gasping at each breach under your waves
You don’t owe me; you don’t feel the same
Just take a second look and maybe
Yearning to be heard and for his feelings to be reciprocated, he begs to just be recognized; just maybe, his subject of desire will reconsider. The band stated that this song was originally named “Emo Song”, which would have been a clearly fitting title. There is a universal message in the song: unreciprocated love can push us to do things we’d be afraid of saying out loud.
The title track, “Paid In Full,” released as the album’s last single, is the best-written song on the album. The lead guitar and drum parts are rife with tension. Sam’s back-and-forth vocals with Riley on this track are essential. The lyrics “Are you sick? Know I tried / Paid in full. Empty tithe / Won’t you write this record ‘bout me now?” give us a firm answer as to what the song and album title means. Pining for love has left Riley with nothing but fatigue. Having given his full effort, or “paid it in full,” as a religious person offering tithes would, one might expect something in return. Sadly, that isn’t the case here.
Track eight, “Hypocrite,” was the first single the band released for this album, and you can read my review of it and their AthFest performance here.
“Range of Motions” closes out the album strongly. Vocally, it’s my favorite performance on the record, and bassist Sam really gets her opportunity to shine here. Understanding why things aren’t meant to be doesn’t usually stop us from pursuing those we desire, and that’s the story here too. With the context of all the previous songs, the lyrics “I swear I blocked your image out / In patterned, cyclic thinking / Now you’ve gone / I’ve gone” stick out the most. A greater understanding of his situation is the cause of great internal strife for Riley, and though he recognizes that fact, he can’t escape it.
The true highlight of this album for me, though, is the drumming. If the meaning of the song was unclear to me, I could focus on the drums and the meaning would become clearer. Likewise, Christian is almost always playing something that captivates me while Sam’s timing and chemistry with her bandmates make me envious. The album structure delivers a complete story, so I have to commend the band on the choices made regarding sequencing. These songs may well be a disconnected string of interactions with women, or they could be a collection of experiences between two people as I understood them to be. Regardless, they’re relatable, layered, and emblematic of the idea that love hurts.
Artists Who Shined at AthFest 2023
From Friday, June 23 to Sunday, June 25, the Athens community came together to enjoy local artists for Athfest 2023. This year commemorated 25 years of the festival and brought together acts of all generations and genres. In celebration of such a fun and successful event, I wanted to highlight some of my favorite artists who I saw this past weekend.
Trvy
2023 Vic Chesnutt Songwriter of the Year Award Recipient and Athens Hip Hop Titan Trvy took the stage Saturday evening at Livewire. He rapped with the aid of a backing band, collectively known as Trvy & The Enemy. Originally formed for a one-off Tiny Desk-style performance, the band soon realized the chemistry and potential they had, and thus continued to perform and make music together. A self-described mix of trap, psychedelic rock, world music, and funk, this boundary-pushing quartet put out their debut self-titled debut just a few days before AthFest began.
My favorite track off the EP is legend, in which he repeats the mantra “gotta die legend.” Built on top of a speedy bassline, the track feels like it’s about to bubble over at any moment but instead closes out with a heavy instrumental. This part especially reminds me of the climax of an action film, like a shootout through a building or a highway car chase. Trvy, as always, comes with the bars. His first verse contains my favorite lyrics from the song.
It can only go one way
Trvy & The Enemy, legend
You can only grow from the pain
Least for myself
Pour from my cup till my cup runneth over
And life just gon spill in my lap
Still keep an eye for the circling vultures
Who just wanna know how it fell in my lap
Recess Party
On the Georgia Theatre Rooftop at 1:00 AM, I saw indie rock band Recess Party perform. Despite the late start time, it was one of the most energetic sets I attended. They performed tracks from their upcoming album Paid In Full and my personal favorite song of theirs, “Change of Pace.” Bassist Sam Smith closed out the night with a rendition of Metric classic “Black Sheep.” In a recent interview, the band members spoke about spending time refining their sound and listed off some of their influences. Genre-wise they, listed sixties & psychedelic rock, singer-songwriter, hardcore, industrial, and nu-metal. They specifically named drummer Ginger Baker, guitarists Jimi Hendrix, Stevie Ray Vaughan, and Chris Buck, and singer-songwriters Elliot Smith and Phoebe Bridgers. Some of their overall band influences are Turnstile, Author & Punisher, Tool, System of a Down, Average White Band, and Radiohead.
When asked about their experience at AthFest, the band responded,
Well, it was our first AthFest, but the stage was familiar and so was the crowd. It feels really special to have people that will stay after your set to talk. We really are playing to our friends and we’re so pleasantly surprised to see that many familiar faces so late at night.
Sam Smith, Recess Party
The band’s performance started just over 24 hours after the release of their latest single, “Hypocrite.” Upbeat and angsty, the song narrates an unfortunate yet inevitable life experience. In my favorite vocal moment of the song, frontman Riley Stillwagon purposefully strains his voice singing about an inevitable life experience. “Hypocrite / Just get over it / One day in your dreams enough’s enough.” Beyond just the singing though, I find myself attracted to a new moment or section of the song on each listen, whether that be the guitar lick at 1:07, the background vocals at 1:51, or the moment when the whole band drops out at 2:37.
Immaterial Possession
Standing outside of Flicker Theatre & Bar on Friday evening, a friend exalted Immaterial Possession as one of the best two bands in Athens. Their set began at 10PM and was fitting, considering the venue’s homey atmosphere. The band’s eclectic sound was matched by their gothic iconography. Immaterial Possession is beautifully anachronistic. Medieval yet modern, they combine punk-rooted bass, Greek and Spanish musical scales, and more, to bring together a truly unique, yet cohesive sound. Multi-instrumentalist Kiran Fernandes was switching instruments in nearly every song, notably playing the congas, saxophone, clarinet, and keys, guitar, bass, and more. Their sophomore album, Mercy of the Crane Folk, was released early in May of this year.
I reached out to the band about how the performance went. Frontman-bassist Cooper Holmes responded,
The performance went well. It was fun. If it was less chaotic, it would have been nice to dial in some lighting design more. The sound wasn’t perfect, but the energy was good and that’s what mostly matters to me.
Cooper Holmes, Immaterial Possession
My favorite track from their album is the eponymous and eerie “Mercy of the Crane Folk.” In the band’s own words, the song is a “Sisyphean tale of feeding a persuasive ghost that never gets full,” with a music video depicting a “magical ritual gone awry.” Sisyphus is a figure from Greek myth, punished by Hades for cheating death twice. In the same way that he endlessly rolls a bolder up a hill, the surfy bass line continues on and on. It grounds this enchanting track, while a medley of other sounds and instruments is layered on top. Holmes and Madeline Polites, on bass and guitar respectively, share vocal duties. The music video, however, only features Holmes and Fernandes.
Clover County
At 1:40 on Saturday afternoon, singer-songwriter Clover County began her performance at the Wicked Weed Stage. I sadly missed Clover County’s set but was able to get some insight into how it went from the artist herself.
Just last year, I was standing outside The 40Watt watching artists perform on the main stage with no expectation for myself to be up there the following year. This year, I found myself overwhelmed with friends and musicians who were ready to help me make AthFest special. My AthFest band consisted of Cannon Rogers, Wim Tapley, and Matt Martin. They’ve all played the fest in the past and made it really easy to feel cool and confident going into things. The most special thing to me was seeing so many familiar faces in the huge crowd on Washington St. I could name them and give you a little bio about most of the amazing locals who help keep this city so magical. I wouldn’t trade my first experience at AthFest for anything and I hope to be back next year to share even more music!
Clover County
Together in matching “Clover County” shirts, the four performed a medley of her own original songs. This performance coincided with the release day of her debut single, “Outlaw.” The aforementioned Matt Martin mixed, mastered, and played on the track. An especially strong vocal performance, the song’s premise is explained in the chorus: “It should be a crime to love him this much / And I’m an outlaw inside my own dreams.” These are words reserved for someone who completes you. Nestled between indie folk and Americana, this is an intimate love poem written about “a desert-driting, whiskey-sipping man with turquoise eyes” who’s walking “through hell and back.” Thematically, I’m reminded of Kacey Musgrave’s “good wife.” This type of pure, fulfilling love makes this song antithetical to a track like “Oh Daddy” by Fleetwood Mac.
Kxng Blanco
Athens-raised Hip Hop artist Kxng Blanco also performed at Livewire on Saturday evening, taking the stage around 11 PM. This was his first performance following the early June release of his latest album, Baby Hefner. Rapping over both Jersey Club and more Atlanta-style “rage” beats, this set was filled with energy, dancing, and smiles all around. By virtue of his stage presence and crowd engagement, it’s evident that this 2x Athens Hip Hop Award winner is a seasoned performer. Along with singles and features, Kxng Blanco has been putting out at least one full-length album a year since 2018.
Kxng Blanco himself added, “the show is a memory that I won’t forget no time soon. Really felt like God gave me the moment as a ‘keep going, you doing the right thing’ type of ordeal”.
My favorite track from the aforementioned Baby Hefner is “INeed2KnoToo,” a duet with R&B artist Convict Julie. A simple guitar melody, distant background vocals, and some well-placed kicks come together to make this rap ballad. Speaking to a lover, Kxng Blanco asserts, “I need to know what’s on your mind / Do you think bout me when we not together?” The song reminds me of “Playing Games” by Summer Walker and Bryson Tiller along with many other recent male-female Rap-R/B collaborations.
Review: Sarah Kinsley: ‘Ascension’
Ascension is the latest EP from rising star Sarah Kinsley. Kinsley first rose to prominence with her viral hit “The King”, which introduced audiences to her talented musicianship, soulful voice and melancholic aura. Kinsley, 22, is young but her self-written songs showcase the craftsmanship of a well-seasoned artist, which is somewhat of a rarity amongst the current class of rising stars, who (on average) prefer to focus on marketability rather than artistry.
Kinsley, who produces her own songs, creates an alluring sonic landscape on Ascension with her knack for finding chaos and beauty in the mundane. On TikTok, she shares bits of her process which show her using a glass bottle on her guitar and hitting random object in her apartment as pieces to her songs. She says what enthralls her the most is “sounds that are individually really bizarre” and how “their essence amongst the collective creates a sonic environment that is so captivating.”
Ascension opens up with “Oh No Darling!”, which is a song Kinsley coins as “sarcastic” and “mean” but also “silly”. She grapples with age, growing up and being stuck in the past. Kinsley creates an endless melody, subverting expectations of classic pop. It’s hard to predict where the song is going, without an arc and a natural conclusion, the listener expects more.
The second track, “Black Horse”, tackles the dichotomy of sanity versus insanity. The pre-chorus builds with layers upon layers of vocals, giving a rich texture to the song, which Kinsley points to as one of her proudest moments on the record.
On the title-track, Kinsley leans into her classically trained roots, incorporating strings into her execution. Oft deemed “too emotional”, Kinsley was chastised for being unwilling to conform to the rigidity of classical music, but now she embraces it. She adorns her songs with classical elements, such as strings in the background, which give her indie pop a timeless quality.
As an early single, “Lovegod” is a standout song on the EP with biting lyrics like “singing holy praises to an indifferent god”. It’s snarky, clever and dreamy. A wistful anthem for the lonely. She packages it all off with “Sliver of Time”, where you can hear uncanny hints of Mitski and Lana Del Rey, both of whom she often draws comparisons to in the comments section of her videos. Regardless, Kinsley remains a wholly original and gifted writer/producer.
Show Review: Re:SET Concert Series in Atlanta (Friday Show)
Re:SET is taking the festival experience city to city, with their star-studded, traveling lineup. The concert series was headlined by Steve Lacy, LCD Soundsystem and Boygenius, each supported by equally talented artists. I had never seen any sort of concert like this and think it’s really cool that an expansive concert experience is offered to a larger audience. The overall setting was enjoyable as well, as attendees were able to enjoy festival vibes. Overall, Re:SET is a great, accessible event that I would recommend to any music enjoyer.
I attended the first day of Re:SET’s Atlanta shows, where Steve Lacy, James Blake, Toro y Moi, and Fousheé performed. It was a perfectly crafted lineup, as each artist complimented the next one well, leading to a smooth, cohesive show. Lacy and Fousheé often work together, so their chemistry was apparent, seen similarly with Blake’s and Toro y Moi’s electronic influences. It took place in Atlanta’s Central Park with just one main stage but offered food, drinks, and a local pop-up vintage shop. I had previously been there for Shaky Knees and it’s my favorite outdoor venue in Atlanta, so good choice Re:SET!
Fousheé
Fousheé kicked the day off with energy, despite coming onto the stage solo. She had such a presence, partly because they used mirrors to create a whole group of Fousheés on stage. The versatile artist started with her new punk-centered sound, introduced in her most recent album softCORE. “Simmer Down”, the empowering opening track, was a highlight, as her vocal ability was perfectly paired with its rough sound. Before her performance, I had never heard a Mariah Carey-esque high note with such aggression.
She then pivoted, announcing that she fell in love and is entering her softerCORE era. The following songs saw a complete vibe switch, with a slower, acoustic feel, coupled with hopeful, caring lyrics. Her upcoming music will be something any romantic should look out for.
Then, she went right back to her previous energy with an exciting performance of “stupid bitch,” where we got the pleasure of watching her build the melody with a synth board. She sadly had a shorter set, ending it strong with “spend the money”. Although usually joined by Lil Uzi Vert, Fousheé killed it solo and the song served as a fantastic finale to a great set.
Toro y Moi
Joined by his band of keys, DJ and bass, Chaz Bear took to the stage as Toro y Moi. He started as lead singer, with my favorite, “9 – 19 – 17_B_Blackhole_Hihi_V3” (which I would imagine is referenced as just ‘Blackhole’) featuring his classic chill-wave sound.
The set only got better as Bear took to the guitar to lay down some groovy melodies. “Ordinary Pleasure” was such a jam that it got everyone dancing!
A highlight was “The Difference”, a collab with fellow artist Flume. I’m not normally the biggest fan of house music, but this song took it to a very enjoyable next level. Toro y Moi was a pleasure to watch and listen to.
James Blake
I was excited about Blake’s performance as early as the stage set-up when a stagehand wheeled out an old synthesizer and more pianos than one can imagine. He didn’t let me down either, opening with the hypnotic “Life Round Here”, which he vamped up with a cinematic live outro.
A favorite moment from the set was when drummer, Ben Assiter, looped the samples for “CMYK” live on his drum pad, which made the song even more impressive. Another was when he treated us with a beautiful performance of “Hope She’ll Be Happier” by Bill Withers.
He then reminded us of his achievement within the industry, performing “Mile High” featuring Travis Scott, “Hummingbird” with Metro Boomin, and “Coming Back” featuring SZA, all before finishing with a gorgeous cover of Frank Ocean’s “Godspeed.”
His set was wrapped with a twenty-minute live EDM set, getting the whole crowd loose and ready for Steve Lacy.
Steve Lacy
Lacy gave us the show of a lifetime, playing all his best music, new and old. The stage was transformed for his set, with giant, moving block projectors to add to the visuals. He was accompanied by a full band and a trio of backup singers, matching him in all black.
The set started strong with a dramatized version of “Helmet”, preparing the audience for an exciting night ahead. His stage presence shined, as his casual attitude made the show environment comfortable and even more enjoyable.
Throwbacks like “N Side”, “Backseat” and “When I” hooked any long-term fan, before all attention was turned to Odd Future alumni Tyler the Creator, dancing just in front of the VIP section. It was crazy seeing the crowd compress just to get a look at him!
Two of my favorites, “Playground” and “Infrunami” got sing-a-longs, with the latter getting the whole accapella treatment. They were followed by a beautiful vocal performance of “Some” and a punky take of “4real”, seeing Lacy truly deliver as the night’s headliner.
He paid his respects to The Internet, playing “C u girl”, his first solo song they encouraged him to make, and “Curse”, a fan-favorite of theirs. More worlds collide as Lacy brought Fousheé back out to perform “Sunshine”, a hit off of Lacy’s recent Gemini Rights. Their chemistry shined as they harmonized the final melody of the song.
He closed the set off with “Static”, getting the whole involved as they chanted ‘dump that fucker!’ The whole show came to its climax as Lacy took to mid-stage and performed the final verse just him and his guitar. He wished us a good night and wrapped up a fantastic night.
Re:SET put together a really enjoyable festival experience, highlighted by talented artists, music enjoyers, and good vibes all around. It was my favorite I have attended, short and sweet, with nothing but good music. Keep your ears out; you do not want to miss anything from them in the future.
Re:SET Concert Series in Atlanta—Friday Show Recap
For its inaugural year, Re:SET has an outstanding bill of artists, spanning various genres. Atlanta’s Friday show included talented artists Foushee, Toro y Moi, James Blake and headliner Steve Lacy. If you want a recap of the artists, read below! You can catch this lineup next weekend in Chicago, Columbus, or Nashville!
I have been following Foushee for a while and am impressed by her rise. In 2020, she blew up on TikTok with her song “Deep End”, eventually partnering with British artist Sleepy Hallow for the popular “Deep End Freestyle”. Since then, she hasn’t been afraid to experiment. On her hip-hop journey, she has joined the likes of Pink Siifu and Fly Anakin to lay down impressive verses (“Ls”) and supported rap heavy hitters, like Vince Staples (“TAKE ME HOME”) and Saba (“Make Believe”). Her R&B-focused sound has found her working with other upcoming stars like Ravyn Lenae (“Mercury”) and Steve Lacy (“Sunshine”). On Foushee’s debut album, she took further creative steps. The beautifully chaotic softCORE takes a punk approach (“Simmer Down”), delivering some of her most energetic and gripping music yet. Only featuring the flashy Lil Uzi Vert (“spend the money”), the project makes it apparent that Foushee has a promising future.
Chaz Bear, better known as Toro y Moi, is a very interesting artist. The South Carolina native is known for helping usher in the chillwave genre, characterized by a dreamy retro-pop, lo-fi sound. I originally found him through his features on Blood Orange’s “Dark & Handsome” and Travis Scott’s “Flying High”, both showing off his versatility. After checking out his most popular collaboration “The Difference” with Australian DJ and producer Flume, I was cemented in as a fan. I recommend checking out Toro y Moi’s discography chronologically. It may be tempting as his newer work is more akin to popular modern music, but seeing his sound grow and develop into what it is now makes it all the more valuable. Toro y Moi has such an enjoyable, versatile sound, perfect for studying or dancing, and I can’t wait to see what he does next.
James Blake’s journey through the music industry is one of my favorites. The English artist saw early placements on BBC Radio 1 and got a cosign from Zane Lowe in 2010. Things began to pick up from there as Blake released a collaboration with Bon Iver and found himself in the studio with greats like Kanye West and Justin Vernon (founder of Bon Iver). The release of his second album, Overgrown, continued with momentum, with his first features from Wu-Tang Clan’s RZA and Chance The Rapper. Just a few years later, Blake received a Grammy nomination for best new artist. Since 2016, he has earned credits on Beyonce’s Lemonade, Jay-Z’s 4:44, Kendrick Lamar’s Black Panther: The Album, and Travis Scott’s “Astroworld” to name a few. Blake’s resume is insane and ever-growing, and his importance in the industry is apparent, working with the biggest artists in the world. I can’t wait to see what Blake puts his hands on next because I know it will be amazing no matter what.
Steve Lacy is an important artist to me because it feels like I have grown with him and his music. He got his start with Odd Future Record’s The Internet, co-producing their third studio album Ego Death and eventually earning a Grammy nomination. Lacy is notorious for producing his early music on his iPhone, and that talent was immediately recognized as he began to get significant placements for artists like Denzel Curry (“If Tomorrow’s Not Here”), Isaiah Rashad (“Silkk da Shocka”), J. Cole (“Foldin Clothes”), Goldlink (“Some Girl”), and Kendrick Lamar (notably producing “Pride” off of the Grammy-winning Damn). His first solo project, Steve Lacy’s Demo, was produced in a similar fashion. After reuniting with The Internet for Hive Mind, he dropped his debut studio album Apollo XXI. With this album, Lacy earned more respect for his solo work, getting his first solo Grammy nomination. He then released The Lo-Fis, a compilation of his early work, and his more recent Gemini Rights. Gemini Rights skyrocketed him into stardom, and he has since found himself as a viral worldwide artist (“Bad Habit”). Steve Lacy’s career has been quickly growing and changing, and I have been fortunate to experience it every step of the way. I am beyond excited to see where his career takes him.
boygenius Headlines Re:SET Concert Series in Atlanta Despite Delays
Last Sunday was the final leg of the Re:SET concert series in Atlanta, featuring headliner boygenius preceded by Bartees Strange, Dijon and Clairo. Given how summers in the south are prone to sporadic bouts of rain and thunder, the concert series has had to improvise against a string of weather-related events the entire weekend. On Saturday, Re:SET cancelled Bartees Strange’s and Dijon’s sets in New Orleans due to delays brought on by severe weather. On Sunday, Re:SET cancelled LCD Soundsystem’s and Jamie XX’s sets in Dallas, once again, due to inclement weather. Atlanta, fortunately, avoided cancellations during Sunday’s storm, despite setbacks early on.
Re:SET’s Sunday in Atlanta began with a shaky start. Two hours before doors opened, Re:SET announced on its social media that, in order to accommodate expected storms, the times of every act was being pushed up. The doors opened at 2:30 PM instead of 3 PM and Bartees’ performance was moved from 4:15 PM to 2:50 PM.
Attendees who were fortunate enough to be made aware of the change were left scrambling to make it to the show in time (or perhaps unable to do anything due to already having a lengthy commute). Or if, like me, you were unaware of the time change until you had arrived, you likely missed all of Bartees’ set and half of Dijon’s, both of which were cut by 10 minutes anyway. This was a real pity as I was looking forward to seeing the full lineup, like a lot of other “late” attendees.
Unfortunately, this left a bad aftertaste for some attendees, who expected more timely and direct communication. In defense of the show’s organizer’s, last minute changes are unavoidable due to the unpredictable nature of weather. They handled this no worse (and no better) than most other festivals, except for one important distinction: Re:SET needed to do more than a social media announcement. Most attendees received an email after the first set had already began. No one received text messages, which should really be a standard practice.
Despite these last-minute changes, Dijon gave a hearty performance and the audience gave him a lot of love. His set-up was minimalist and relaxed, with band members and Dijon frequently sitting down with their instruments, which didn’t hinder his performance in the slightest. Dijon’s ability to manipulate his voice and make the audience feel the lyrics made the performance a great addition to an impressive Re:SET lineup.
During Dijon’s set, Julien Baker (of boygenius) momentarily appeared in the VIP section of the park. Maybe she wanted to catch the performance as well? Her presence caused a minuscule commotion where a small number of fans noticed her and she quickly disappeared behind the tall black-clothed fences she’d come from.
At the end of his set, Dijon’s artistry really shined through during “Rodeo Clown”. In a moment that stole the gaze of everyone in Central Park, he scream-sang the words “I’d die for you”. (I didn’t capture the moment on film but here’s his performance of “Rodeo Clown” in San Francisco.) In a sudden manner, he threw down the mic and left the stage without the typical formalities.
Right around this time, I noticed that Atlanta’s homegrown indie-darling Faye Webster was also in attendance amidst the corded-off guest list area with some friends.
Next, it was time for bedroom-pop pioneer Clairo, who was born right around the corner in Dunwoody, which she pointed out during her set. Clairo came with a full-band, which included a saxophone-player that I absolutely loved hearing. Clairo herself rotated between playing the piano and a variety of guitars. Her demeanor was ultra-relaxed. She looked comfortable and at ease, happy to be on stage. Other than the few danceable songs she sang, the audience enjoyed her mellow artistry by swaying along to her sweet voice and gorgeous band.
Post-Clairo, everyone was hesitant to leave their spot in the crowd in preparation for the day’s headliner. The energy and anticipation in the audience rose as Clairo’s equipment was removed and replaced with those of boygenius. Everything was set.
Then, confused rumbles began amidst the crowd as crew members placed bags over every equipment and taped it down. The banners on either side of the stage were rolled up. The rescheduled time for boygenius, 6:10 PM, came and went. The audience began to grumble about the current sunny disposition, complaining, rather incorrectly, that if boygenius began at 6:10 PM, as intended, they’d be done before a storm rushed in.
Eventually, all confusion was quelled and replaced by upset at the message now projected on stage in bold red letters: “Severe weather alert. Please evacuate immediately”, followed by the poor man in charge of dispersing the stubborn crowds by repeating the same message over a microphone. The show was postponed until further notice. The crowd, clumsily, chanted “rain or shine, rain or shine”, referring to Re:SET’s stated website policy. But alas, the hourly wage workers of Re:SET are at the mercy of the law which forbids any outdoor event from taking place when lightening is present.
Like a somber funeral march, the audience slowly (and not-quite-surely) left central park. Everyone headed to the nearest dining or shopping establishment that could provide shelter, which was I’m sure, a rather ridiculous scene to the workers of various establishments in the center of Atlanta. A very specific brand of young adults crowding in.
Fortunately, the delay lasted only slightly over an hour. At 8:00 PM, Re:SET announced that the doors were back open and boygenius would play at 9:00 PM. For those unfamiliar with such festival procedures, who made the untimely decision to go home early, believing the early evacuation to be a complete cancellation, some were unable to come back. But those who stuck it out were rewarded with a dazzling boygenius performance, who miraculously squeezed in their entire concert setlist, albeit aided by the fact they began their set earlier than announced….
For the lucky returners, boygenius gave a performance filled with their usual shenanigans, like Phoebe and Lucy wrestling each other on stage and a lot of cozy snuggling. Their setlist contained the entirety of boygenius’ discography (one full-length album and an early ep). In an on-brand maneuver, boygenius paused the show to speak out against “Cop City” and have the audience yell “fuck cops” at full volume. Given that each artist is known for their solo pursuits as well, the show was rounded out well with an acoustic performance of an emotional song from artist as the encore.
Overall, Re:SET gave a glimpse of a different kind of music event. This was their inaugural year and I am excited and hopeful to see Re:SET return in the following years to come.
What is the Re:SET concert series?
What Re:SET is trying to do is a novel idea in the music industry so let’s dive further into it here:
The Re:SET Concert Series is meant to take place across three cities with shows happening simultaneously in each city on Friday, Saturday, and Sunday with a rotating array of artists. For example, boygenius headlined with Re:SET in Dallas on Friday, New Orleans on Saturday, and Atlanta on Sunday; Steve Lacy performed in Atlanta first, then in Dallas, and finally in New Orleans.
Much like a festival, the concerts are performed outdoors with a variety of local vendors, too-expensive water bottles and (of course) porta potties. The event lasts for most of the day, under the brutal summer sun. One may buy tickets to one day of the event, or the whole weekend at a discounted price.
Unlike a festival, there is only one concert place taking place at any given time and the acts travel in their pre-determined groups to three different cities each weekend. I do wonder if the format will stick.
Review: Nuclear Tourism: ‘Nuclear Tourism’
Athens, Georgia band Nuclear Tourism’s self-titled sophomore album serves as a reminder of how much fun music can be in its rawest form, especially if that form involves a couple surf-rock anthems.
The album opener, “Feels Alright,” perfectly sets the tone with a song that highlights the strengths of each member without taking itself too seriously. The spirit and skill of the band is on full display in substance inspired songs like cannabis carol “Mary”, a loving tribute to marijuana, and “Half Drunk”, both of which feature rapid changes in tempo that redefine the songs halfway through.
Below the beer soaked surface level, the songs offer a different kind of substance. Beginning with a sample from 1967 film The Graduate, “Dad Brains” perfectly describes the feeling of rejecting the things you don’t want to do while still figuring out what it is you do want; the song is about doing the things that bring you pleasure, even if that means doing nothing at all, and doing your damnedest not to turn into the authority figures around you. Rather than denying the confusion about the future that many experience in their youth, this song embraces and capitalizes off of it. With “No Never!”, a song about refusing to compromise your identity, Nuclear Tourism delivers with a combination of deep-fried sounding instrumentals and growly sing-shouting that results in something even more fun to listen to than its counterparts on the album, which is not an easy task. With these songs, the band is able to offer criticisms in a way that is easy for listeners to digest without coming across as pretentious.
Standout “Cut Your Hair” captures the feeling of being enamored with someone and the comforting fact that despite not knowing what you want to do, you know who you want to do it with. Between the screams scattered throughout the song and the spoken lyrics and heavy guitar at the end, “Sick of it” is the kind of song that needs to be experienced live, bonus points if it’s in the pit cradling a beer.
With Nuclear Tourism, the band experiments with different genres, concepts and sounds and the result is something filled with the good old fashion dye-your-hair, smoke-your-weed, question-your-authority-figures garage-rock sound thatNuclear Tourism does so well.
Check the album out on the platform of your choice and go see Nuclear Tourism live this summer to get the full experience (which may or may not include someone having their head shaved on stage).
Nuclear Tourism’s upcoming shows:
6/17 Masquerade (ATL)
6/23 AthFest
7/7 Georgia Theatre (unplugged set)
7/27 Slopfest (unplugged set)
8/11 Royal American (CHAS) (unplugged)
Show Review: Highlight Athens
Every spring, students in the Music Business Certificate Program at the University of Georgia complete a Microcosm of the Music Industry Project, which is a semester long project of their own design based on a sector of the music industry that they are interested in. For their project, students Daniel Crowe, Charlie Enter, Marissa Jones, Ansley Nicholson, and William Perdue created Highlight Athens, a one day music festival, as a benefit for beloved Athens institution Nuci’s Space, a nonprofit resource center focused on suicide prevention and providing support for musicians. The event featured seven up-and-coming Athens acts of various genres performing in an intimate venue filled with glowsticks and the aroma of the fairly-priced grilled cheeses they were selling.
Sun Trick Pony
The day was off to a great start with a performance by Sun Trick Pony, an Athens four-piece with a sound that is difficult to categorize to one genre (think The Backseat Lovers meets Joe Purdy, but also something completely original). The set started out calm with only lead singer and guitar player Drew Henriksen on stage performing a couple of acoustic songs, but the rest of the band soon joined him on stage to add to an already impressive performance. With a set consisting of originals like “Corduroy Jacket” and newly released single “I think I love you,” every song was so different that by the end of the performance I felt like I had seen eight different bands play (and I was a fan of each one of them).
Shine
Next up was Shine, a hip hop artist from Gwinnett County who was truly like no other artist I’ve ever seen, with songs featuring themes like religion, love, friendship, support, and transparency. I had the impression that he was truly grateful for every person in that room. He ended his set with his single “Champions”, which has gotten an impressive 277,000 streams on Spotify, and after that performance, it was easy to see why.
Ashtxn
From the moment singer/songwriter Ashtxn started his set by having the audience greet his “favorite milf” on Facetime, one thing became clear to me: I had no idea what to expect from his set but whatever it was, it was going to be extremely entertaining. He had a great stage presence and managed to successfully hype the crowd up numerous times, due both in part to his charismatic personality as well as songs like “Nighttime” that can get a crowd to open a mosh pit in the middle of the afternoon, an impressive feat.
Evelia
The next act, indie pop/rock band Evelia, was completely different from those that it followed but remained every bit as captivating. Starting off strong with their song “Around”, their talent absolutely demanded (and successfully held) the attention of everyone in the venue for a solid 45 minutes. While I enjoyed every song that they played, their new song “Bed Bugs” was especially entrancing, and I cannot wait to hear more music from them.
Five Gallon Flow
When watching this performance, it was clear that the Athens band was having a great time while they played, and they sounded fantastic doing it. The high-energy set consisted of covers ranging from Frank Ocean to Chris Stapleton, as well as originals like “Easy” that reminded me of a yacht rock song but with extra guitar, which checks out considering the captains’ hats they wore for the duration of their performance.
Schmooze
The Athens funk rock band faithfully guided by lead singer Stewie Brannam gave an electric performance during their time on stage. Their set was filled with strong vocals, great instruments, supportive booing from especially dedicated members of the crowd, and a cover of the Carrie Underwood classic “Before He Cheats” that served as both a powerful showcase of talent and an effective warning against adultery.
Red Mile Road
Closing out the evening was headliner Red Mile Road, an Athens based hard rock band with a versatile sound that seems to draw different pieces of inspiration from every decade spanning the last fifty years of music. One of their originals “Getaway” ,a rock number with a very subtle country twang, sounded like it could have easily had a sync placement in any movie released in the early 2000’s, but I am glad that I am able to experience it now. Towards the end of their set, they took a quick screaming-based survey from the audience to choose what song to cover and Green Day’s “Basket Case” seemed to win by a significant amount of decibels (maybe next time, Blink-182). Following this, they also gifted the audience with a cover of Lit’s “My Own Worst Enemy”, a song that I have now heard covered at two of the last five concerts I’ve gone to and would love to see the trend continue. Overall, their performance was a solid display of talent and a fantastic way to end the evening.