Category: Reviews
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.
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: Khamari: ‘A Brief Nirvana’
Up-and-coming R&B singer Khamari released his debut album, A Brief Nirvana, on May 26, 2023. The album is littered with recognizable samples, interpolations, and strikingly personal lyrics. His voice and strong songwriting are reminiscent of a Channel Orange-era Frank Ocean. He has writing credits on every track and production credits on all but the last, making this a distinctly personal album. Prominent (soul) samples, bittersweet lyrics, and heavy personal experiences are common threads that bring everything together but above all this is a journey into Khamari’s experience with growth and isolation.
Built on top of a sample of Bill Withers‘ classic track, “Use Me”, the opening track “Wax Poetic” is oxymoronic. The title phrase is often used to describe writing that is excessively verbose and flowery. Khamari, however, flips this notion on its head. He sings, “Wish that I could wax poetic / Paint a Picasso with these words like Kendrick.” He also interpolates the chorus from “Sixteen” by Rick Ross and André 3000 where André sings “Sixteen ain’t enough”. 16 bars is the standard length of a rap verse. By invoking André and Kendrick in this way, two of Hip Hop’s greatest and most wordy lyricists, he is telling the listener that he has a lot to say on this record and we need to be ready to hear him.
The third track, “Drifting”, uses a sample that rap fans may recognize from “New Day” by Kanye West and Jay-Z. That sample is “Feeling Good” by the legendary Nina Simone. On that song, she joyfully sings about finding freedom while on Khamari’s track, he sings about escapism, substance, and addiction. The album title is actually mentioned in the chorus: “Visions of a brief nirvana / Smoking way more than I should / Couple sips had more than I would.” Inspired by the monotony of peak COVID times, “Visions of a brief nirvana” describes Khamari finding happiness and letting go of his self-destructive behaviors. The sample, a poignant but soft string section, a simple drum beat, and a prominent piano come together to create a beautiful instrumental. This song evokes feelings of longing and fragility, but most importantly it is hopeful.
“A Sacred Place”, is the fifth and saddest track on the album. Speaking on a failing relationship, Khamari starts the song with, “What if I can’t make a believer out of you / What if it’s easier to change my point of view?” His worries have turned into resignation and bargaining. He asks himself if letting go of this love is worth letting go of his own opinions and way of being. The lyrics “How fickle a mental state / Set fire to a sacred place” encapsulate the song as a whole. This relationship wasn’t built on solid ground, but it was still special and sacred, and coming to terms with this just isn’t an easy process. Concerning both structure and instrumentation, this is a simple song, making use of two distinct short verses, strings, and a piano. The simplicity concerning the instrumentation and structure of the song is juxtaposed by the layered nature of its lyrics. All things considered, this track reminds me of Faye Webster songs like “Hurts Me Too” and “I Know You”.
The seventh track, “Changing Yourself (Gil’s Interlude)” is a ten-second sample of poet, spoken word performer, and Hip Hop progenitor Gil-Scott Heron.
Of course you want to change yourself for the better
Gil Scott-Heron, Changing Yourself (Gil’s Interlude)
You want to make yourself
A better father
A better son
A better brother
You need the help of those that you’re trying to improve for
This short segment helps tie together the album narratively. As he subtly discusses in the third track, Khamari is in pursuit of bettering himself. This sample asserts that Khamari needs to seek the help of more than just himself to improve.
Continuing with his streak of prominent sample usage, the eighth and tenth tracks each sample songs that have been sampled more than 50 times. “Right My Wrongs” samples “Didn’t I” by Darondo and “On My Way” samples Al Green‘s “Love and Happiness.”
“These Four Walls”, track nine, is a song expressly about isolation. Khamari also recorded A COLORS SHOW version that was released just over a week after the album. In Khamari’s own words, “It kind of has undertones of ‘Diamonds From Sierra Leone’ by Kanye West, where I’m making peace with what I have, and I’m happy because at least I know this is guaranteed.” The song’s chorus ends with “I’ve got these four walls / Even when you don’t call.” Despite struggling after having moved to Los Angeles, he is able to find solace in the things that he does have, like the four walls that he calls home. Sonically, Khamari goes higher up his register and softly stacks vocal harmonies, creating one of my favorite refrains on the whole project.
The album finishes out with “Requiem.” A requiem is a piece of music written in remembrance of someone or something. Over the course of the album, Khamari has learned about himself and grown accordingly. “Not guaranteed a second chance / Thank God I’m waking up / Please don’t play my requiem.” Still struggling to “escape ephemeral darkness,” he hasn’t finished growing yet. His pain is fading and he feels himself coming back to life, so he exclaims that he isn’t ready to die, to have his story finished, to fade away. He doesn’t want to “play his requiem” because there is more for him to do and more for him to be remembered by. Again, he uses his upper register, in what I feel is the most beautiful song on this record. It feels cinematic. He has awoken and come to terms with his isolation. And with this renewed spirit, he feels free in the fact that he has the rest of his story to write.
Review: CLEAR 2: SOFT LIFE EP
Fans and R&B aficionados can finally rejoice: Grammy-nominated artist Summer Walker has finally released her long-awaited CLEAR 2: SOFT LIFE EP. This nine-track project is a follow up to her CLEAR EP which was released before her debut album Over It. It features verses from J.Cole and Childish Gambino and includes production from Solange and Steve Lacy.
This sultry EP explores the topic of a “soft life”, a term popularized through social media trends, although originally coined by Nigerian women. A “soft life”, at its core, refers to a way of life that focuses on prioritizing oneself and “being audacious enough to believe you deserve better”. Walker’s natural vocals and acoustics provided the perfect harmony and helped set the vibe of the EP. Per usual, she displays raw emotions speaking from deeply personal experiences following previous highly publicized relationships. Her lyricism is a true testament to her artistry.
The R&B songstress starts the EP strong with a Cole feature in “To Summer, From Cole – Audio Hug”. Summer’s vocals are in the back singing “call me if you need some love”. J.Cole uses this track as an opportunity to sing her praises and give her the flowers she deserves for all she’s accomplished. He reassures her that, despite all obstacles, she has prevailed and should take time to bask in the moment, soaking everything up. He congratulates her on her babies (she recently welcomed twins into the world) and praises her for being able to juggle her ever-growing career, touring, and expanding family. Cole gives her this verse as a digital reminder to keep pushing and to reach out if she ever needs anything. You can sense his appreciation for her craft. It is a very intimate and beautiful track.
In the second song, “Hardlife”, she expresses how her life is actually the opposite of what she desires. The men in her life have caused her much pain and strife, although they claim they want her to have a soft life, “what have you asked of me, you say you want me soft but give me a hard life”, Walker exclaims. As stated earlier, Summer has been very open about her relationships and being a single mother. She longs for a relationship with no pain and a man to lead like she observes in other cultures. At the end you hear her stating “me and my women who like me… me and all my Black queens when will we get what we need?”
The second track is followed up nicely with “How Does It Feel.” She uses this track to question her previous romantic partners about the decisions they made regarding her love. Walker often feels like an option in their lives instead of a priority. She asks them how it will feel in the end, when they have finally and truly lost her.
The next three songs (“Mind Yo Mouth”, “Pull Up” and “New Type”) examine the kind of men she attracts, mostly of the type who lack ambition and emotional intelligence. (“Wanna be with me then you gon’ get up off your bottom / Wanna lay with me then you gon’ be a real man.”) She closes the thought out with “New Type” proclaiming, as the title states, that she has a new type. She will no longer succumb to the antics of men she feels are not worthy of her time. There are men blowing up her phone but she’s not answering anymore. Here, she reflects on some of the stuff she had to deal with, “Swear ‘fore God I never wanna see another / Arguing on the phone with your ugly baby mother / Sleeping on the couch of the house of your mother / You can’t live with me so won’t you try and find another?”
The EP closes out with “Agayu’s Revelation”. Walker spends about four minutes speaking and reflecting on her relationships. She talks about her spiritual journey and how her experiences have helped shape her. She believed she was making the men around her crumble, until she got great advice from a spiritual guide, “stop working with people who are made of glass, if you feel you are made of steel”. The revelation is made that maybe she is not as bad as she thought but that she spent too much time engaged with men who were not ready to be in a relationship and give her what she needs.
Truthfully, this EP exceeded my expectations and I’m looking forward to her next album.
Show Review: Valley
On May 5th, the Toronto-based band, Valley, came to the Buckhead Theater as part of their “Lost In Translation” tour. Preceded by the young, promising artist Aiden Bisset, it was a special night of mesmerizing music.
Bisset was the perfect opener. He engaged well with his audience, likely winning the hearts of most of the girls in the crowd. He had a very diverse sound, playing your typical indie rock with genre-bending twists. A favorite of mine was “I Can’t Be Your Friend,” which featured a loud, psychedelic-style outro. I love seeing younger artists push the boundaries of their music and Bissett did that perfectly. This was even more prominent in his newer songs, offering classic rock-style riffs and messing with vocal effects. It’s easy to see Bissett’s influences, especially in the song “Out Of My League,” which felt like if Nirvana had a ‘High School Musical’ moment. It was as if Bissett was giving his best Troy Bolton impression on top of Cobain-inspired grunge sounds, but, done tastefully.
Meanwhile, Valley wasn’t messing around on their “Lost in Translation Tour,” as I constantly found myself lost in their performance. Music aside, they were a cool group, sporting flashy visuals on vintage televisions. They also utilized a dual piano set-up, and an old corded phone, each perfectly complimenting their sound.
After an attention-grabbing intro, they introduced their new music with Lost in Translation’s cinematic title track. They have a very diverse sound, which includes electronic loops and near-constant instrument switching. Despite this, they were cohesive, both in their sound and as a group. The energy there was infectious and you could tell everyone in the building loved the music, artists and audience included. There is nothing like hearing every voice singing together, as done for fan-favorite “Oh shit… are we in love?”.
A favorite of mine was “Last Birthday”, an acoustic serenade about unconditional love. It sounded to me like a slightly less depressing Clairo song and I was jamming the whole time. Lead singer Rob Laska let his vocal ability shine here. The pace picked up as they utilized an electronic drumkit, introducing a more upbeat 80s-inspired sound. Songs like “Natural” and “Break For You” stole the show, as everyone began to jump and dance. This seems to be the general sound of their upcoming album, and I am excited to hear what they came up with.
Before closing with the popular “Like 1999,” there was a particularly funny moment, as Valley quickly transitioned to “All Star” by Smash Mouth as a song outro. This sums the show up well because it felt as if they were a smaller band just playing for their friends. Every moment was authentic and real, with jokes and emotions riddled throughout, ultimately giving the show a personal feel. I highly recommend seeing Valley’s invigorating live show if the opportunity ever arises and be sure to check Lost In Translation, coming out June 23rd.
Review: MAVI: ‘Let the Sun Talk’
An undergraduate student at Howard University at the time, Charlotte-born rapper MAVI released his 2019 album Let the Sun Talk just a week after his twentieth birthday. He is considered by many to make abstract hip-hop. It’s a hard-to-define sub-genre but some shared qualities amongst its artists, songs, and projects are pushing sonic boundaries, emphasizing the use of symbolism and metaphors rather than straightforward lyrics, and on some level being “weird” and/or experimental.
He explained in a 2019 tweet that “Let the sun talk is 3 movements 4 songs each. like a clock. or sundial.” Some hold that MAVI himself is the sun, telling those close to him that they need to pay attention to his words, and others hold that the sun is his own mental state, and this album is him addressing his problems. In his own words, he explains the album as being “about writing your own laws, creating your own cosmology, adapting the laws of physics to your reality, and being the center of your universe.”
A skillful mix of poem and prose, the influence of Earl Sweatshirt is evident but by no means is it derivative. In fact, many fans were introduced to MAVI on Earl’s 2019 FEET OF CLAY EP, a project that came out just two weeks after MAVI’s own album. He cites other artists like Noname, MF Doom, Stevie Wonder, Project Pat, and Thelonious Monk as influences along with rocksteady, salsa, gospel, soul, and reggae music.
The opening track, “Terms & Conditions,” begins with a speech explaining what it is “to be pro-black.” There are three tenants: the relentless pursuit of tangible assets to build and maintain black communities, the “cultivation of a culture that reinforces a unified vision of black well-being and continuous advancement”, and the use of one’s own voice to share with their community ideals such as understanding, freedom, equality, love, and happiness. A jazzy instrumental is soon introduced and the song switches to a narrative on the origin of the sun and the moon in the sky that draws largely from an Efik folktale.
Track four, “Self Love” is a fan favorite. When I attended MAVI’s “Laughing So Hard, It Hurts” Tour in April of 2023, the entire crowd sang this song together at the end of the show. A sample from Sonia Ross‘ 1969 track “Don’t Go Breaking My Heart” is used in the chorus and bridge with the repetition of “just because I love you.” So many of the messages core to this album are illustrated in this one song. “The moral of my story is I’m impure / The horror in my story is I’ve been through it and I still do it / And my pencil is in earnest.” It’s a deeply emotional song, seeing MAVI detail his relationship with marijuana and his internal struggles. He recounts how his mom has noticed how often he’s “gone” while at home and her love won’t allow him to keep poisoning himself like this any longer. His list of sins is so long that feels unworthy of even talking to God. The song climaxes in the third verse, sounding much more distressed than the rest of the song. Referencing the album title, he raps “I self-aggrandized in the past / But now the sun talking.” I think he means that in the process of making this album, he has begun to shed his arrogance.
We sprouting, now we plant seeds
MAVI, Self Love
You plant love, love will grow
You plant fear, fear will grow
If you planted me, then me would grow
But I was branded negro
He metaphorically explains that external labels hinder the fulfillment of his potential as a black man. He looks beyond just his own reality though, rapping “And I offer free smoke to any nigga behind a #MeToo / ‘Cause to my niggas, we ain’t free until she free, too.” He is deeply angered by the culture of rampant sexual abuse and harassment of women and recognizes that the black community won’t truly be free until its women are free from this as well.
“Sense”, the eighth track, is my personal favorite and was actually produced by Earl Sweatshirt. Just barely over a minute long, this was the album’s lone single. He describes himself as “Breathing out of love for respiration” rather than just living because he enjoys it. The majority of lines on this song begin with “I”, with MAVI using this track as an opportunity to tell listeners what he thinks about himself. Alluding to his words on the #MeToo Movement in “Self Love” he raps, “I give a lot of thought to what my daughters look like free, chainless.” In a line that is both boastful and truthful he poses and answers the question, “What kinds of songs you make? I make the kind you gotta read, baby.” MAVI, like his influences, makes lyrically dense music, whose full value can be better attained by reading the lyrics.
This album is so special to me on a personal level. This level of candid vulnerability from a fellow black man, especially one who is about the same age as I am, is something that I value deeply. Mavi is inspired by a mix of ideals and people: experimental jazz composer and poet Sun-Ra, legendary Black author Toni Morrison, cartoons, the Five-Percent Nation (whose Supreme Alphabet you may be familiar with by virtue of rappers RZA and GZA and singer SZA), and so much more. Searching for meaning and purpose in his own life, he is someone that draws from things all around him. He accepts his faults and recognizes his pain, but he still seeks to grow as a plant does toward the sun.
Show Review: Earthday Everyday 2023
On April 22, Afterglo held its second annual Earthday Everyday music festival at Live Wire Athens. It was a busy day in Athens, coinciding with Normaltown Music Festival, Highlight Athens, and Athens Twilight Criterium. Starting at 2 p.m., a multi-genre lineup of artists took to the outside stages, with attention turning to the inside stage at 9 p.m., as the party turned into a late-night rave with the Nightshade Family. We’ve decided to highlight some of our favorite acts from this wonderful day.
We arrived just in time to hear Rhymes with Japan and Selah Samarah. The two very different styles of these acts set the tone for the rest of the festival. Rhymes with Japan was a DJ, drummer, and rapper trio that put together a fun and lively performance, even taking some time to dance with members of the crowd. On the other hand, artist Selah Samarah, sang several original folk songs, backed by guitar, mandolin, endingidi, and cajón,
Punk band Commune took to the stage after several openers and brought the energy. The moment they began playing I felt the audience inch forward and from that point forward the moshing didn’t stop. They were really engaging with the crowd too, cracking jokes and offering context for some of their songs. One of my favorite moments was when they played their song about property, shouting in unison “Property isn’t real!” (which is pretty punk in my opinion). They also played a new song, “Fallin Down,” which rocked, and announced it would be releasing soon with a new music video. We definitely recommend checking them out and be sure to keep an eye out for their upcoming content!
5:00 p.m. was a hot time-slot because the upper stage saw the talented rapper Cardynal perform. They were a fan favorite, drawing the biggest crowd at that stage. Early in their set, the mood was set, as Cardynal paused their set to jump into the crowd and dance. A favorite song was “Mango,” where their lyricism and personality shined. They weren’t afraid to stray from rap, performing some R&B jams and showing off their vocal ability. The local rap scene is full of talent, and Cardynal is the perfect example. They had a great set!
Convince the Kid, a self-described “four-piece synth-rock band out of Athens” took the 9dk stage at 7:00 p.m. Ranging from spacey synths that make you feel like the world is ending to bass-heavy tracks that carried a lot more weight, the band held the audience attention well. A highlight for me was when frontman Trevor Thrift made use of a smaller drum kit and drum pads as drummer Vic Fisher banged away. Overall, the band had a lot of energy and a good understanding of song structure and tension, often having several members drop out to highlight a single instrument before reintroducing everyone with a bang.
Trvy & The Enemy were next up on the 9dk stage and had by far the most crowd participation of the entire festival. Rock instrumentation with rapping is usually best when performed live, and this was confirmation of that. Rapper Trvy, the recent Vic Chesnutt Songwriter of the Year Award winner, combined infectious energy with technical expertise to captivate the crowd. The performance ebbed and flowed from smooth and introspective to loud and heavy to jazzy and uptempo. “Gotta die a legend” and “Mama couldn’t you tell me where to go / I’m so sick and tired of being alone” were the lyrics that stuck most with us, out of both repetition and poignancy at that moment. Without a doubt, you should check out Trvy’s solo work and his work with The Enemy.
The outside stages wrapped up with Cassie Chantel, who we were impressed by. Before she even began, I was a fan, as she got the crowd hyped with needle drops ranging from Hiatus Kaiyote to Ice Spice. Her energy was infectious and she was a great performer. A favorite moment was when she played her song “Tennis,” causing the crowd to quickly realize why there had been so many rackets on the ground. It was pretty cool seeing everyone waving them in the air with the song’s chorus. She ended her set with a merch giveaway, earning her even more fans, if everyone wasn’t already.
As it turned to night, the crowd turned inside for a rave by Athens’ own Nightshade Family. They had a raised stage with stunning visuals, bringing life to the talented DJ’s music. From 9 p.m. to 1 a.m. Izzy, Karezza, Mystic Grizzly, Chief Kaya, and King Shotta took over, each with their own individual styles and feeling. From flips of popular songs to complicated, electronic buildups, not a single moment failed to impress us.
In the spirit of Earthday, local University of Georgia student Christian Aldama instructed festivalgoers on how to garden, going as far as to distribute ready-to-be-planted seeds to anyone who wanted them. The also event made sure to highlight and venerate Tortuguita, an environmental activist who was killed by police in protest of Cop City, a proposed Atlanta Police Department base that would see serious destruction done to the Weelaunee Forest.
The 2023 Earthday Everyday festival encapsulated some of the many things that make Athens special. Students, locals, and families alike all came out to enjoy music together. Vendors sold handmade rings, confectioneries, CBD- and THC-based products, and more. It was truly a wonderful day of music, cool outifts, and even better people. Thanks again to Afterglo for putting on such a fun festival, and please take the time and check out some great artists!
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.
Review: UGA MBUS Students: 2023 Spring Releases
As a part of the University of Georgia’s Music Business Certificate Program, I am lucky enough to be classmates with a host of musicians and performers. So here, I want to highlight a few recent releases from my talented classmates.
Bea Porges is a singer-songwriter with a penchant for layered, relatable lyrics. Backed by fellow classmate Cannon Rogers on a warm but striking steel guitar, she released her new single “all day long” on March 24. A nice subtle bassline and simple drum pattern give the song a soft, jazzy feel. The true highlight of the track is Bea’s voice. Her vocal performance brings so much character and passion into a song that is otherwise muted. At 0:46 and 2:18 and specifically, her vocal slides pleasantly catch my ears and provide a necessary structural deviation. It’s a flowery track that delves into the all-too-common feeling of longing. The mellow ache of missing someone you love and wanting to share time with them. “Space and time and feeling fine and our shared sentiments,” are the words Bea herself uses to describe this situation. In her refrain she sings, “All day long, all day long I think about loving / And all day long all day long he thinks about nothing.” Love holds so much power over us all. But unfortunately she is a cruel mistress, and so often we have love for those who may not recognize and reciprocate its presence.
Ethan Faulkner, under artist name Balistix, and fellow beatboxer DEN, released collaboration “Love Love Love” on March 31. On this EDM track, both artists display a high level of vocal control and beatbox mastery. Kicks, claps, and a range of high and low synth-like sounds are reproduced to form the beat, as the pair take turns singing. In Balistix’s own words, “everything in the song was made only with the human mouth.” It feels so effortless, but it’s clear that both of these men have acquired their skills by spending their days and nights toiling over and honing their craft. Opening with “You were so hard to find / It wasn’t easy / But now that I found you / My life’s completed” is how this “somebody to love” is presented to us listeners. At 2:19, a bouncy breakdown provides an added element of variation, and this track would feel hollow without it. This fun, danceable track would do very well at energizing the crowd at an EDM show or club. Self-proclaimed “haters” of the genre could find significant value in this as well.
Tattoo Logic, a newly-formed five-member funk-punk band, released “Ghost of a Chance” on March 31. The track opens with some cymbal taps and a simple guitar riff and then it booms! Think “Misery Business” by Paramore, “Boys Don’t Cry” by The Cure, or “Helena” by My Chemical Romance. “As soon as I kicked the bucket / It was easier to forget than a Classic City obituary” starts the song off on a strong note. Silence and rests are as much a part of this song as the instruments and vocals are. The instrumental oscillates between choppy, staccato notes played in unison by the guitarists and a much wackier beat that feels almost like a cartoon chase scene. The chorus goes:
It’s not a ghost of a chance, or a whisper of faith
Tattoo Logic, Ghost of a Chance
You thought you were close but you were locked in a race
It’s a haunted dance, how it drifted away
And how we say… It’s not a ghost of a chance
Unexpectedly, the first chorus is followed by the entrance of metallic synths. It fits perfectly, giving an eerie, off-putting edge to the song. The bridge, while still teeming with nervous excitement, is more orchestral in nature. An especially strong part of the song is the head voice and slides employed by the lead female vocalist. This song reminds me of a scene in a movie; The somewhat outcast but loveably goofy and confident main character asserting themself as the looming conflict is just ready to boil over.
Whether it is passive or active, casual or impassioned, live music forms a basis of culture and community across the globe. If you can, go support these local young artists who help form this basis in Athens, Georgia. Who knows, maybe you’ll even be inspired to check out a show!
Review: Common: “Be”
Be. It’s a simple message, a direct command. And, it also happens to be the title of Chicago rapper Common‘s 2005 album: Be.
Common explained the title of his album in a 2005 interview, stating:
The album is entitled BE because the hardest thing to do is to be yourself, although many think it’s the easiest it’s really not. Being is just to exist, you don’t have to try hard to do anything because God gave us each an individual and unique characteristic that is the core of who we are. So BE is just about that, being whoever you are, where ever you are.
AllHipHop, 2005
Track six, “Love Is…”, and the closing track, “It’s Your World (Part 1 & 2)”, are produced by the legendary J. Dilla while the other nine tracks are produced by fellow Chicagoan Kanye West. Today, both men are considered masters of the art of sampling and two of the best producers of all time. At the time of its release, Common was a member of West’s label GOOD Music, and the pair were already close friends after having met nearly a decade earlier in Chicago. Dilla and Common also shared a close relationship as they were both at one point members of the Soulquarians, an informal and experimental Black music collective active around the turn of the 21st century. This highly-influential group counted now-illustrious creatives like Questlove, Erykah Badu, Mos Def, and D’Angelo among its ranks.
Samples of classic soul records coalesce with a myriad of layered rhyme schemes as Common and guests skillfully navigate a wide variety of topics and narratives to make this album a whole that is much greater than the sum of its parts.
The host of features includes then-labelmates John Legend and Kanye West; Hip Hop progenitors The Last Poets; comedian Dave Chapelle; fellow Soulquarian Bilal; singer-songwriter-guitarist John Mayer; and several others who went uncredited.
For so many, myself included, this album inspires you to listen to and think about the world around you. Common is simply talking about his own experiences: the troubles faced in the hoods of Chicago, the waning of youthful glee, the bittersweet dichotomy of love, the unrivaled confidence he has in his rapping ability, the discrimination of African Americans in American society, the battle between monetary success and being a voice for his community. He makes his personal perspectives seem relatable and general, a quality of the most capable rappers and songwriters.
Over the course of these 11 tracks, he verbosely navigates many themes and ideas in a way that only a master of his craft could do. Each of these songs deserves a review in its own right. It almost feels like an injustice to condense the words and teachings of a seasoned veteran like Common into just a few paragraphs. So instead, I’ve highlighted some of my favorite bars and moments throughout the album, and I hope that these inspire you to listen as Common has inspired me to do the same.
The beat of “Be (Intro)” is one of my favorite musical moments ever. It slowly builds over the first minute of the song and comes together beautifully. At first, it’s just a bass slowly being plucked, then the plucking gets faster, a synth begins playing, and then the keys come in. More strings and drums make the beat finally feel whole as Common begins rapping shortly thereafter. In a strikingly political line, he asserts: “Bush pushing lies, killers immortalized / We got arms but won’t reach for the skies.”
Common has a lot to discuss on women and that’s evident on “Faithful”. He opens the track with a series of questions.
I was rolling around, in my mind it occurred
Common, Faithful
What if God was a her?
Would I treat her the same? Would I still be running game on her?
In what type of ways would I want her?
Would I want her for her mind or her heavenly body?
A vocal sample from Marvin Gaye‘s “God Is Love” backs “Love Is…”. It’s a raw track, something I listen to on a dark day when I need to get in better spirits. Common raps “Everybody loves sun, why do I attract shade / Heard of love of money, but compassion it pays.” These lines remind me of Nas‘ legendary track “The World Is Yours”, where he declares, “I need a new nigga for this black cloud to follow / Cause while it’s over me it’s too dark to see tomorrow.”
Chi-City is a braggadocio track that serves as both an homage to Chicago and a larger discussion of the role of rap in the Black community. Common’s opening line, “I rap with the passion of Christ, nigga cross me” is a perfectly blunt way to begin before Common starts going after “whack” rappers. On the other hand, Common holds his fellow Chicago MCs in high esteem, rapping, “They ask me where hip hop is going, it’s Chicagoan / Poetry’s in motion like a picture now showing.”
On “Real People”, Common speaks on the racism and discrimination that Black Americans face. He invokes key Black Rastari figures, asking “I wonder if the spirits of Bob Marley and Haile Selassie / Watch me as the cops be tryna pop and lock me?”
The second part of the last track, “It’s Your World (Part 1 & 2)”, is the culmination of the album. Common’s father Lonnie Lynn, or “Pops” delivers a spoken word outro in which he lists qualities, people, careers, emotions, and states of being that we can “be”. It’s an understated end to Common’s magnum opus. It’s cyclical in a way. Be, we do it always, unfailingly, and yet there isn’t really a start or end in the truest sense of those words. And on that note, I’ll close this off in the same way that Pops does, with a two-word instruction that I think we all can live by: “Be… eternal.”