Tuesday, March 7, a stellar lineup consisting of Survival Kit, Chapel, Too Close To Touch, and Waterparks hit the stage for a sold-out show at The Masquerade, Purgatory. The show was alive, the tunes were danceable, emotions ran high, and crowd surfers were prominent throughout the night.
As a fairly new fan of Too Close To Touch, I knew from first time I heard their song “Crooked Smile”—off of their most recent album Haven’t Been Myself—that I had found one of my new favorite artists. So naturally, when they announced a co-headlining tour with Waterparks back in December of 2016, I immediately committed to attending. On top of the headliners, knowing Athens, Georgia natives Chapel were also part of the package sealed the deal. Because what’s better than supporting a band from my hometown? (Chapel’s catchy single “Caught Up” captured my ears the first day it dropped, as did their most recent song “Fools Gold.”)
Another band that has majorly captured my attention as of late is Survival Kit, an alternative rock band hailing from Atlanta, Georgia who jumped on as an opener for this show. The quartet consists of Travis Blake on lead vocals/guitar, Andrew Lynn on guitar/vocals, Billy “Two Times” Kilgore on bass, and Allen Beck on drums. Although the band is fairly new, having formed in summer of 2015, they are no strangers to playing music. They’ve previously played in bands together over the years, which eventually led to some of them going on tour and others opting for college.
In the fall of 2016, the band released their first EP titled Hard Work and Dedication (tracked, mixed, mastered by Aaron Pace of AP Audio in Alpharetta, Georgia). Prior to their show, I had the opportunity to talk with the guys about musical influences, artists they recommend, and what’s next. Check out our Q&A below.
1. What inspires you?
Travis Blake: All aspects of life.
Andrew Lynn: Negative situations usually spark my ideas, and I use my writing to find a light at the end of the tunnel.
Billy Kilgore: I get influence from all types of music and styles.
Allen Beck: Random things I hear and see inspire me, and the music just pops in my head at times.
2. Who are your biggest musical influences?
AL:Circa Survive and HRVRD.
AB: The Story So Far and Four Year Strong.
BK: The Used and Nirvana.
TB: Say Anything and Panic! At The Disco.
3. Any goals you’d like to reach in 2017 for the band?
AL:Quit our day jobs and tour the country. We’re getting closer to being able to do that every day.
4. If you were to tour with any artist, who would it be?
AB: The Story So Far.
TB: Say Anything.
BK: The Used.
AL:Panic! At The Disco.
5. How has your music evolved since you first began playing together?
AL:When we began writing it was very pop punk, but as we have progressed we are coming out with a well-rounded rock sound that we are very excited about.
6. What’s next?
AL:We are currently in the studio and plan to release a new single in the upcoming months called “Stranger Things.” We believe that we have found our sound, and now our goal is to write a record that will set us up for a healthy music career.
7. Was there any particular artist, show, or moment that made you realize that music was something you wanted to pursue?
AB: Performing on the road with Come Down Denver.
TB: It’s the only thing I’m good at and can enjoy on a regular basis.
BK: When I got my first guitar after waiting for like a year.
AL: One time my dad told me that performing music wasn’t a realistic career path.
8. Best concert you’ve ever attended?
TB: The Used and Taking Back Sunday.
AL: Hangout Festival.
AB: The Story So Far and Four Year Strong.
BK: Allen’s favorite, ’cause I’m a copycat.
9.Are there any artists/songs you are currently listening to that you recommend others check out?
The Drums‘origins can be traced back to Bible camp, which is not exactly what you’d expect from a Brooklyn-based experimental pop group. The two founding members of the band—Jacob Graham and frontman Jonny Pierce—met one summer in their early teens and became instant friends.
After the concept for The Drums was developed, the duo tacked on two more members—guitarist Adam Kessler and drummer Connor Hanwick—and in 2009 cranked out their first EP Summertime!, which received a massive amount of praise by the alt-pop press. Soon after, they released their self-titled debut, which was followed by Kessler’s departure from The Drums. After another two albums and a lineup change with Hanwick’s departure, the band released Encyclopedia, their final record as a two-piece, in 2014.
The Drums reemerged on the scene this month with their dreamy single “Blood Under My Belt.” Though Pierce is currently the only official member of the band, Graham is vital to The Drums’ established sound. While it’s Jonny’s faux English singing voice that stands out, it’s the reverb-drenched guitar and synths that link their albums. The Drums are an entity that closely resemble ’80s British rock bands, brooding in an air of melancholia while still oozing an effortless cool. We interviewed Jonny to discuss his new record and how he creates his music.
Vinyl Mag: How many times have you played SXSW?
Jonny Pierce: I’m bad with numbers, dates, timelines, etc., but it feels like I’ve played this festival a thousand times.
VM: Do you have any pre-festival rituals?
JP: I’m not one for rituals or anything ceremonial, really. All that stuff triggers me and brings me back to dark days when we would say grace before each meal. Although lately, I do find myself plugging one side of my nose before walking on stage. It forces me to breathe at a slower pace, which in turn slows my heart rate and calms me. I then take two very generous shots of tequila and bring myself back into a manic state. I still have some growing up to do.
VM: Do you feel like playing a festival has a different vibe than playing at a venue?
JP: Yeah, I mean for the sake of just being transparent, I have to say that it’s rare for me to enjoy a festival show. Music just sounds better indoors. You’ll also find that when your inside, rarely does it rain! No big wind gusts to fuck with my hair either! Cool haircuts are underrated and must be protected!
VM: “Blood Under My Belt” is very uptempo and bright. Is that the vibe on the rest of Abysmal Thoughts?
JP: The new album is in some way a return to form. I’m sticking with the surf tones that often find their way into my records, and this time, I’m blending that sound with all of my influences. Everything from ’90s drum ‘n’ bass to Talking Heads.
VM: Will you be playing anything else from Abysmal Thoughts at the festival?
JP: We’ll see! I gotta feel it out!
VM: Music videos are an integral part of The Drums. Will you be releasing one for “Blood Under My Belt?”
JP: We are in the finishing touches chapter of the “Blood” video. Think motocross and beauty. I think I get the final edit today, actually.
VM: If you had to leave the production of a Drums album to another producer, who would it be?
JP: I’m too hands on to even think about letting anyone else touch my records. I’d rather not make music than have someone else take over. What’s the point, right?
VM: Are there any recent pop records you thought were next level?
JP: I have been really loving Snail Mail‘s new EP. There is something so special about her voice. I hope she never changes. So super pure.
VM: What albums have you been listening to recently?
JP: Oh! Just the Snail Mail EP. I tend to dive into one album at a time and play it to absolute death.
VM: Who are you most looking forward to seeing at SX?
JP: Snail Mail and only Snail Mail! If there’s some good house or techno going on, I might check that out.
Minnesota indie rockers Communist Daughter are on fire. But it wasn’t always smooth sailing for lead singer Jonny Solomon, who had to conquer a few demons before he saw success. Dealing with addiction and mental health problems before the band’s formation, he had several stints in treatment facilities and assumed the worst for his music career.
When Solomon reached rock bottom, he wrote a series of songs that he intended to be a farewell note to those he loved. He invited his friends—who would later become his bandmates—to help him flesh it out. The result was Communist Daughter’s acclaimed debut album Soundtrack to the End, which was released in 2010. However, the singer wasn’t done fighting his own personal fight, and checked himself into rehab soon after the release.
It seems to be true in Solomon’s case that some of the best art comes from the worst situations. He’s now fully recovered, with his positive outlook on life echoing in his music. Communist Daughter’s latest record, The Cracks That Built the Wall, received serious praise from critics. The album is a glistening light with bright guitars and an optimistic message. It’s a reflection of the artist’s upward motion, refusing to let his past weigh him down. We got in touch with him to talk about his SXSW experiences and what advice he has for younger bands as a festival veteran.
Vinyl Mag: How many times have you played SXSW?
Johnny Solomon: Officially this is our second time, but we went down there once for fun. It’s hard to be in Minnesota at the end of winter without dreaming of heading south.
VM: Do you have any favorite memories from the festival?
JS: We don’t go down there with weird industry dreams in our head. To me, it’s a chance to be in warm weather, plus it’s hard to see other bands play when you are always on the road. It’s great to just walk around and stumble into music. But my favorite memories don’t have much to do with music. We stay outside of the city, a little ranch way out there. My favorite memories are from there, soaking up a different lifestyle.
VM: Do you guys have any pre-festival rituals?
JS: We’re all pretty different about it. SXSW is its own beast, because you can let the logistical nightmares get to you, or you can just realize it’s all crazy and to take it as it comes. That’s why the ranch outside town comes in handy. This is the second time we are going to end our trip with a little acoustic show way out there for the folks that let us stay with them. So that’s a post-festival ritual.
VM: What albums have you been listening to recently?
JS:The Dig’s Blood Shot Tokyo. We just finished up three weeks with them. Probably my favorite band. I never got tired of seeing them night after night, and their album is now spinning around our tour van nonstop. I’m also listening to Hop Along’s Painted Shut. I’m late to the party on them, but I can’t stop listening to it. Such a great band and album. I need to creep on them and meet them. And then Paul Simon‘s Graceland always gets back in my headphones when I head south.
VM: The video for “Keep Moving” is beautifully done. What was the inspiration behind that?
JS: The director (Nate Matson) and I went back and forth a bit with that video. The song is very personal, and he connected with it right away. But it was hard to make a video that complimented that without making it so overtly literal. I was worried, but Nate lined things up right to make it right. It hits all the same themes without being in your face.
VM: Who were some of your musical inspirations for The Cracks That Built the Wall?
JS:The Beach Boys and Jason Isbell and a million other bands. It’s hard to pin down influences since the album was recorded over the course of three years.
VM: What inspired you to name the band after a Neutral Milk Hotel song?
JS: Honestly, I didn’t know it would be a thing, but Neutral Milk Hotel wasn’t around anymore when I started the band. They were one of those mystery bands that put out a masterpiece and then vanished. But it was so personal and intense of a record. I wanted to do that, so when I was writing songs by myself, I just thought I would take that as our name. I hate thinking of band names. They are all stupid until you are big enough for people to attach your music to it. I don’t think twice about my favorite band’s names.
VM: Were there any other songs you considered naming the band after?
JS: “Two-Headed Boy”? It’s hard to remember things from back then. I wasn’t in a really stable mental place.
VM: What advice would you give to an artist playing SX for the first time?
JS: Don’t go there for your own shows. Sure, play some, and be good at it. But don’t go there with some sort of idea that you are going to do anything important. Just enjoy the fact that every indie band you want to see that year is all in one place with tacos and beer, for the drinkers. Also, get all the free stuff you can. Sunglasses for days.
VM: Who are you most looking forward to seeing at SX?
JS: Not sure, I’m still in tour mode. I try not to think more than 48 hours ahead. I’m sure I will have an idea on Tuesday when we get there.
VM: What’s your dream festival lineup?
JS: It changes every day. I make a Spotify playlist, and then those are the only bands I care about for a week. Then I make another one and it’s totally new. But I have some all time favorites. If I were to put one together one off the top of my head [it would be] Paul Simon, Jason Isbell, Jessica Lea Mayfield, Angel Olsen, Hop Along, Death From Above 1979, and The Dig. And us of course. I want to be in my favorite festival.
VM: What shows are you guys playing?
JS: CLIF Bar Bash, SESAC Showcase, Central Presbyterian Church and Best Lil’ Big Fest.
VM: What’s your favorite part of the festival experience?
JS: The energy. It’s food, sunshine, super excited people and shiny free things everywhere. Then I go out of town and eat barbecue and finally get some sleep. It’s the end of three months of touring for us.
VM: We have to ask every artist playing SX: do you prefer barbecue or tacos?
JS: That’s not fair. Everyday food: tacos. Special meal: barbecue. I love barbecue, but I couldn’t eat it every day, because it would kill me. But pretty much every taco everywhere is good. I will eat a taco anywhere, any time.
Communist Daughter at SXSW:
3/14 – 3pm The Blackheart – 86 Rainey St – ” CLIF Bar Bash – The Current and NoiseTrade”
3/15 – 11pm Lamberts Downtown Barbecue – 401 W. 2nd St – SESAC Showcase
3/16 – 11:40pm Central Presbyterian Church – 200 E. 8th St.
3/18 – 5pm Tiniest Bar in Texas – 817 W. 5th St. – “Best Lil’ Big Fest”
A DJ, a producer and a classically trained vocalist walk into a studio. The names behind those titles? Samantha Ronson, Pete Nappi and Ethan Thompson. On paper, their three backgrounds may not sound like the most intuitive match, but take a listen to their music and you’ll be convinced otherwise. Ocean Park Standoff is the alt-pop trio heading from LA to Austin to impress and engage fans at all four of their SXSW shows.
On March 3 of this year, the band released their debut self-titled EP on Hollywood Records. To say that the EP was well-received would be an understatement, considering the fact that the band has since been added to Spotify’s New Music Friday playlist, named Elvis Duran’s Artist of the Month and performed the song “Good News” on the TODAY show.
I had the privilege of chatting with not just one or two but all three of the band members. It’s pretty fitting since their writing process never fails to include each of their unique voices giving their songs that extra something special. Each one of the EP’s tracks are well-written, both musically and lyrically, but still sing-along-able. I, for one, have had “Good News” stuck in my head for the past 24 hours, and I am not complaining.
Check out what the three artists had to say about their summer tour and band name, and take a guess at who prefers tacos over barbecue. And of course, don’t forget to check them out at SXSW with us this week!
Vinyl Mag: How did you three start playing together?
Ethan Thompson: We started playing together because Samantha and Pete had a session they got into together through their publishers and managers, and they hit it off right away. After they did a couple of sessions together, Pete brought me in because Pete and I had been working together as well. We wrote two songs together, and after the first two songs we were having such a good time that, I think Samantha was the first one to suggest that, “let’s make a project and put a bunch of songs together that we like and songs just for us.” And that’s kind of how the band started forming, really within the first 48 hours of knowing each other.
VM: How do you combine your different backgrounds into one sound?
Samantha Ronson: We’re all kind of in the room while we’re writing and playing, so I guess we all just kind of throw all of our ideas mainly at Pete, and then he makes them sound good.
VM: What’s your favorite way to experiment and create a new song together?
Ethan: I feel like one of my favorite things is that there’s always one of us that’s excited about the start of a song. Usually it’s not all of us at once–there’s someone that comes in with a base idea whether it’s Pete with a track, Samantha with a lyric or a melody or a chord, and me with a lyric or melody or chord. So it’s always someone’s excitement that kind of stirs it up, or it’s something that we’re going through in life that stirs up the songwriting.
VM: Do you tend to start more with a melody or lyrics first, or does it just depend?
Samantha: It totally, totally depends from song to song.
Pete Nappi: It’s always different.
Ethan: Yeah, it makes it entertaining for us, because we never really know what’s going on. We just do it ’til it feels good. If it feels good at the end of the day, then we’ll continue working on that song.
Pete: We basically just press a bunch of buttons all day and see what happens.
VM: What was your favorite part about making your EP?
Samantha: It’s all pretty fun! And that’s kind of why we’re doing it. I don’t think we’d be doing it if it wasn’t.
Ethan: I feel like one of our favorite parts is definitely that we’ve all done our own solo projects–Pete’s done his production, Samantha’s done her DJing–coming together and doing this as a group is the funnest part of the whole thing. Because waking up for radio things at seven in the morning or doing a show and packing out at like 1 a.m. is so much fun, because it’s the three of us there plus a couple others. But it’s the three of us together celebrating the victories and dealing with the losses the whole time, and that’s the best part–it’s the three of us together.
VM: On the flip side, what was the most challenging part of making the EP?
Samantha: I think it’s taking that risk of putting aside all the other things that we’re doing on our own and just having faith and diving into this and putting everything into this and hoping for the best.
Pete: To add to that, I think especially for me with all the production while we’re making it, it’s important to know when to just stop, because I could just keep going and adding things. I think a big part of it is to know when to stop or when to take away things to make it simpler. You get so into these songs, and you’ve been working on them for so long that eventually you just don’t know anymore. So, that’s kind of been the hard part for me, but it’s always worked out. Luckily, I have Ethan and Samantha to tell me when to chill the hell out.
VM: Do you have favorite songs on the EP?
Ethan: I think it’s always rotating, and every show it switches up—it just kind of depends on the night. But I think one of my favorites right now is “We Do” because it’s the song that I think kind of brought us together as a live band first, so that’s one of my favorites.
Samantha: My favorite is “Lost Boys”–it’s the first one we wrote together, so it’s always kind of been special to me in that way.
Pete: Whenever I listen to the EP, I’ll listen to “Lost Boys,” the first song, and I’ll be like, “yeah, this is sick.” And then I listen to “We Do” and I’m like, “wait, is this my favorite?” And I just do that with the whole EP!
VM: What makes your songs stand out from other artists in your genre?
Ethan: I’d say one of the things that makes it stand out is that we all come from three different backgrounds, and one of us isn’t overriding the others when we’re creating. We’re always doing our best to get the three of us into each song, which I think is what makes it unique because it’s not just one head leading it–it’s three heads leading it at all times. It’s one of our biggest challenges, and we get into our little battles, but at the end it’s just so much better when the three of us are all involved in it.
VM: So, what’s the story behind your band name?
Ethan: Pete and I were on our way to a session—we would always traverse like an hour to get to Samantha’s pretty much every week. This was when we were just deciding that we were going to make a project, and we’d just decided we wanted to be a band. But we were on our way over to Samantha’s, and we were going to be an hour late because all the streets were blocked off, and we couldn’t get to her house. After there were helicopters flying over her backyard, Samantha got online and figured out that there was a standoff going on at Ocean Park and Tenth.
Samantha: Yeah, there was a standoff with cops and a guy with a shotgun. And I was like, “That’s our band name–Ocean Park Standoff!” Of course, that’s where my brain goes when I hear about a standoff.
Ethan: It was cool the way the name came together, because I feel like it’s kind of how the project came together. We’re all very paranoid as artists–I wouldn’t say uptight but very paranoid people. And when we’re together, we’re taking things seriously and working hard, but I feel like we relax a little bit and everything seems to kind of fall to us with hard work. But, the way that the name came, how it naturally just came up is exactly how everything came together. It’s just kind of naturally evolved without us simply trying to force it to be something.
Samantha: I think it’s more that we overthink things than are paranoid.
Ethan: Speak for yourself—I’m paranoid!
Samantha: (Laughs) I just overthink things way too much.
Ethan: We’re able to relax each other a little bit, and we’re just having a great time.
VM: I heard you’re touring with Third Eye Blind this summer. What part of that experience are you most excited about?
Ethan: Just to hang out, honestly! We just went on a tour together in a van, and there was really no problem at all. We all got along. By the end of it, we got off the road and the next show we had in LA, we were all like, “we missed you,” and it’d been under 24 hours. So I’m just excited to hang out all summer—it’s going to be fun!
Samantha: Same!
VM: Do you have a favorite venue you’ve played?
Ethan: The Peppermint Club was pretty sick when we played in LA, and I think one of our other favorites was the show in New York at the Mercury Lounge.
Samantha: My favorite venue was the place in Troy, New York.
Ethan: Oh yeah, The Hangar in New York! That was a cool spot.
Pete: We’re going to play the Jones Beach Amphitheater this summer, and I’ve literally been talking about playing there since the day we started the band.
Ethan: Yeah, and then we got on the summer tour—which is incredible—and on the lineup it said Jones Beach. And it’s the night of Pete’s birthday!
VM: What shows are you playing for South by?
Samantha: We’re playing at Universal Party, Pandora, 7th Annual West of the Best, and the Grammy Museum Homegrown LA showcase.
VM: Are there any artists you’re looking forward to seeing perform?
Ethan: Friends! I’m stoked to see Hayley Kiyoko’s set—she’s a friend of Pete and ours, and also LOLO who we just got off tour with. It’ll be fun to hang out with them again in a different spot.
Pete: One of mine is this DJ/producer who’s super young–his name is Sam Gellaitry. He’s awesome.
Samantha: I just want to eat a lot of barbecue!
VM: Well, that’s perfect because we always ask if you prefer barbecue or tacos! I’m going to guess your answer would be barbecue, Samantha!
Samantha: (Laughs) Yes, it is! I just like all food.
VM: What about you two—barbecue or tacos?
Pete: Barbecue.
Ethan: I’d have to say probably tacos, because anything I can eat with my hands, I’m so down.
Pete: You can eat barbecue with your hands.
Ethan: Yeah, if I can eat barbecue with my hands as long as no one’s watching, then it’s my favorite. But I just like eating food with my hands—it’s pretty much my go-to. A burrito is my all-time meal no matter what.
Pete: It’s your primal instincts.
Ethan: Exactly, I’ve got to remind myself of my roots.
As South by Southwest gets into full swing, we’re in for another jam-packed week of music and day drinking. With the massive amount of bands playing the festival, dwindling your roster of favorites down to even a couple dozen is a daunting task. Enter Indiana-based indie pop darlings HOOPS, ready to make the top of your must-see list of bands.
Bringing a refreshing take on indie pop, their self-titled EP was received warmly by critics and fans alike. Listening to their music, you might notice that the vocals on any track differ from one song to the next. This is because the band doesn’t have just one lead singer; it has three. Depending on who wrote the song, either band member Drew Auscherman, Kevin Krauter or Keagan Beresford will sing lead while simultaneously playing their respective instruments..
“Rules,” the debut single from the band’s first full-length album Routines–set to release on May 5th–is delightfully lo-fi beach music, perfect for road trips and sinking deep into summer nostalgia. Before the band takes SXSW, we got in touch with singer and bassist Krauter, who told us about what’s on his playlist, their new album Routines and the band’s affinity for free stuff.
Vinyl Mag: How many times have you played South by Southwest?
Kevin Krauter: This will be our first time playing at SXSW.
VM: Do you have any pre-festival rituals?
KK: We haven’t played many festivals, but probably just taking advantage of as much free shit as we can.
VM: Do you feel like playing a festival has a different vibe than playing at a venue?
KK: The vibe is definitely different. Not as intimate as a venue show, which can be a bummer, but on the other hand it can be really fun sometimes playing to the festival crowd.
VM: Can we expect to hear you play some new stuff from Routines?
KK: Our set has a few songs off of the new album. They’re very fun.
VM: Is “Rules” a good indicator of the overall sound on the rest of the album?
KK: Not exactly. It’s produced a similar way, and it kind of represents how we’ve sounded up until now. But the rest of the album is pretty different.
VM: Routines was recorded in a studio and then tweaked in your parent’s basement. Do you guys feel like that’s where you make your most authentic work?
KK: Yeah, definitely. Working in the studio was a cool experience, and we learned a lot from it. But we’ve always made our music on our own, so I think when we went home and worked on it, we were able to focus pretty closely on the sound we wanted.
VM: Who were some of your musical inspirations while you were making that record?
VM: It’s not common for an indie pop band to rotate lead vocalists. Was that a conscious decision you guys made, or was that just something that happened naturally?
KK: Well, we all write songs, so it’s just always sort of made sense for us to let whoever wrote the song sing it as well. Also, we’ve always been slightly overambitious about singing harmonies, so we ask for three mics on stage anyway.
VM: If you guys were to collab with somebody, who do you hope it would be?
KK: I saw a video once of Connan Mockasin’s band playing with Charlotte Gainsbourg for some French TV program. I think it would be fun to do something like that.
VM: What albums have you been listening to recently?
KK:Savage Mode by 21 Savage. Magnificent Fist by Sean Nicholas Savage. 1999 by Prince. Mister Yellowman by Yellowman. TuesdayNight Music Club by Sheryl Crow. And Front Row Seat to Earth by Weyes Blood.
VM: Who are you most looking forward to seeing at SX?
KK: Omni, IAN SWEET, Lala Lala, Jay Som, Lil Yachty, Furnsss and Stef Chura.
VM: What shows are you playing?
KK: A lot.
VM: What’s your favorite part of the festival experience?
His music has been called “eye-watering brilliance” by BBC Radio 1 with “a depth not often seen in young musicians” according to The Equal Ground. But behind the high (and well-deserved) praise is a street performer from England just trying to get used to the Los Angeles heat. Leo James Conroy is taking the SXSW stage this year with his signature trumpet in hand and a soulful voice guaranteed to garner fans within the first few notes.
After what he calls a “series of fortunate events,” Conroy ended up in Los Angeles performing and making music. He draws from his biggest influence, Jeff Buckley, whom he’s been compared to stylistically. Somewhere between the classical music training, the teenage emo lyric writing and a love for jazz, his soulful sound emerged.
In 2015, Conroy made his debut with a self-titled EP under Black Treacle Records. Now, his sophomore album entitled Sinners By the Book EP is on arrival. The first song off of it, “Forbidden Fruit,” is already available and full of the falsetto and blues he does so well. Between this song and his video submission for NPR’s Tiny Desk competition, the new record will be one worthy of perpetual repeat.
As I chatted with the singer-songwriter, I heard more than his British accent—I heard passion. After watching his grandfather play the trombone, Conroy decided as a child to follow in his musical footsteps. Years later, he’s getting ready to make his SXSW return and make his granddad proud. See what the artist had to say below.
Vinyl Mag: So, first of all, what shows are you playing at SXSW?
Leo James Conroy: At the moment, I only have one. There’s another one that’s still in the works, but I’m playing at Stephen F’s Bar on Saturday, the 18th. I think I’m on about 9:00 p.m.
VM: Is this your first time at SXSW?
LJC: This is my second time; last year was my first time. I played solo last year, and then I’m heading out with a band this year.
VM: Do you prefer playing solo or with a band?
LJC: It’s different every time, you know. Each song has its own sort of mood and its own sort of energy, so it really depends. It’s going to be good to head out with the guys, because last time I was completely alone. So it’ll be nice to have some friendly faces out there!
VM: What do you do to prepare for getting on stage?
LJC: Honestly, I don’t really think about it. It’s kind of weird—I don’t ever get nervous when it comes to performing, but once I’ve finished performing, the nerves hit me after I’ve played. It’s really weird. I don’t have a warm-up ritual but my warm-down ritual is just heading straight to the bars as soon as I’ve finished, and that sort of balances everything out.
VM: You have an EP coming out soon. Are you going to play some of those songs at SXSW?
LJC: Absolutely! We’re really excited about it, actually. For the new EP, I’ve been experimenting with the setup, so I recently got a loop station so that I could loop my trumpet and loop horn lines, and it’s really cool to experiment with all these new sounds. So, the last couple weeks we’ve just been practicing like crazy, and we’re just going to blast all of the tunes from the new EP. I mean, it could even be an album because things are going really well in the studio. We’re ahead of schedule, so we may fill the time with some more tunes, but we’re undecided just yet.
VM: Speaking of the loop pedal, I loved your submission for NPR’s Tiny Desk competition. What inspired the arrangement of that song?
LJC: Well, I was sat at the computer because for my writing process, I never really have a pen and paper. I just sort of sit and freestyle and then hit the record button, and then if something sounds good, I’ll keep it. So, I just laid down the guitar and vocals and thought, “hey, this could use some trumpet” and then I put some trumpet in and actually it just sort of came out nowhere. I showed a couple of friends and thought, this is something a bit different–let’s roll with it! Since then, I’ve written quite a few songs now with that kind of looped trumpet setup, which is really fun.
VM: Do you feel like the loop station has changed your writing process?
LJC: That’s a great question. I honestly don’t know, but I wouldn’t say it’s changed my writing process, because I firmly believe that whenever you write a song you should never have to rely on technology for it to be a viable piece. I like songs to be as raw as they can, but every now and then if something just needs a bit more energy, it’s always cool to pull the trumpet out since I can’t play the trumpet and the guitar physically at the same time. So, I wouldn’t say it’s changed it, but it’s definitely given me a new sort of weapon in my arsenal, and it comes to live shows.
VM: When you’re writing a song, do you usually start with the music like you did with “White Noise?”
LJC: I actually wrote the lyrics months before I put the music to it. It was actually going to be a slow, piano ballad. The song itself is a little bit about insomnia and when you get horrible thoughts when you can’t sleep, and then it turned into self-loathing, which it’s really sort of angry and weird. I thought, this isn’t good for me–I need to get these thoughts out of my head and put them on paper. Then I sort of stored it away and didn’t think of anything, and then I started playing around on the guitar and thought, “I wrote those lyrics all that time ago, maybe I can use them,” and then it just came together by accident really.
VM: Does the style of that song reflect what will be on the new EP?
LJC: Yeah, it is! Growing up playing music, I learned to play trumpet first and then as I started singing when I got older, I sort of swayed away from it, and I’ve missed it. These last few months I’ve really been trying to get back into playing some more. I’ve definitely included a lot more jazz, soulful, bluesy, and I just think the trumpet compliments that kind of well. So, it’s that very similar feel.
VM: You’ve been compared to Jeff Buckley and Amy Winehouse. Are those some of your musical role models?
LJC: Jeff Buckley, absolutely. His album Grace literally changed my life. Growing up, I always aspired to be a classical musician, and then when I was a young teenager, I heard Grace, and I would listen to it multiple times a week for probably five or six years. I listened to it so, so much, and his music completely changed the game for me musically. He’s my biggest influence for sure. Growing up I’ve always loved jazz, and I’ve always loved that old style. Amy Winehouse was just, well, she was Amy Winehouse—you don’t need to say any more about that!
VM: The trumpet seems to be your signature mark. What drew you to that instrument at the age of 10?
LJC: Well, my granddad is my best friend, my mentor, my role model, everything that I want to be as a person. He was a trombonist and was great, but it was more the classical side of music. Just whenever he spoke about music, there would be this sort of glimmer in his eye, and I was always drawn to that. He started teaching me how to play the trumpet as a kid, and I learned in a very sort of old-fashioned way. It was all about music theory and going to play in orchestras and brass bands and marching bands and doing everything prim and proper, always wearing a suit and always making sure my shoes are spick and span. But that’s what drew me to music, and then as I got older, I just drifted more to, you know, music was a little bit more freeform and less structured in terms of rules and order. So, that’s what really drew me to it–my granddad, he’s a special guy.
VM: How old were you when you started writing your own music?
LJC: I wrote some terrible, terrible emo songs when I was 15. I would hide them all around the house, because I didn’t want anyone finding them because I was always so embarrassed. But I’ve been writing seriously probably since I was 18 or 19, so six or seven years if my math is correct.
VM: How did you end up in Los Angeles pursuing music?
LJC: In the craziest way! So, as you’ve probably gathered from my accent, I was living in York in England, and I was in a bit of a bad place. I didn’t really have anywhere to stay, and I was just street performing just to get enough money to get by. And then I got heard by somebody who spoke to me and offered to fly me out to the U.S. to come and play some shows, and I didn’t really have anything to lose at that point so I said, “yeah, okay, I’ll come to the other side of the world by myself to a stranger’s house.” I ended up in Los Angeles, and I met a lady, and we started dating. I’d come over here for a while, and then she’d come back to England with me, and then we got married in July of last year! So it all happened because one day I was street performing in England, and now I’m living in Los Angeles, and it blows my mind every day. It was just a series of fortunate events.
VM: For SXSW, is there someone you’re looking forward to seeing just as a music fan yourself?
LJC: Johnny Flynn, he’s one of my favorite artists! He’s a British folk singer turned actor. Actually, he’s been in a couple of movies since his albums came out. He’s great; he sang with Mumford & Sons—he’s in that sort of sound and that circle. He’s a multi-instrumentalist as well, and he plays with a loop station, so there’s a bit of influence there. My guitar picking part in some of my songs is very influenced by him. He plays violin, trumpet, he sings, he plays guitar… he plays pretty much everything.
VM: If you had to tell a new listener in one tweet what they’ll hear at your set, what would you say?
LJC: I would say, big vocals, awkward chitchat in between, punchy horns with blues, soul and jazz influences. The thing that people are usually shocked at with my shows is that between songs, I’m pretty quiet and a little bit sheepish, and I don’t mean to be. But then I have a really loud voice, and it sort of throws people off a little bit.
VM: The last question that we always ask is: do you prefer barbecue or tacos at SXSW?
LJC: Barbecue every day of the week! I just like all things barbecue. Tacos aren’t really a thing in England, so that’s partially why. I believe I was 23 when I had my first taco, so I don’t have as much experience in that ballgame so perhaps my answer is slightly biased.
You may have heard her song “6’2” on ABC’s Dancing with the Stars, or maybe you came in contact with her first single “You’re Not Alone” via CMT. Either way, Marie Miller is ready to recapture your ears with her new album, Letterbox.
The songstress used her love of literature to jumpstart her songwriting career at a young age. To this day, she still turns to classic novels for inspiration for her beautiful lyrics and melodies. Combining a character who is dear to her heart with one of her own experiences results in the narrative style she’s made her signature.
To capture her folk-pop sound, Miller teamed up with Eric Rosse and Chad Copelin, two producers who helped bring the songs of Letterbox to life. I grabbed a few minutes with Miller to talk about the album, her favorite books, and of course, being in Austin for South by Southwest.
Vinyl Mag: First of all, what shows are you playing at South by?
Marie Miller: On Tuesday, I’m playing Nashville House, so that will be awesome!
VM: Is there anyone you’re looking forward to seeing perform?
MM: I kind of love to just wander. So not a particular artist; I just like being mixed in with all the music and the crowds. It’s really fun.
VM: What’s your favorite part about performing?
MM: I love so many parts about performing. I’ve been performing since I was really little. Just that feeling of connecting to an audience, being on stage and being able to share who you are with strangers and have a connection … it’s really amazing.
VM: I know you love using classic books as inspirations for your songs. Was literature always your favorite subject growing up?
MM: Yes, definitely. It was the only thing I did in school that I would do outside of school. Literature is amazing and still a huge part of my life.
VM: Do you have an all-time favorite book?
MM: I have a few favorite books. I would say Dostoyevsky’s The Brothers Karamazov, Anna Karenina by Tolstoy, Lord of the Rings and The Great Gatsby. I’m old school; I don’t know a lot of new books. People will be like, “Oh my gosh, have you read this New York Times best seller,” and I’m just still catching up on old stuff first.
VM: What is it about those books that makes you want to write a song?
MM: Well, all of those characters in the books that I’ve read, they’re just so vivid to me. I think a great book makes the characters just run out of the page and become part of your life and part of your story. For me, those characters get to play a part in my songwriting. So I’m writing a song, and it has something to do with something that happened in real life, but then maybe I’ll intertwine a character that I met in a book but that has become really real to me.
VM: How do you make that relatable to the average listener even if they haven’t read that particular book?
MM: I think that a lot of the struggles and triumphs and the situations are pretty universal. So just things like love, friendship, suffering, trying to get through hard times, courage–all those things we all can universally relate to, and those characters are just having particular instances of those things. So, for example, “This Side Of Paradise”—which was the first song that came out from the new album—is inspired by an F. Scott Fitzgerald novel called This Side of Paradise, but you probably wouldn’t even know that. Mainly when people hear it they go, “Oh, that sounds like a song where you’ve had a really crappy day and you’re trying to just rally yourself.”
VM: Would you consider yourself more of a lyricist than a musician?
MM: I think more in between … I would say a performer, actually, because there are a lot of musicians that are quite a bit better than me, and there are people that can song-write better than me. So for me, my sweet spot is performance, and it’s just super natural to me, like I have absolutely no idea what stage fright is–I’ve never experienced it!
VM: Well, you mentioned you’ve been performing since a really young age, right?
MM: Yeah, so I started performing at probably 11 or 12, so it’s been awhile!
VM: Tell me about your song “6’2″—I love the title so I have to know the story behind it.
MM: So, “6’2” is about not being too picky with who you date. This girl is saying “I don’t care,” and then she gives a long list up to his height. To me, the song was totally a joke. It was kind of making fun of girls and how they can be that way, but it’s been amazing because it was on Dancing with the Stars which was cool. But also people will say like, “We danced to this song at my wedding” and “I heard it on the radio, and it made me think of this guy with blonde hair and blue eyes that I met a few days ago, and I got the strength to write him” or whatever. So it’s been a really cool song even though for me it’s not my favorite song, it’s still been really neat to see the stories from it.
VM: What was the best part about making this new album, Letterbox?
MM: It was just an incredible experience–a long one, just years of writing and then it took a year and a half to record everything. But the particular experience for me would be recording in Los Angeles, and my sister was with me, so she got to be part of that. I hadn’t really spent a lot of time in LA, and I absolutely loved it. We were like six minutes from the studio, so it was really easy to get there, and the people were amazing, and I grew a lot just from being there for a month. It was really special.
VM: What about the most difficult part?
MM: We worked with a lot of producers, and I think that finally finding Chad Copelin who produced seven out of the 12–that took a long time. So trying to find the right fit to make the songs reflect what my sound was and not making it sound too country or making it sound too pop–making it that perfect blend of folk and pop is pretty hard to do, and I think Chad did an amazing job. But that took a long time.
VM: How did you choose which songs to put on the album?
MM: Well, it’s sort of a process. We have producers helping me choose, and then my A&R at the record label. So it’s all of us talking, and I really got everything that I really wanted on it, which is great because I have to sing it every night—they don’t! But it was difficult, and I think it’s the right group of songs. But now I’m actually writing a lot right now so I’m like, “Let’s record more!”
VM: Which song off the album are you most excited to perform at SXSW?
MM: It’s always really fun to perform “This Side Of Paradise.” It’s just a ton of energy, and I play it on my mandolin, and I love playing my mandolin.
VM: One question we’ve been asking all of our SX artists is: barbecue or tacos?
MM: Oh gosh, I could not decide that, I really couldn’t. Those are my two favorite foods! I love fish tacos or carnitas–all that! And then for barbecue, it’s kind of everything. I was born in Dallas, and I’ve got a lot of family in Texas so Mexican food and barbecue–those are my family’s favorites.
“There will always be this kid inside of me that’s in the rock and roll band that’s trying to write the song to get the girl. That’s always going to be a part of who I am.”
When I picked up the phone to chat with Lukr, I didn’t expect to get a recipe for vegan queso or hear an anecdote about what it means to be a hypocrite. The self-proclaimed conversationalist was engaging, genuine and ready to share the love he has for his craft. Before long, it was clear that his down-to-earth lyrics emanate from the same place as his conversations–authenticity. Luke Foley is a man committed to using his honesty and creativity to connect with his fellow human beings.
After touring with the band he started at 17, Farewell Flight, Lukr settled down in Nashville where songwriting became his partner in crime. His debut single as a solo artist, “Fucked Up Summer,” has been deemed a viral hit on Spotify and surpassed a million streams in a mere 12 weeks. He followed that success with “Scarecrow” which also gave a stellar streaming performance. When asked what he thinks made those songs so successful, Lukr went back to the word “authenticity.” Whether fans are responding to his genuine lyrics or the catchy melodies, clearly he’s doing something right.
On February 10 of this year, he released the first installment of his mixtape series entitled Heartbreak Mixtape Vol. 1, featuring the style he describes as “neon grunge alternative pop.” Fans will get a chance to hear those new songs at his set at The Nashville House at this year’s SXSW. To find out if he prefers songwriting or performing and to hear the story behind his name, keep on reading. Plus, you just might get a restaurant recommendation for vegan tacos.
Vinyl Mag: What brought you to Nashville?
Lukr: I moved here after I had a band for a little while and did a lot of DIY, kind of blue collar touring basically. We toured a good bit around the US, but it was all self-booked. We did it for a little while, and then I thought maybe we should try a music town. I thought we’d all move to Nashville, and we’d be signed to a major deal in like a weekend of handshaking. But actually what I had to do was learn how to write a song. Before I came here, I was very protective about songwriting. I wouldn’t co-write with anybody. I think I had this need to be this creative genius that just goes off by myself in my cabin and makes a record. But I wasn’t learning anything, and it’s kind of hard to learn anything about your craft when you don’t take any kind of input from anybody else.
So, when I moved to Nashville, I just started co-writing because that’s what everybody was doing, and it just seemed to kind of make sense. Once I started doing that, I just started writing for stuff that wasn’t for me so I wasn’t afraid to take chances and do something that I would normally think was cheesy or stupid. Or, I would write styles of music that I used to just not like on principle. I still had my band but it had kind of run its course, and everybody was starting to move on and do different things here in town.
VM: What made you decide to start a solo project?
Lukr: I was always so afraid to think of myself as a solo artist just because I didn’t think I was a good enough singer or maybe I’m not a pretty guy. I mean, I think I’m okay-looking, but I’m not pretty. Or, I’m not a phenomenal dancer, and to be a solo artist you have to have this amazing range. Part of having a band for me justified that. I’m not the greatest singer in the world, but I’m the songwriter, and also I play guitar so combined that gives me enough credit to be here, right? It was an insecurity thing; I was afraid to believe in myself.
I didn’t even like the word artist because I thought it was so pretentious. I thought, I’m not an artist—I’m just a guy who does music or whatever. I was afraid to think of myself as an artist. I remember I was writing with a guy and he was talking to me one day, and I was telling him that my idea was once my band made it I would maybe start a side project for myself. And he just asked this kind of really poignant question and said, “Why do you think of yourself as a side project and your band as your main thing? You are not your own side project. You are your main project. When you do your band, that’s just you as an artist in that band.” I wept on this dude’s porch, just cried like a baby because somebody told me I was good enough.
VM: How did you get the name Lukr?
Lukr: I love nicknames. I’m always trying to get nicknames going for people. I kind of had this realization that there was this nickname I had gotten from people throughout my life totally autonomous of one another. Everybody that called me “Luker” thought they coined that nickname. My middle initial is R for Robert, which is my grandfather’s name, so my name reads like, “Luke R Foley.” I’d always wanted a nickname, and I just didn’t realize that it was right in front of me like a girl from a romantic comedy. So, that’s how I got the name Lukr. I dropped the “e” because I thought it looked a little cooler. Now, looking back, I think maybe that was kind of cheesy–it looks kind of like Tumblr or Flickr or something–but it’s too late and it’s just a name so who cares.
VM: How do you feel like your time with Farewell Flight shaped your music today?
Lukr: I think it had an influence in ways that I don’t mean it to… I think a lot of my lyrics are almost emo in a way. I think I appeal to a lot of millennials that are mid-twenties because it feels like Taking Back Sunday in a way. So, I think it still has that influence on me. There will always be this kid inside of me that’s in the rock and roll band that’s trying to write the song to get the girl. That’s always going to be a part of who I am.
VM: I definitely noticed the emo/grunge lyrics but also the pop melodies that are catchy enough to remember. How do you blend those two genres together?
Lukr: I just want to write songs that appeal to human beings where there’s no “you have to be this cool to ride this ride” kind of thing. I try to write things in a way that’s honest and real for me. Like, for me, “Fucked Up Summer” is about this experience and this person. One of the lines is “Baby, I can be your backseat lover and you can be my fucked up summer.” I picture a specific car, a specific backseat, a specific driveway. For other people, they might picture a totally different car in a parking lot—they have a different story. But there’s a way to write something that doesn’t exclude people that can still have the details in it.
VM: Do you write more about your own experiences or make up stories and then write from there?
Lukr: As of now, I just write a lot of my own experience just because it’s what I know. This is going to sound really pretentious, but I want to be the Springsteen of the millennial generation. I was born in ’85 so I wasn’t the first millennial, but I’m near the top and I feel like I’ve had the experience of what it is to be a twenty-something and what it means to go from teenager to adult and then adult to grown-up, and it’s the weirdest transition. It’s just a weird place to be, and it’s something I feel like I’m still going through, but I’m just half a block ahead of people in their twenties. I’m able to look back and kind of look at it in context and understand it better, and I don’t feel like I’ve got the sand in my eyes as much.
So, I’ll just write about, like, what it’s like to be in love with somebody and then you break up and then they get engaged to somebody else. That’s just a weird, grown-up feeling! It’s more than somebody just moving on–it’s somebody moving on in a semi-permanent way, and you’re like, “Whoa, we’re all just kids still.”
VM: Do you think that style of writing is part of the reason why your songs have done so well on Spotify?
Lukr: Honestly, I feel like it’s just the right place at the right time. Or maybe I was just in the right place all the time, and then the right time just came, so to speak. I mean, nobody had any idea who I was, and I just picked the first song I fell in love with. When the right song came along, it was “Fucked Up Summer,” and I picked it because it scared me. First of all, it has the word “fucked” in the title, and I’ve got in-laws, I’ve got a grandmother and grandfather, I’ve got a mom, I’ve got nieces and nephews–my family is not going to listen to this song. That kind of scared me, but it’s real and authentic and comes from a real place! I think I released that one because it scared me so much. It’s kind of like my rule that if something scares you, then that means you’re probably supposed to be doing it.
VM: On the flip side of songwriting, do you like performing more or less than writing?
Lukr: I mean, songwriting is still my first love, and it’s something that sort of naturally came to me and I’ve spent so much time developing. Creating the art, to me that’s the most satisfying feeling. And then performing it live is kind of like the celebration; it’s like the wedding reception. So, I like them both. I’d say if you’d asked me that question even six months ago I would’ve said, “Oh, songwriting by far is the more fulfilling thing for me.” But I’ve just recently met this amazing girl, and her name is live performance, and I’ve re-fallen back in love with her. It’s like an old flame, and it’s really exciting.
VM: That’s perfect timing since you’ll be taking the stage at SXSW soon!
Lukr: Yeah, I’m excited! This is the first time I’m ever getting to go, and it’s kind of a long-time coming fulfillment for me, but there’s also a lot of pressure on that. Recently, though, I’ve felt that anxiety just melt away, and I’ve felt the excitement. I think confidence is not cockiness—it’s just awareness of your own capabilities. We were rehearsing, and I feel so good about my band, and all of a sudden I just realized, “Oh my god, I’m playing SXSW.” I’m just excited to get out there and do it. I don’t know, I’m feeling very, very fired up about it.
VM: What shows are you playing at SXSW?
Lukr: I’m playing some SX takeover stuff on the way, but at SX I’m just doing this one showcase at Tellers Upstairs [on Tuesday, March 14]. It’s put on by Nashville pop and pop/rock artists, and it’s called The Nashville House. From what I’ve heard, it’s the very first time there’s ever been a representation of Nashville pop at SX. There’s this kind of emerging, really, really, really cool scene coming out of Nashville that’s just all pop stuff, and I think it’s one of the first times the outside world is really going to get exposed to that. I’m honestly just thrilled that they even contacted me to be a part of it!
VM: Is there a certain artist that you’re looking forward to seeing?
Lukr: NAWAS—he’s from Nashville, and I think he’s one of the most exciting things going on that I’ve heard. So, I’m super excited about him, and then obviously there’s a bunch of other awesome artists at The Nashville House.
VM: And, one last question we always have to ask is: barbecue or tacos?
Lukr: Man, that’s a tough question. I used to make a crazy barbecue that I thought was pretty good…but now, I actually eat a pretty much plant-based diet, so I don’t really eat meat anymore. I love to cook, and I love food. Food is my love language…I’d say out of those two, I’d probably go with tacos as my official answer just because I’ve had some amazing vegan tacos. There’s a place in LA called Gracias Madre, and they have these BLT tacos but it’s totally plant-based. They use this coconut bacon, and it’s amazing.
VM: Since you said you love to cook, do you have a signature dish that you love to make for people?
Lukr: I’ve got this thing that I make called “tater queso” [recipe below]. It’s kind of a recipe I got from a friend that I’ve adapted.
Tater Queso
Ingredients:
2 cups potatoes, peeled and chopped (about 2 med taters)
1/2 cup carrots, peeled and chopped
2/3 cup onion, peeled and chopped (about half an onion)
2 cups water
1/2 cup raw cashews (soaked)
2 tsp sea salt
1/2 tsp garlic, minced (or garlic powder)
3 TBSP Earth Balance or Coconut oil (I half this one but it’s better with)
1/2 tsp dijon mustard
2 TBSP lemon juice
1/4 tsp black pepper
1/4 tsp cayenne
1/4 tsp paprika
¼ tsp cumin
2 tbsp of Nooch*
Note:
*Nutritional Yeast (or “Nooch”) is this flaky deactivated yeast that looks and tastes kinda like Cheeto dust. It’s low fat, gluten free (if that’s your thing), and packed with nutrition (B-vitamins, folic acid, selenium, zinc, and protein). Find it at Trader Joes, Whole Foods, Kroger (in the hippie aisle) or just order it from Amazon Prime like my lazy ass does.
Directions:
1. Start by soaking those cashews in water. If you can get a few hours on them in the fridge dope, if not, still dope. Just cover ‘em up so your cat doesn’t F with them, you’ll need ‘em later.
2. In a covered saucepan, put that H20 on til it starts to boil, then reduce to a simmer. Keep a lid on this the whole time cause you you don’t want that water to reduce, we’re gonna use all of it.
3. While that wawa is heating up, start peeling them taters up, and chop em along with the carrots and onion. I like to chop em pretty fine cause they cook faster. Start throwing them in as you finish chopping and measuring.
4. Toss in the rest of that stuff as you measure it out (ending with the drained cashews). Keep that lid on! Let it simmer for a few minutes, but by the time you’re adding the last ingredient, it should be almost done. Give it 15 min or as long as you feel like it.
5. Pour the whole ding dang thing (including the water) into a blender or food processor. Blend that sumbish for longer than you’d think. Like, 5-10 min or until it’s a creamy texture, depending on your blender/processor. Pour it over some cooked pasta, or steamed veggies, or dip unsalted blue corn chips, or just drank it out of the blender like I do.
