Tag: Athens GA
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Welcome the Sunstones to the Stage
If you have been to any frat party recently, Flicker or even a sorority in Milledgeville, you have probably heard the name Sunstones. This band of four has immersed itself in the competitive music scene of Athens and now, recalls their journey for Vinyl Mag.
The group met while studying at the University of Georgia. Bassist Jackson Burns first met guitarist Christos Kaloudis at Oglethorpe dining hall three days before classes began their freshman year.
Their mutual love for jamming paved the way for the two to join forces with vocalists Cole Maston and Jackson Britt. Soon after, the group began practicing. “We all just feel the energy, even when we’re practicing, not just playing for a show,” said Kaloudis. “It’s almost transcendental.”
Britt found his start as a drummer as early as middle school in Suwanee, Georgia. His mom was his main influence, a 90s musician who found her start on the drumline. Both his parents influenced him towards grunge; however, his personal taste morphed into a mosh-post of hard rock, metal and even a dab of funk.
Maston, born a Michigan native, got his first Squier Stratocaster guitar in 7th grade and the rest is history. Pulling his influences from the passionate depths of grunge vocalists, Maston emits raw emotion in his vocal performances, a discovery he made during his junior year of high school.
In seventh grade, Burns was given his first telecaster by his dad. However, he didn’t start playing until he was in eighth grade when he heard ‘Leila’ by Eric Clapton and knew music was what he wanted to pursue. It was when Burns was in the throws of learning Joshua’s Law in 10th grade that he decided to pick up bass.
Kaloudis’ journey began in a Wal-Mart. He saw a $20 acoustic guitar, bought it and began taking lessons straight away. What started as simply playing the Eagles on this acoustic guitar turned into a full-blown, Zeppelin-inspired electric guitar saga that materialized six months after that compulsive Wal-Mart purchase.
The group debuted in the spring of 2023 at a Sigma Phi party as a cover band melding together their individual influences from The Red Hot Chili Peppers to Pink Floyd to Black Sabbath.
Improvising is the name of the game for the Sunstones. A slight nod or vicious eye contact leads the members to create a sense of organized chaos as they riff off of each other.
“We were playing down in Milledgeville and something went wrong,” said Burns. “But the improv that happened was borderline intentional.”
Since their debut, the Sunstones have played all around and outside of Athens with various bands, finding what playing as a certified Athens local band means to them as a collective.
“A lot of people are really only in bands for the allure of it,” said Maston. “I can confidently say that for all of us, that’s kind of just an added bonus, you know we really enjoy playing music, we enjoy playing with each other and more importantly the whole process.”
Though the group is still a cover band, they have been writing originals since the beginning. With over 30 original songs in their arsenal, they have combined their inspirations and unique rock-grunge sound that vibrates the crowd.
“I think all four of us kind of have our own distinct sound,” said Burns. “When that comes together, sometimes there’s clashing but when we get it right, it sounds really good.”
So what can audiences expect from the Sunstones?
From a small studio, they will be pulling from their large collection of original songs to record demos with Tweed Recording studios here in Athens to deliver a grunge-rock EP that will shake up the Athens music scene. So, keep your eyes open and your ears ready.
Review: Cam and his Dam Jam Band: ‘The Paradise Experiment’
Athens-based Cam and his Dam Jam Band released their first full-length album, The Paradise Experiment, on January 1st, 2024. On the new record, the group hosts jazzy, groovy coffeehouse tunes that drawl on and on, clocking in at just under 50 minutes with eight songs. The album features the band’s 2023 single “Gypsy Magic Woman”, a psychedelic retro-sounding anthem (with an ill-advised concept), as well as an extended version of “Jet Black Moon”, originally released in 2021.
Cam and his Dam Jam Band make ambient music, not typical for the post-streaming world, but like their name, it calls back to an earlier era of jam bands and music made to be enjoyed live. Exemplified excellently by the opening track “Backpack of Stone”, this gargantuan track is nearly 10 minutes long. Except for two songs, all tracks on the record are beyond the 5-minute marker. The focus of the record is on evoking emotions using melody, tempo, and a fun array of instruments.
The musical elements are infused with sparse lyrics that tend to tell a story with only a few changes in wording. “Rob a Bank”, a western-style song, is an entertaining take on the outcast character on the run from the law. Parleying between “don’t rob a bank” and “let’s rob a bank”, the track leans on American mythology, familiar to almost everyone. The track ends in a call-and-response fashion, with lead singer Cameron Norton sounding conflicted as a chorus of voices try to dissuade him.
The diversity in the band’s repertoire is apparent, particularly in the second half. “My Potion / Three Hours Later” featuring two songs in one wrestles with these subtleties. The song begins with a rather romantic sound, which feels almost yearning. As we fade into “Three Hours Later”, the mood shifts into a more melancholy tune, with a bass that underlines the comparative emptiness of the track. “Jet Black Moon” drives further into the melancholia with an increased moodiness and lyrics alluding to isolation and loneliness, singing “ain’t nobody there to hear me now”.
The record wraps, appropriately, like a live show. “Carry Her Away” takes place on stage, a moment where Cam looks out into the audience and pines for a lady he spots, ultimately unable to get to her. He sings “Now I’m searching but she’s on the run / I was hoping that she would stay”. “Afterparty”, the shortest track by a large margin at one minute and 21 seconds, has all the oomph and joy of a celebratory post-show after-party.
Unfortunately, the familiar story of the gypsy invoked in “Gypsy Magic Woman” does leave an unsavory taste. The term “gypsy” comes from the mistaken belief that the Romani, also known as the Roma, originated from Egypt. It’s been characterized by decades of cultural references from Esmerelda in The Hunchback of Notre Dame to songs by Shakira, Fleetwood Mac, and Lady Gaga. Often it refers to a provocative woman, a wanderer, a wielder of dark magic, or a cunning thief, sometimes a mix. The history of the Roma is fraught with decades of persecution across Europe and beyond, spanning genocide during World War II to forced sterilizations into this century. The term gypsy is an extension of that persecution and is seen by most as a racial slur. Thus, it’s unfavorable and objectionable for Cam and his Dam Jam Band to lean into the gypsy stereotype with a song and visuals to back it up. Though, without a doubt, a reflection of the lack of knowledge on the subject in the US.
In The Paradise Experiment, Cam and his Dam Jam Band harken us back to when music at will was indispensable to most, with the live local band being a staple in everyone’s soundtrack, giving us the ambient music we would feel so plain without. Skipping over the poorly titled “Gypsy Magic Woman”, you’ll find an otherwise impressive selection of music to groove and jive to. If the point was to create an advertisement to go and see the dam jam band live already, well then I’d say it worked.
New Artist Spotlight: Wim Tapley
After making the move from Virginia only a few months ago, singer-songwriter Wim Tapley has started making a name for himself here in Athens. He wasted no time once he started attending the University of Georgia in the fall, as he was already playing gigs around town within his first month in the state.
Wim’s music can be considered folk/rock with his own twist that incorporates Americana and pop that fits his raw, real and confident voice. He is a talented multi-instrumentalist with his own creative direction in every aspect of his music career. He produces his own music including his recent EP The Woodlands, which is impressively played, recorded, and produced all by himself. In this EP, Wim uses elements of fuzzed-out guitars, pianos, horns, and his unique vocals to take on the genre of folk-pop while using inspiration from musicians such as Bill Withers, Chris Stapleton, and Ed Sheeran.
Not only is Wim’s music strikingly inspiring and unique, but he is also a new, bright light in the Athen’s music scene. He loves to attend other band’s shows in support, and he is always trying to make new connections around town and play as often as he can. He has already built an impressive fanbase and draws a crowd at every location he plays, including the 40 Watt Club. His self-generated motivation shows through his discography, his lively performances, and his continued effort to create new things and express himself and his love for various genres of music.
Wim’s last solo gig for the foreseeable future is at Akademia Brewing Co. on Thursday, November 11th. He will still be performing around Athens, but as a band under the name of Wim Tapley & The Cannons who will start playing shows in late November. Wim is definitely an artist to watch coming out of Athens, as he has already taken the city by storm in the short amount of time he’s lived here. With a drive and talent like his, he is surely to rise quickly to the top of the music scene here in Athens and beyond.
Check out Wim on his website here, and keep with him on social media: Instagram // Twitter // Facebook // Youtube // Spotify
Review: The Dazy Chains: “Electric Sunshine”
The Dazy Chains, a relatively new homegrown Athens band, didn’t let the past year and a half stop them from writing, recording, and releasing their debut full-length album Electric Sunshine, which came out Oct 8th at midnight. The album cover, like the contents within the album, is a psychedelic piece of art. It features the iconic steeple located on Oconee Street as an homage to Nuci’s Space, where the album was conceived, recorded, and mastered. On Electric Sunshine, the band travels through and merges multiple genres. Elements of psychedelia, rock, grunge, and funk converge with the distinctive vocalizations of Hannah Meachum to top it off. The end result is a garage rock album with different genres peeking through at select moments – a unique tribute to why making music with your friends matter.
The songs on the record are reflective and self-aware, not afraid to admit personal vulnerabilities or shortcomings. The admissions are curt and to the point. On “Counter-Clockwise,” Hannah passionately sings “you tell me I’m broken / well I don’t give a damn.” In “What You Are,” Hannah dryly admits, “you used me now / I’m not the same.” The admission is simple but there is a punch to the delivery. On “Hypnotize,” the narrator’s internal struggle is evident in the lyrics. With a clever shift in lyrics, the narrator’s perspective changes from being intoxicated with someone to feeling betrayed by them. It’s clever yet raw. These songs show that the band is in touch with their intentions and not afraid to vocalize their emotions.
On their debut album, the Dazy Chains frequently time bends, speeding up and slowing down without warning. On “Flow,” slick and rapid guitar licks and drumbeats transform briskly (yet smoothly) into a slower funkier melody. It’s pretty fun to listen to on the record and I imagine it would be just as cool, if not cooler, live.
This album is a melting pot of genres, and it reminds me of why I enjoy listening to local acts and (yet) unknown bands. Making music one cares about is the most important part. Everyone has something they enjoy and being able to bring that to life is a gift. The size of the audience is the least significant part. Congrats to the Dazy Chains for bringing to life a vision of theirs on their debut.
You can catch their album release show TONIGHT at Smith’s Old Bar in Atlanta with Alien Funk Academy and A.D. Blanco as the supporting acts. Doors are at 8 PM. Or you can catch them at this year’s first Nuci’s Space Jam on Monday.
Electric Sunshine by the Dazy Chains is out now on all streaming platforms.
Review: CLOUDLAND: ‘Where We Meet’
As the clock strikes midnight, CLOUDLAND, based out of Athens, Georgia, celebrates the release their debut album, Where We Meet. The four-piece rock group is made up of members: vocalist Zach King, Karmen Smith on drums, guitarist Aidan Hill and Hogan Heim on bass.
The ten-track album was written over the last year and a half, handing us the means to cope with the solitude we have all felt recently but also the relationships we have curated and reinforced, stronger than ever before.
“Sunday Afternoon” eases us into this significant milestone of CLOUDLAND’s —acoustic guitars extend their reach to greet us, vocal harmonies enticing us to stay. Truly depicting of a Sunday afternoon with a hint of what’s to come in the week. And just like a Monday, “Overthinking” wakes us up from our breezy, Sunday haze. “Thinking straight is something I can’t do… while my mind’s on you.” This track stuck out the most to me with a chorus that you just have to loudly sing along to in the car, and the sweet innocence of being absolutely enthralled by another is something that should be cherished. This came out to be one of my favorite tracks from the album; it offered enough in the instrumentals — the punchy guitars, the drums backing up the energy of the song, and the catchy vocals. Personally and a little surprisingly, I found the titular track, “Where We Meet”, to be one of the lesser hits off the freshman album. It reminded me a bit too much of my own youth group days, but that’s trauma to unpack another time.
Next up is the recently released single, “St. Elmo” — the band writes, “It’s about having someone by your side that can take all the confusion of self doubt away by just holding your hand.” Along with track two, “Overthinking,” this is an automatic add to any roadtrip playlist, from Chattanooga to St. Elmo to North Shore. “Lights” is next, a track that gives me hints of nostalgia for the nights I never lived, the memories I haven’t yet created, within in the coming-of-age film I never will star in. Midway, the album is struck by what seems like the tail end of an alien invasion dream, the piano keys of “Sunday Evening” waking you up from your feverish illusion. Continuing on, a track that hit a little too close to home is “Walking Away.” King asks, “Did a dream just die?” A question we might never get the answer if we quit pursuing. But, as a response, “Coming Back,” the moody guitars and instrumentals echo the lyrics, the two deep in conversation. Taking a different approach, “Restless” shows a much more emotionally vulnerable and softer side of the band featuring higher pitched vocals, an entrancing guitar progression, and soft drumming. “I am restless inside of myself. I’m always trying to be something else.” “Perfect Timing” brings it home with bursts of energy we almost forgot existed, closing the album out with a lulling trickle of shoegazy guitar and whispers of harmonies.
Where We Meet is available for listen on all streaming platforms, and Georgia fans, keep an eye out for CLOUDLAND’s show dates in Atlanta and Athens.
Recommended for fans of Moon Taxi, Bad Suns, and Hippo Campus.
Tracklist:
- Sunday Morning
- Overthinking
- Where We Meet
- St. Elmo
- Lights
- Sunday Evening
- Walking Away
- Coming Back
- Restless
- Perfect Timing
Punk’s (fortunately) Not Dead: Monsoon as a Riveting Reminder at Chase Fest
Is there a name for the feeling of suddenly becoming consumed by an energy you’re seeing or experiencing for the first time? When in the presence of some force that’s bigger than you, bigger than any one person could be? Something transformative, some naturally explosive potential, that you feel everyone else needs to be in on or else they’re brutally missing out? Perhaps this feeling comes fairly often to impassioned music fans, and even more narrowly to frequented concert goers. It comes to me most especially as I’m first discovering an artist, or art, in real-time. All I know is that if there were a name for this distinct feeling, then I’d use it quite precisely to describe my experience at Chase Fest the other weekend.
Chase Fest was a wonderfully DIY arrangement of four artists playing outside a warehouse at Chase Park, with the night’s lineup featuring Henry Toland, Heffner, Fishbug, and Monsoon. Everything about the evening felt dynamic, metamorphic, and revitalizing, with all credit due to the intensity that the bands brought. Needless to say, the feeling noted earlier would only amplify as the performances continued through the night.
All were exhilarating live acts relentlessly erupting with raw talent, but the closing act, Monsoon, left an effortless impression on the crowd and vitality of the festival. Monsoon are a punk three-piece as well as a tremendous volume of energy beaming out of Athens, GA; with Sienna Chadler on guitar and vocals, Joey Kegel on drums, and Roan O’Reilly on bass. Perfectly encapsulating the spirit of the evening mini-fest with their high energy songs, their performance was a stark, inconceivably stimulating reminder of the kind of fiery energy I’d felt missing from life alongside the prolonged void of live music.
Aside the near-instant elation, thrill, and passion felt just by once again being immersed in a semi-‘normal’ musical atmosphere, I was also completely staggered by the sheer talent of Monsoon and the intoxicating energy that they casted over the crowd. Shortly into the start of their set was a prompt opening of the pit, and the near-forgotten punk tradition of moshing ensued till the show’s close. Being able to once again be consumed by the enriching energy of a pit played a huge role in affecting Chase Fest into this wildly collective hysteria that I felt infinitely lucky to be a part of.
Monsoon’s sound is fervidly punk, yet striking in its diverse styles and exotic lyrical quirks. Tracks like “Speakeasy” and “Miss Cadillac” off 2015 debut album Ride a Rolla flaunt their capacity for genre fluidity and transcendence within the realms of punk and rock, whereas “Dead,” “Monsoon,” and “Tuck Me In” exhibit a dual ability to merge with the sounds of more commercially refined punk. Upon hearing Ride a Rolla for the first time, I couldn’t help but feel immediately drawn to the music’s unique, comparable distinction to 80s & 90s era primal punk. I found Monsoon’s organic styles to range from Ramones-esque, classically uncut NYC punk to the socially stimulating, riveting riotgrrrl energy of Bratmobile and the Raincoats. And with the electrifying force of a female-led punk rocker, Monsoon are en route to what feels like a resurrection of authentic femme punk.
Stylistically straightforward, fast-tempo’d, and delightfully hardcore, Monsoon is surely on the come-up with an already released collection of diverse, energizing tunes. Through songs like “Geriatric” and “Intro,” we hear dynamic punk versatility, and an exciting glimpse into what could be next through Monsoon’s stylistic development, as we anticipate the release of their new record. If you’re probing for that distinct feeling of abundant and infinite potential, stream Monsoon’s Ride a Rolla, and stay closely tuned for future album and show announcements!
Check out their music, available on Bandcamp and all other major streaming platforms. Also, check out all the entrancing moments captured by talented photographer Kyler Vollmar–link to the show’s digitals, as well as the rest of his lively, visionary projects at https://teethinabag.com/work!
REVIEW: Mary Margaret Cozart: ‘Emerald City’
There have been times over the past year that I’ve felt like a parked car in the middle of the interstate. The world keeps moving forward, just as fast as before, but I’m stagnant. It’s a feeling I think is common among young adults during the pandemic. Their metamorphosis from child to adult was interrupted to return to childhood bedrooms, yet we are expected to come out of this time unaffected. Mary Margaret Cozart’s debut EP, Emerald City intimately explores this arrested development.
An Atlanta native, Cozart came to Athens, Georgia to study classical guitar and music business at the University of Georgia. Like the rest of us, when UGA’s campus shut down due to the COVID-19 pandemic Cozart retreated home. It was here, in the confines of her childhood bedroom that Cozart came full circle, writing songs in the same place she had begun years earlier. Emerald City, Cozart’s debut five-track EP was released today, now available for purchase on Bandcamp and streaming platforms. The EP is intended to “address facets of the pandemic crisis and draw parallels to the Wizard of Oz.”
To be frank, the parallels to the Wizard of Oz are vague at best. Listening to the tracks searching for parallels to the film left me with a headache and questioning my position as a Judy Garland stan. However, once I dropped the search for deeper meaning I found it almost immediately.
Wake up, silly boy, you can’t hide away forever
You know what you’ve got to do
I know you’ve struck out maybe more than the next
But that’s no reason not to pick up where you left.
If I’m a parked car on the interstate, “Like You Should” speaks to the cacophony of honking horns demanding I move. Cozart’s melodic voice seems to address the listener directly, offering both understanding and encouragement to find the strength to reclaim our lives after this forced hiatus.
Fans of Madison Cunningham, Sara Watkins and Faye Webster can find understanding in Cozart’s silvery voice and skilled guitar as we come to terms with who we are and how we’ve changed over the course of the last year. As someone who relies on artists to convey the feelings I am incapable to name, I look forward to seeing what deeply personal, yet universal message Cozart captures next.
Track-By-Track: Humble Plum Talks Debut ‘Seventeen Hours’
Athens, GA-based Humble Plum’s debut album, Seventeen Hours, out now. Humble Plum is composed of Daniel Hardin John Ilardi and Josh Johnston. Ilardi and Johnston are students in UGA’s music business program, affectionately monikered as MBUS, and Hardin graduated the program in 2020. Childhood friends Hardin and Ilardi reconnected at UGA and brought Johnston into their fold.
The album title, Seventeen hours, refers to the 17 hours in which the group wrote, recorded, mixed, and mastered the album. When Hardin first suggested the idea Johnston kindly told him to get some sleep. The next morning, still adamant, Hardin quickly got Johnston and Ilardi on board. “We just wanted to see if we could do it,” said Johnston.
The rules were simple: The album had to be completed in one day and absolutely no thought or planning could take place prior to the day the group had set aside to make this album. The group “didn’t think anyone would listen” to Seventeen Hours, they just made it for the fun of creating music together. The result is joyful chaos. The album feels raw and personal in a completely new way.
We asked Humble Plum to take us through each track on the album and give us further insight into the making of Seventeen Hours.
Check out their track-by-track rundown below, and be sure to queue up the album stream below.
Johnny
Starting with a guitar riff, Hardin penned some lyrics about his friend and bandmate John who “has a really nice car and is always down to jam.” The first song on the album, “Johnny” was written and recorded between 7 a.m and 9 a.m and then forgotten until putting the final album together.
Hey Jere!
Johnston really wanted to make a Jere Morehead diss track and a punk track. Both wishes were met with “Hey Jere!” The track gave current students Ilardi and Johnston an opportunity to air their grievances with the president of UGA on the university’s handling of COVID-19. Lyrics include gems like “I can’t go to the beach, but I can go to a game? Why don’t you learn to spell your own name?”
Is That A Bee?
In a jarring transition from “Hey Jere!”, “Is That A Bee” is a mellow reggae track that questions Jerry Seinfield on why he ended Seinfield and made the Bee Movie. The track’s composition started with an off-beat guitar and reggae drums inspired by Sting’s “Englishman In New York.” Hardin wrote the lyrics in 10 minutes “on pure instinct.”
Rest in P-Bass
A somber addition to the album, “Rest in P-Bass” was a collaborative effort about a bass guitar Johnston sold and missed dearly. The song utilizes a mandocello, which is a baritone mandolin that adds to the tracks depth. The humor in writing a song about a bass with the same level of sincerity as a break-up ballad is not lost on the trio. “There is definitely an element of funny in the sad,” said Johnston. “It’s overly dramatic for sure.”
Intermissionary Funk
“Intermissionary Funk” forgoes lyrics to let the track’s instrumentals shine. The first of two instrumental tracks on the album, “Intermissionary Funk” harkens back to the funk-rock backings popular in the early ’70s. While Hardin’s drums and Johnston’s bass ground the track, the guitar is what makes the track noteworthy. In a unique approach, Hardin, Johnston, and Ilardi took turns playing guitar adding the slightest variety to the tracks uniting riff.
Mother Russia
Johnston lived in Bulgaria for five years, which has become quite the joke among the friends and was the impetus for Johnston to write “Mother Russia.” The instrumentals for the song are “basically the Tetris song” according to Johnston. Interestingly, the theme to Nintendo’s 1989 video game actually started its life as a 19th century Russian folk song “Korobeiniki.” The song was recorded using a 1969 Soviet Union microphone. “It sounds like you’re yelling in a bread line,” says Hardin. Ilardi describes the mics effect as “aggressive” which is why they also used it on the track “Hey Jere!” The song was recorded in one take with Ilardi holding the mic up to Johnston, turning red with suppressed laughter. Hardin calls the track “a glorious tune.”
2nd Best Friend
“We all have that friend we like, but also find them annoying,” said Ilardi when asked about the concept of “2nd Best Friend.” It’s about your back-up friend. The song was inspired by Flight of The Conchords “Most Beautiful Girl in the Room” taking the song’s concept of calling someone “the most beautiful girl,” but qualifying it with “in the room. Humble Plum does something similar by qualifying “best friend” with “2nd” making the track kind of mean, but very relatable.
Thank You Caledonia
“It’s the sad one on the album,” said Hardin in reference to “Thank You Caledonia” Humble Plum’s ode to the iconic Athens music venue. Ironically enough, when the group decided to write about Caledonia, they thought they were going to make another funny song. It is when the group started actually writing the song and reflecting on what the loss of Caledonia meant to them that the song turned into the heart wrenching goodbye heard on the album.
Siri
The guitar for “Siri” was written at 7 a.m and put aside for about 12 hours when the band started building the rest of the song. Hardin developed the drums taking inspiration from Cloudland drummer Karmen Smith. “We wanted a song people could jump to,” said Ilardi, and “Siri” is just that. The track’s title comes from the lyrics which the group wrote using predictive type making the song completely incomprehensible.
The Mighty Oconee
The second instrumental track and final album track is “The Mighty Oconee” a joke because as Johnston explains “the Oconee is anything but mighty.” The track has an Americana vibe produced by the layering of various string instruments including banjo, mandolin, and mandocello.
Reviving the Soul at Wildwood Revival
Just outside of Athens, GA, on a historic 30-acre farm there is an intimate, thoughtfully curated boutique festival being held this weekend. Tailored towards a truly unique music and cultural experience for all, Wildwood Revival‘s three-day event combines the soul of a juke joint, the wild spirit of a honky tonk, and the camaraderie of a supper club. It’s a little bit country, a little bit rock n’ roll, and everything in between.
“One of our goals with Wildwood Revival is to ‘revive community’ as well as support the style of music and makers who are bringing back the sounds and craftsmanship of older times,” says Festival co-founder Libby Rose.” We wanted to take the feeling you get from visiting places like small town juke joints, honky tonks, farmers markets, swap meets, front porch parties and supper clubs and bring those elements to the farm in the form of a festival.”
The lineup boasts the likes of Gillian Welch, The Lone Below, Houndmouth, Hackensaw Boys, Legendary Shack Shakers, and many more. In addition to the music, Wildwood Revival features a plethora of activities. From nights that are filled with dance parties, sing-a-longs under the stars, and bonfires, to morning yoga classes, wiffle ball games and farm-to-table brunches, this festival is truly unlike any other.
If you find yourself close to Athens this weekend, make sure Wildwood Revival is on your radar and you make your way to one of the most unique festivals in the Southeast.
Futurebirds: ‘Hotel Parties’
Everything you know and love about Athens, GA band Futurebirds remains in their newly released studio album, Hotel Parties. The twangy hollered harmonies, the distinguishable fusion of country and atmospheric indie rock influences, and the lingering reverby sound can all be checked off the list, yet this time in a more polished package. The rambunctious band, whom I first had the pleasure to see in 2012, has cleaned up their style a bit. But don’t be fooled; this album has the band’s name written all over it.
Hotel Parties, which is the band’s third studio LP, is an ode to the duality of life. Futurebirds guitarist Thomas Johnson adds that it is about “the give and take of life; dreams vs. reality; loving vs. longing; wanting to grab life by the horns vs. needing to chill…I could go on forever. With a touring band, the home vs. road theme comes to the forefront daily.” It is simultaneously an anthemic roll your windows down kind of album that you can also listen to before going to bed. Either way, the album brilliantly captures the band’s outerworldly sound and energy; truly, it features some of their best work to date.
To kick off their promotion tour, the 5-piece band came home to the Georgia Theater in Athens, GA to give their fellow Athenians a first glance of this stunning work. The 11-song record was highly anticipated among their many fans, as they have steadily gained traction outside of Athens since their forming in 2008. For what seems like one endless tour, they have made their mark at many reputable venues and festivals. This fall will be no different; their tour schedule features dates in both Southern college towns and large metropolitan cities to promote this album.
Be sure to check out Hotel Parties as well as one of their live shows if you get the chance; these Georgia boys will not disappoint.
10/02 – Mercy Lounge – Nashville, TN
10/03 – Zanzabar – Louisville, KY
10/04 – Cosmic Charlies – Lexington, KY
10/06 – The Bishop – Bloomington, IN
10/07 – Southgate – Newport, KY
10/09 – The Southern – Charlottesville, VA
10/10 – Black Cat – Washington DC
10/11 – The Camel – Richmond, VA
10/13 – Mothlight – Asheville, NC
10/14 – Revelry Room – Chattanooga, TN
10/15 – Saturn – Birmingham, AL
10/16 – Montgomery Museum – Montgomery, AL
10/22 – Proud Larry’s – Oxford, MS
10/23 – Martin’s – Jackson, MS
10/24 – One Eyed Jack’s – New Orleans, LA
10/27 – Lightbulb Club – Fayettesville, AR
10/28 – Riot Room – Kansas City, MO
10/29 – Rose Music Hall – Columbia, MO
10/30 – The Bootleg – St. Louis, MO
10/31 – Subterranean – Chicago, IL
11/02 – Beachland Tavern – Cleveland, OH
11/03 – The Basement – Columbus, OH
11/04 – Mohawk – Buffalo, NY
11/05 – Higher Ground Showcase Lounge – Burlington, VT
11/06 – Great Scott – Boston, MA
11/07 – Press Room – Portsmouth, NH
11/10 – Iron Horse – Northhampton, MA
11/12 – Bowery Ballroom – New York, NY
11/21 – Music Farm – Charleston, SC