COACHELLA RECAP: the comeback of Coachella?

Posted on by Alex Carrillo

Indio, California really brought the heat this year, as fans have crowned Coachella 2024 as one of the best versions of itself in a long time. From an (eccentric) lineup, to surprise guest artist features, Coachella proved the world that it was more than just a music festival this year. In this article, we delve deep into the essence of Coachella 2024, exploring its musical highlights, artistic endeavors, cultural significance, and the moments that defined this iconic festival experience.

Tyler the Creator, AKA the stuntman

Tyler Okonma, who is best known as Tyler the Creator, has recently taken the music industry by storm, with much acclaim that he is one of the best rappers in the business. He once again proved this statement during Coachella, as his headlining act was argumentably one of the best performances during the music festival. From his stage presence to the guest artist features, Tyler knows how to engage his audience.

The performance started with a bang (literally), with Tyler exploding through a fake setup for “Igor’s theme”. As the show went on, Tyler was able to feature all of his albums and previous personas, as songs such as “Tamale”, “Tron Cat”, and “See You Again” were performed. It’s safe to say that he was able to please his new post-flowerboy era fans, as well as his die-hard Odd Future fans during these two weeks in Coachella.

Along with his diverse setlist, Tyler brought out acclaimed artists on stage, such as Kali Uchis for “See You Again”, Charlie Wilson on “EARFQUAKE”, and A$AP Rocky on “WHO DAT BOY” and “Potato Salad”. A highlight of the show was when Tyler brought out Childish Gambino on “RUNNING OUT OF TIME”, who has not performed in the United States since pre-covid times. This has since gained traction for Gambino, who started to tease his upcoming album and tour on his website Gilga Radio. Some fans were a little upset with the sharp contrast between week 1’s guest artists versus week 2’s guest artists, as week 2 only featured Earl Sweatshirt. Regardless, both weeks were huge hits for Tyler, the Creator. 

Doja Cat, a woman of many talents 

Doja Cat absolutely rocked both weekends of Coachella with a stunning set, and fans couldn’t get enough of it. The LA-based artist was the second female Black artist to ever headline at Coachella, behind Beyonce. Many speculated as to whether or not Doja Cat could compete with the infamous “Beychella” performance. Spoiler Alert: She killed it.

Throughout the entire hour-and-a-half performance, all eyes were on Doja and her electric stage presence. Fans had to keep their eyes peeled the entire time, as every second featured chaos, in a good way. Some of the most notable moments were her outfit changes. The artist performed her older hits with a blonde wig that reached her ankles, along with backup dancers who wore body suits of golden locks. During the transition, a curtain was draped over the artist and showed a silhouette of herself shaving the hair off, featuring her natural hair.

Another highlight of her performance was the wide array of artist features, such as A$AP Rocky, Teezo Touchdown, and 21 Savage. Overall, Doja’s chaotic performance was exactly the performance that encapsulated the artist’s personality, which is why her set was one of the top performances of Coachella for the year. 

Chappell Roan, a rising icon for the Queer community

Missouri-based singer Chappell Roan had already taken the music industry by storm. At her first-ever Coachella performance, she gained even more traction. With choreographed performances in songs such as “Hot to Go!”, she kept her audience engaged, all while cracking funny jokes. 

Roan’s outfits were nothing less than fabulous, as fans were mesmerized by her diverse array of runway-worthy fits such as her butterfly dress, and her leotard bodysuit that said “eat me” in big bold letters. Everything that Roan did was breathtaking, and she has officially left her mark on Coachella grounds. With her upcoming summer tour, her fanbase will continue to grow, and Roan will rise in popularity as the months go by.

What went wrong? 

While this year’s Coachella was one for the books, there were still some shaky moments. During Grimes’s week one set, she experienced a public breakdown due to technical difficulties. Grimes, fortunately, redeemed herself in week two with minimal technical difficulties.

Kid Cudi unfortunately did not execute his performance flawlessly, as he jumped from the stage and broke his ankle. The artist was then carried out of the venue and had to be treated immediately.

In comparison to last year, Coachella for sure made a huge comeback this year. With outstanding performances, Coachella will be on the rise of popularity once again as one of the best music festivals to attend.

UGA MBUS Student Ritika Sharma Forges Her Own Pathway

Posted on by Libby Hobbs

At ten years old, Ritika Sharma learned how to play the guitar—but upside down. Her father, who was left-handed, refused to buy her the instrument because she often struggled with sustaining a hobby. 

“After a week, I’d be like, ‘I’m bored.’ He didn’t believe that I would stick with it. So, I learned the guitar upside down,” Sharma said. 

Now, Sharma carries a dedicated spirit, with her seventh song “Love You Have Left” being released in late March. Even though she started writing songs at ten years old, she has wanted to pursue a career in music since she was 14—not giving up on her musical journey. 

Sharma describes her music as “textured.” She doesn’t like to label or confine it to a particular genre, having learned rock from her father, talking heavy metal with a former boss, and being classically trained all the while.

Instead, she often asks herself what mood she wants to create, letting the lyrics stand for themselves in the absence of production, and vice versa. 

“If you took the lyrics away, the production would shine, it would tell a story. And, if we took the production away, the lyrics still tell a story—that’s a test I do with all my songs,” Sharma said. 

As a student in the University of Georgia Music Business program, Sharma says she’s learned that she can forge her own pathway, with each musician’s route to success being different. She currently has a mix of singles and an EP released. Vinyl Magazine met with her to discuss some of the lore behind each. 

For The Fish

I think [with] the oceanic-like ambiance, I wanted it to feel like two fish were singing to each other. I think I kind of accomplished that. It was my first fully produced song. So, it’s definitely a learning process. I don’t think it’s a perfect song, but it’s really cool to see my progress. 

Arabella

I wrote this about a friend I had in high school who was going through a rough time. She would always be like, ‘Oh I’m trauma dumping.’ And, I’ll just be like ‘Girl, you’re my friend, I want to hear about everything that’s going on in your life.’ … I don’t talk to that person anymore. But it’s weird because people are in and out of your life, but songs can just stay with you. And I think about that person a lot. So, I think that song just means a lot to me because it was about a special person.

Water Fights

That one’s about a relationship that just changed and shifted, it wasn’t the same as when it first started. I think that was just about youth and friendships.  I think we have a lot of these friendships early on that just changed. It’s folk-inspired, and I just really liked the guitar melody.

14

That song was about middle school. I think growing up, I was in a very racist county. I’d get angry, my natural expression initially was anger. … But, my dad had a very kind expression, he thinks they don’t mean it like that—we have a different outlook on what people mean and why they do things. … That song was about [how] we’ll never be on the same page about how we want to react to things, how we want to treat other people… you can love people and them not think the way you do. 

The Bear

The Bear was the first song I technically posted on TikTok and got me thinking about putting songs out publicly. … I wrote that about [how] it’s like the grass is greener on the other side—you have this bear that’s outside of a cave and a man who’s in a cave, and one wants to leave and one wants to be in the cave. There [are] positives and negatives to both sides. … I think it’s some of my best lyrics. 

Sweet Bitter

It was the first time I was genuinely amazed by [the] stuff I created. … Usually, I would write, and then what my rough draft was was also my final draft. But, this was the first time I was like, ‘How can we edit this? How can we make it better?’ … So it started folk, turned R&B at one point. We meshed them, so the third section has R&B melodies if you really listen to it. It’s like four completely different sections that kind of signify the healing process. I think it perfectly takes you through you going insane and feeling not healed to being healed by a person who may have affected you. And it’s that sweet bitter feeling—you love them, but it’s time to move on. And, you also hate them.

Love You Have Left

I did it for an MBUS class. I had to do it so quickly… I had like multiple people, my friends who were trusted sources, who said ‘This one had some sauce to it, put this out.’ It was more [of a] pop sound. I didn’t want to go back to folk, I was like ‘Let me keep it pop.’ The hardest part was the ending, and I think I achieved a good ending. And again, texture [and] ambiance was really big to me. I think it’s some of my best lyrics, the melody is really catchy.

Staff Picks to Satisfy Your Inner Choir and Band Nerd

Posted on by Libby Hobbs

Whether to help you study or because you’re actually a choir/band nerd, orchestral and choral music are a staple. Personally, I’ve been singing in choirs since middle school, discovering many fantastic pieces throughout my years. 

Even though it’s not your typical pop music, orchestral and choral music still has the ability to reach souls and spark memories. I’ve often found myself in my deepest reflection when I’m listening to pieces like these. 

So, three Vinyl Mag staff have each chosen songs to add to your orchestral and choral playlists, hoping they satisfy that inner band and choir nerd we know lives in each and every one of you. Check it out below.

Staff Picks for Your Perfect Granola Playlist

Posted on by Libby Hobbs

With the weather warming and summer swiftly on the way, it’s about time to break out your favorite “Life is Good” T-shirt again. The chacos make a reappearance, and driving with the windows down is back “in.” The only thing missing — the perfect granola playlist to transport you away from Athens, Georgia, and into the Colorado mountains instead. 

The “granola girl aesthetic” has been something I’ve long aspired to have. The carefree and folky vibes that radiate off every granola person ease my type-A persona. I like to imagine myself in the woods with the sun on my face and growing my chaco tan line. 

With that spirit in mind, three of our Vinyl Mag staff have each chosen songs for your perfect granola playlist this spring and summer. Some are perfect for driving and others would be ideal for a night campfire. Check it out below.

Promotional poster for "indigo girls: it's only life after all" set on a pale pink background with an image of Amy Ray on the top left corner and Emily Saliers on the bottom left. Both women are pictured sitting on a chair with a guitar.

‘It’s Only Life After All’: The Legacy of the Queer Folk Women Duo, Indigo Girls

Posted on by Buket Urgen

With four decades behind them, Emily Saliers and Amy Ray, the women behind the Indigo Girls, are in the midst of a victory lap. Despite a loyal fanbase, evocative songwriting, and artistic consistency, mainstream success and popularity evaded the Girls. As openly queer musicians since the 90s, the duo was stunted by misogyny and homophobia for most of their careers but widely embraced by the LGBT+ community since their early days. Now, with a resurgence in interest for their folk-rock songs following a prominent feature in the Barbie movie, and a documentary directed by Alexandria Bombach, the Indigo Girls are being recognized as the trailblazers and community beacons they were.

Their documentary, It’s Only Life After All, premiered at the Sundance and the Tribeca Film Festivals in 2023. This month, it’s finally hitting movie theaters at select locations on April 10, with early screenings in their hometown of Atlanta, Georgia.

Its first two theatrical showings took place on March 29 at the Tara Theatre to a crowd of eager fans who’ve supported the Girls for decades, the young adults and teens those fans raised, and Salier’s and Ray’s family and friends. After the showings, the duo and the director were present to answer questions from the crowd, followed by acoustic performances of “Shame on You” and “Closer to Fine” (AKA “the Barbie song” as Ray called it)

Amy Ray (left), Alexandria Bombach (center), and Emily Saliers (right) at the 2023 Sundance Film Festival. (Photo by Leon Bennett/Getty Images)
Amy Ray (left), Alexandria Bombach (center), and Emily Saliers (right) at the 2023 Sundance Film Festival. (Photo by Leon Bennett/Getty Images)

Bombach, who met the duo through a mutual friend in 2017, became interested in making the Indigo Girls documentary after a quick Google search revealed there currently wasn’t any. During the Q&A, Saliers and Ray gushed about already being big fans of her work, which made it easy for them to get on board with the project. The result was a film that left moviegoers laughing and sniffling interchangeably for two hours.

Except for brief clips featuring fans and family members, Bombach largely allows the Indigo Girls to speak for themselves through the two-hour documentary. The movie is interspersed with old interview footage and decades of private cassettes that Ray recorded. With the addition of the newly recorded footage, Bombach shared that she combed through a whopping 1,000 hours to make the film.

With the help of Bombach’s directorial hand, Saliers and Ray radiate an authenticity uncommon in most rockumentaries.

With the wisdom that hindsight brings, Saliers and Ray speak candidly about their early experiences, able to understand their younger selves with a loving, delicate, and brutally honest perspective, while gracefully exploring their shortcomings.

As in everything else they do, the documentary centers the women’s activism and political involvement. Saliers and Ray were always more interested in the palpable community their music formed than celebrity status. At one point in the film, Saliers says, “It was always about community—the feeling you get in a room with people you are singing to.”

In the documentary, we watch them contend with the naivety of their earlier social activism. They mature from slogans like “save the earth” and “recycle” to more nuanced ecological perspectives embodied by Native Americans. Their dedication grows but they take up space only to support the voices of others. A little later in the film, when the Indigo Girls are at a rally for Black Lives Matter, the speaker introduces them saying “They weren’t even here to sing. They only wanted to support and since we know who they are we want them to sing.”

There’s an almost comical aspect to how different they are and yet, their differences complement each other well and the admiration they hold for one another is evident.

Saliers, raised on folk, is often featured wearing brighter colors. Ray, raised on punk and alt-rock, gravitates to darker tones and grungier outfits. More notably, they have striking differences in personality. Ray, trailing a year behind Saliers, looks up to Salier’s diplomacy. Ray says of herself, “I was always so angry. It wasn’t healthy.”

Saliers, the more reserved of the two, initially avoided coming out publicly as a lesbian. While Ray at one point in the film says, “I’ve never been in the closet.” Over the years, they’ve spoken candidly about the impact internalized homophobia has had on their self-esteem. They reflect on the jokes made at their expense and spaces they’ve been excluded from as Bombach shares with us pieces from the past.

The documentary is personal and intimate, but somehow the story feels so much bigger. With the help of Bombach’s directorial hand, Saliers and Ray radiate an authenticity uncommon in most rockumentaries. On the screen, fans give sincere odes to the band that quite literally saved their lives, and the theater audience whoops and cheers in recognition. Others shout back “They saved my life too.”

Bombach’s insightful touch, the sincerity and introspection of the Indigo Girls, and the community surrounding their music set this rockumentary apart from others. The Indigo Girls are a beacon. Rather than the cult of celebrity, the air surrounding them is decidedly different. The space feels uniquely democratic. This is a documentary you don’t want to miss the chance to see in theaters.

Review: Jazz Ensembles Performance in Ramsey Concert Hall

Posted on by Libby Hobbs

Jazz music not only has the ability to transport us back in time through various musical eras but also to old memories in our lives. On Wednesday, April 3, I traveled to the streets of Paris, France, and also to past loves in my own life because of music performed by the Jazz Ensembles in Ramsey Concert Hall. 

There were two ensembles: Jazz Ensemble I and Jazz Ensemble II. According to the Hugh Hodgson School of Music website, Jazz Ensemble I consists of more advanced students and comprises saxophones, trombones, trumpets, drums, piano, guitar, and bass. Jazz Ensemble II, however, is an introductory ensemble that allows students to refine their improvisation skills. 

Jazz Ensemble II performed first. Immediately, I could pick up on the group’s cool and collected vibe. The director and Assistant Professor of Jazz Piano and African-American Studies at Hugh Hodgson, James Weidman, thanked audience members for being there on the “lovely spring day” and said the ensemble was having a good semester exploring all kinds of sounds. 

They opened with a fun piece “Day by Day,” followed by a smoother, slower, relaxing piece called “I can’t get started,” which is by Vernon Duke but was arranged by a friend of Weidman’s.  

However, my favorite piece they performed was their third, “Parisian Thoroughfare,” arranged by Mark Taylor. It starts with exciting rhythmic clacking and buzzing runs to signify the bustling, crowded, and chaotic feel of these Parisian streets. As I looked around, many people were tapping their legs to the beat. 

At first, the noises startled me, though. I quickly adjusted and really enjoyed the excitement of this performance. I imagined myself riding on a bike through these narrow roads, barely dodging the various shops and people nearby. There was a guitar solo that felt a bit out of place initially, but then I began to follow the progression of notes. 

Ensemble II closed out their program with a funky piece by Gerry Mulligan and a smooth one with nice progressions called “Blue Skies” by Irving Berlin. 

Not only was Ensemble I physically larger, but they also played a couple more songs. The band was directed by David D’Angelo, a Senior Lecturer of Jazz at HHSOM. They opened with “The Blues Machine” by Sammy Nestico and continued with “Jitterbug Waltz,” arranged by Eric Richards. 

The University of Georgia Hugh Hodgson School of Music Jazz Ensemble II performs in Ramsey Concert Hall on Wednesday, April 3, 2024. (Photo/Libby Hobbs)

I noticed several small interactions between the band members in this ensemble, which made me smile in the audience. I could tell they were all close with one another and valued the others’ artistic craft. Many would cheer each other on during soloist moments.

Similar to Ensemble II, the third piece performed by Ensemble I, called “When I Fall in Love” by Victor Young, was one that lodged me back in time. It was a beautiful ballad that left me deep in thought and reflection, which I always value when music moves me like that. 

I especially loved the descension of chords at the end because it felt like stages of falling in love. It didn’t resolve right away and teased a more minor sound, which made me think of conflict and left me wondering if maybe this romance wouldn’t work out. But then, it settled into a nice chord that had a bit of dissonance — leaving a little room open for the future. 

They also closed with a love song, Alan Baylock’s arrangement of “What Is This Thing Called Love?” It featured a drum solo that I really enjoyed following. Ensemble I also played “Moten Swing,” a crunchy and anticipatory piece called “Evidence” by Thelonious Monk and arranged by John Clayton, and Callum Au’s arrangement of “Let Battle Clements.” 

However, my favorite performance by Ensemble I was “Sister Sadie.” The main melody was catchy and memorable. It reminded me of a sweet but sassy southern woman that everyone in town swooned over. 

The soloist who performed this melody on alto saxophone did an amazing job—they really got into the music, sliding into certain notes and then whispering the theme before belting it more loudly like a back-and-forth interaction. In the end, the saxophonist and trombonist actually did go back and forth in their improvisations, and I enjoyed watching this enthusiastic and emotional performance.  

This was my first time attending a Hugh Hodgson Jazz Ensembles concert—but it certainly won’t be my last. I’ve watched the school of music put on a jazz concert before, but I really enjoyed both ensemble’s ability to lodge me in place or memory on Wednesday night. 

Several others seemed to agree because this was one of the most packed nights in Ramsey Concert Hall that I’ve experienced. I look forward to Jazz Ensemble’s future shows and what new feelings may arise then.

UGA Concert and University Band Bring Whimsical and Exciting Performances

Posted on by Libby Hobbs

The University of Georgia’s Concert Band and University Band both performed in Hugh Hodgson Concert Hall on Wednesday night, delivering a whimsical and exciting show. Each band performed five songs, with the Concert Band’s theme being “Dragonfly” and the University Band’s theme being “Darkness into Light.” 

Both bands were composed of mostly non-music majors, displaying a variety of students and music. Overall, attendees left feeling as if they were transported into fantastical worlds, celebrating the power of music.

“It’s worth experiencing and taking the trek to the music school to have these experiences and listen to this because it’s really beautiful seeing what other students on campus spend their time on. And, music’s always a great outlet for us to experience art,” Erika Rosenzweig, a senior landscape architecture major, said.

Conducted by R. Scott Mullen, the Concert Band started with a bang. They performed the following:

  1. “Dragonfly” by Katahj Copley
  2. “Contre Qui, Rose” by Morten Lauridsen and translated by H.Robert Reynolds
  3. “…and then the Universe exploded” by Olivia Kieffer
  4. “Song for Lyndsay” by Andrew Boysen, Jr. 
  5. “Caravan” by Chandler Wilson

The program’s namesake, “Dragonfly,” took listeners on an adventure. According to the program notes, Copley was inspired by the Japanese film composer, Joe Hisaishi, famously known for his work in Studio Ghibli films. 

“I wanted to use [Hisaishi’s] colors and his palette to paint a picture of intensity, beauty, and adventure. From the beginning of the piece, it is an explosion of color and energy,” the program note said. 

“Contre Qui, Rose,” on the other hand, is a French poem intended to leave questions unanswered with unresolved harmonies, according to the program note. 

“Against whom, rose,

Have you assumed these thorns?

Is it your too fragile joy that forced you 

to become this armed thing?

And from whom does it protect you,

this exaggerated defense?

How many enemies have I lifted from you who

do not fear it at all?

On the contrary, from Summer to Autumn

you wound the affection that is given you.”

From “Contre Qui, Rose”

As the program continued, the pieces built in excitement too. Despite the seemingly daunting name, both “…and then the Universe exploded” and “Song for Lyndsay” were joyful pieces. The program note said that sometimes, the very end is the most beautiful.

Finally, “Caravan” walked audience members through the desert regions of the Arabian Peninsula, North Africa, the Levant and Mesopotamia. Denise Deal, a consultant for the Sassafras Group, said this piece was her favorite. 

“It was fun … the young adults seemed like they had a lot of fun playing it, and you could tell,” Deal said. 

Deal felt like the program’s theme, “Dragonfly,” was very fitting for spring. It made her think of walking through a garden with all the winged bugs. She was happy to support her daughter, who played in the University Band, and support what she thought was “treasure for the community.”

The University Band, however, started on a darker note. Conducted by Brett Bawcum, they performed the following: 

  1. “The Cave You Fear” by Michael Markowski
  2. “On Shores of Endless Sea” by Kevin Day
  3. “España Cañi” by Pascual Marquina and arranged by Robert Longfield
  4. “Scrapin’” by Benjamin Horne
  5. “Illumination” by David Maslanka

“The Cave You Fear” was a suspenseful and mysterious piece, serving as a “thrilling call to adventure” that urged listeners to venture outside their comfort zones, according to the program note. Dalton Self, a junior mechanical engineering major and trombone player in the University Band, said this piece was the one he was most excited to play. 

“It’s one of the more darker ones. There’s this really cool low brass feature towards the end, and because, you know, trombones, we kind of like that stuff,” Self said. 

“On Shores of Endless Sea” was meant to represent a paradise of “immense beauty and majesty,” according to the program note. The piece was based on the hymn “Called by Earth and Sky,” which has the verse: 

“Precious these waters endless seas, deep ocean’s dream, waters of healing, river of rain, the wash of love again.” 

Rosenzweig said this was her favorite piece because it felt magical. She was reminded of Disney’s “The Little Mermaid” and said she could see herself on a boat, rowing along.

“España Cañi” is a popular pasodoble, a fast Spanish military march song. Andrew Niemann, freshman computer science major, plays trombone in the University Band. He said this piece was the most fun to play. 

“Scrapin’” and “Illumination” were both energetic songs, with “Scrapin’” incorporating elements of trap that had the audience nodding their heads to the rhythm. “Illumination” had the goal of sharing creative energy with a community through music, the program note said. 

Both Selft and Niemann expressed similar sentiments, saying they hoped their “Darkness into Light” performance drew more people to the music school who appreciated their musicianship.

“I think it’s especially important at this this time of year—a lot of students and adults start feeling burnt out. It’s really nice to take a moment to appreciate the fact that there is a transition between darkness to light, day into night, sadness into happiness, and I think that they portrayed that really well,” Rosenzweig said. 

Concert Diaries: Em Beihold Shines on Stage

Posted on by Buket Urgen

Em Beihold’s rising star took her by surprise and later tonight, she’ll tell us the story. Despite her shock, she has gone on to tour with an impressive array of artists like Lewis Capaldi, King Princess, and the Jonas Brothers. A lifelong musician, Beihold didn’t believe she could make a career out of music, but now, almost through with her first headlining tour, Beihold is steadily building up her budding fandom. In Atlanta, on a chilly Monday Night, she visits Terminal West, a humble venue with a capacity of 625.

The night’s opener, Will Linley, a boyish pop artist hailing from Cape Town, South Africa is a natural charmer and a flirt with the romantic and sensitive songs to back it up. Before “Gracie”, a song in which he ruminates over the identity of his future wife, Linley called out a fan in the front row—”the girl in the green shirt”—and asked for her name, Mary. Then, he slipped her name in towards the end of the song, singing “Mary / I know that you’d be the one to save me”.

For someone on his first-ever U.S. tour, he showed off a surprisingly convincing southern accent. Before heading off the stage, he plugged his upcoming single “Blame” with a live debut before it officially releases on April 5th. Then he headed off, leaving us waiting for the main act.

As the lights lowered, an extended introduction to “Roller Coasters Make Me Sad” played over the speakers. Beihold’s guitarist and drummer took their places and then, Beihold pranced in, heading straight into the first verse with an infectious energy.

Bantering back and forth with the audience, she joked that the next song, “12345”, was for the “anxiety girlies.” Mental health is a common theme in the 24-year-old’s music. She openly shares her struggles surrounding it through her songs, which her listeners tend to connect most immediately to. As a part of her advocacy efforts, she noted that each ticket sale from the tour contributes $1 to Active Minds, a non-profit leading efforts to take mental health seriously, especially for students.

Beihold’s relatability stems from her earnestness. In each song, she offers a fresh perspective on the realistic struggles of being a young adult in the modern age. She builds on this with each track on the setlist. In “Too Precious” she embraces her introverted tendencies, poking fun at the expectation of what it means to be “cool” at her age.

Before playing “Groundhog Day”, an undeniably relatable track, she tells the audience that this is the track that launched her career. She says she’d resigned herself to working as a production assistant for the Voice—”that’s like music-adjacent right?”—after being rejected by reality TV talent shows and her college’s a cappella group. And when “Groundhog Day” was embraced by audiences, it landed her a record deal from Republic Records. On the stage, she opted to play her keyboard as she sang it.

Then, she graced audiences with a live performance of an unreleased track, “Extraordinary”. Driving home her relatable persona, the song explores the constant pressure to be and do great things in your life, the thoughts that lead to those late nights when you realize you’ll never be the president or that 12-year-old competing in the Olympics. She contemplated with the audience “I don’t know why I’m so consumed by how history sees me.” She muses in the chorus “Optimism / tricked me / and it made me believe / that the only way to be / is extraordinary”.

After the Los Angeles native sang “City of Angels” about all the fakers in L.A., she invited her friend/merch coordinator, Leah, to the stage to back her up as she sang “Until I Found You”, a nostalgic song in which she joined crooner Stephen Sanchez, launching the song into the viral stratosphere, gaining 1 billion streams on TikTok and just short a billion on Spotify.

She played yet another unreleased track, “Shiny New Things”, focusing on the rush to embrace new trends as quickly as possible in the current digital landscape. The next three songs—”Goo”, “Pedestal”, and “Spiderman”—all focused on romantic escapades gone wrong, with the middle one being the mandatory ukulele moment.

“Lottery”, which Beihold named as her favorite, was a highlight of the show, exemplary of her down-to-earth nature, and the third unreleased track of the night. In “Lottery” she is grateful that she hasn’t been endowed with egregious amounts of money and the ails that accompany it.

As we headed to the end of the set, Beihold embraced the most energetic songs of her discography. Yet, the subject matter isn’t necessarily happy. “Egg in the Backseat” stemming from a childhood nickname, is a bouncy, upbeat track that gets the crowd jumping as she says of her crush, “I think you’re a bad Idea / you’re a bad idea”.

Second to last she plays “Maybe Life is Good”. Of the song, she noted: it was written at a time in which everything was bleak and miserable and she used this song as a tool to get better. She says “I named the tour after this song because I wanted this to be a safe space.”

Then finally, the night wrapped up with “Numb Little Bug”, one of her best-known tracks, which takes a humorous yet candid take on anhedonic depression and taking medications to get better. It’s another early single that gained her the following she has. The top comment on its music video reads “It’s fascinating how one song can really make you say ‘thank God it’s not only me.’”

Her malleability as an artist is evident. As the audience files out, I noted many parents here with younger daughters in tow, wearing pink tour merch. Even still, there is no shortage of teens and younger adults in the mix. Empathetic as she is talented, Beihold was a vibrant artist on the stage.

Athens DJ Scene Is on the Climb Post COVID-19

Posted on by Libby Hobbs

A flow state of pure connection and free movement—this is how Izzy Morrow, a DJ and promoter in Athens, describes the music environment that she hopes to curate. She says this state of being is when she feels the most connected to the universe and, when she’s on stage, to the crowd.

“Movement is such a healing thing—just dancing freely,” said Morrow. “[In our] normal everyday lives, we literally don’t get to do that… I feel like I just shed all my layers and it’s just pure human.”

Before the COVID-19 pandemic, Athens had a thriving DJ scene. According to Morrow, the Georgia Theatre in Athens, Georgia, used to book EDM shows frequently on the weekends. However, she says the number of shows and DJs in Athens has since slowed down in the post-pandemic era. 

Still, many of Athens’ DJs—from underground to EDM to old school—predict that the scene is regaining footing, preparing for an anticipatory comeback.

Two people dance at the Raving Hearts event, which raised money for the Cottage Advocacy Center, on Saturday, Feb. 17, 2024. (Photo/Libby Hobbs)

Current trends

The live music industry, like many other aspects of our lives, changed after COVID-19. According to a study by the National Library of Medicine, the total monthly consumer spending on music has decreased by more than 45% compared to the pre-pandemic levels, impacting live music and physical sales the most. 

While sales in pop music concerts have recently skyrocketed three years post-pandemic, the New York Times reports that amphitheaters operating below arena levels have seen climbing costs, and other industries, like Broadway audiences, are still down from pre-pandemic numbers.

On the other hand, the pandemic also offered rare free time for many people to try out new things—for musicians to perfect their craft. Another study by the National Library of Medicine reports that some musicians referred to the pandemic aftermath as a “creative period,” despite the disadvantages of lockdowns.

Athens also gained some quality music from the DJ scene during this time, according to Henry Landgraff, known as DJ Henny. He attributes this spike in creativity to the increased time people had to learn how to produce.

However, even beyond the pandemic’s influence, Morrow says most musicians in Athens, not just DJs, are “hungry” to create. It’s that freedom of expression that made Morrow fall in love with the Athens DJ scene in the first place. Even Landgraff, originally from Ohio, attended the University of Georgia because of the attractive music scene and music business program. 

“Having like-minded people that are so musically intelligent, even if it’s not about music … it’s a microcosm [where] you can fail and there’s no downside,” said Landgraff. 

Izzy Morrow spins at Open Decks at Mai Kai Kava Bar in Athens, Georgia, on Thursday, February 29, 2024. (Photo/Libby Hobbs)

Mark Weathersby, or DJ Mahogany, started DJing back in 2005. So, he’s seen the evolution of Athens DJs over the last several years. In a Flagpole story from 2016, he said that the scene in Athens was varied, ranging from top 40 hits to obscure jams—he largely agrees today. He says there’s still a crowd that enjoys older music, but there is also a new, youthful movement. 

“Here in Athens, I think it’s definitely more of that top 40 scene, I think it’s going towards that … youthful, vibrant, very energetic, fun, dance scene with EDM. And, that definitely is the movement where music is going towards,” said Weathersby. 

Ben Bradberry, also known as DJ Reindeer Games, describes in Flagpole a “split scene,” which poses the question: Are people coming to shows because they enjoy the music, no matter who is spinning, or are DJs attracting crowds with the specific vibe they create?

Morrow, being more involved in underground EDM, says her experience has been going to a show because you like their sound. Landgraff, who also works in EDM but for a more fraternity crowd, thinks the answer is a little complicated. He doesn’t necessarily want to be confined to one sound, which makes it a fun challenge to experiment with all kinds.

“You need to set an entire vibe—there’s nothing to watch… it’s just me and my board,” said Landgraff. “My favorite part is being able to set an entire tone of how you want your set to be… I think that the balance of Athens music makes it so people know to not expect anything going in and kind of accept it for what it is.”

Current opportunities

In the post-pandemic music scene, Morrow attributes much success to the Nightshade Family, which she describes as being like a label and events promoter. She worked as one of their resident DJs and says they’ve been instrumental in throwing shows for the underground scene, which struggled after COVID-19. 

Morrow also helps host Open Decks at Mai Kai Kava Bar, which she describes as “an open mic night for DJs.” Anybody who wants to play can bring their USB and plug it in, allowing beginners to give it a try and pros to experiment with something new.

Two people practice spinning at Open Decks at Mai Kai Kava Bar in Athens, Georgia, on Thursday, February 29, 2024. (Photo/Libby Hobbs)

Scottie Stephens, known as Karezza, is one of the other hosts for Open Decks. Morrow says he helped her learn how to DJ and produce. Stephens started DJing and producing about five years ago, saying he also used the lockdown time to work on his music. But, he didn’t start playing shows until two or three years ago, many of which were with Nightshade.

Morrow is the one who invited Stephens to Open Decks, which they soon started hosting together. While it felt like a big step at the time, he says this opportunity helped him make connections. He reflected on how different his and Morrow’s lives would be if she had never asked him to come to Open Decks.

“Honestly, this place has changed my life for the better,” said Stephens. “I’ve met so many people in the community, and it’s given me a place to come to and keep growing my relationships with all these people.”

What’s next

Stephens agrees that the DJ scene is slowly being revived and is on a good path. 

“It’s slowly being built back up, but it’s just harder to find,” said Morrow. 

Now that anyone can watch a YouTube video, DJing is more accessible, according to Morrow. She emphasized the need for production skills because people can pick it up pretty quickly. Landgraff agrees, saying his biggest regret was not releasing original music fast enough. 

Overwhelmingly, the DJs want beginners to approach their craft with an open mind. Landgraff said that even though a vibe cannot be predicted, the DJ must be prepared. Weathersby said he had to be like a sponge that absorbed it all. 

“You need to have fails,” said Landgraff. “You have to have those kinds of low-stakes shows in order to make those high-stakes ones good.”

With summer quickly approaching, Morrow already has her eyes on the third annual “Earthday Everyday” event on May 11 at Southern Brewing Company, which is put on by Afterglo. Weathersby also thinks the warmer weather will draw back more shows to their previous hot spots.

“I bet you we’re gonna see DJs on the rooftop [of the Georgia Theatre], and I think they’re gonna be packed and ready,” said Weathersby. “By the end of this year, everybody’s gonna be back out on the dance floor dancing.”

RELEASE RECAP: Best New Music of February, 2024

Posted on by Alex Carrillo and Buket Urgen

February was an incredible month for new music—here are some new releases that Vinyl Mag LOVED last month!

SZA, “Saturn“

SZA teased us at the Grammys with this single, as she performed “Saturn” live, leaving us shocked at how mesmerizing she sounded. Then, she released it the next week, and it took us by storm. Some were a bit upset at SZA for tweaking the original Grammy performance recording, to which SZA responded with “No clue what’s wrong with the mixes on Saturn but all will be corrected shortly. Thank you” on X. This single will supposedly be the cover song for SZAs new album Lana, which is expected to release somewhat soon. – Alex Carrillo

Beyonce, “16 Carriages” & “Texas Hold Em“

Beyonce broke the internet during the Superbowl when she partnered with Verizon for a commercial and exclaimed “Drop the music” at the end of it. Immediately after, Beyonce released two singles, “16 Carriages”, and “Texas Hold Em”. These two singles mark the start of the singer’s country music era, and the beginning of act two of her three-part project, with Renaissance being act i. She sent a powerful message by highlighting the contributions of Black musicians to country music, becoming the first Black woman to top Billboard’s Hot Country Songs chart in the process. Beyonce’s Act ii COWBOY CARTER is set to release on March 29, 2024. – AC

Charlie XCX, “Von Dutch”

“Von Dutch” is Charli XCX’s first solo single since “Speed Drive” was released last year. She has teased her next album, Brat, dropping in Summer of 2024. “Von Dutch” has the same electric upbeat feel that we are used to hearing from her, keeping the energy flowing until the end of the song. In honor of her upcoming record, Charli XCX performed a boiler room set in Brooklyn, New York called “PARTYGIRL.” – AC

Kacey Musgraves, “Deeper Well”

Teasing her upcoming album Deeper Well, Kacey Musgraves dropped the titletrack in early February. The single and its follow-up, “Too Good to be True”, signal a return to her roots for Musgraves, who embraced a poppier sound on 2021’s star-crossed. In “Deeper Well”, Musgraves weaves her past and present, looking ahead to a brighter future. The soft plucked guitars and the cottagecore visuals are good signs for fans of her previously most-celebrated album, Golden Hour, which snagged an Album of Year Grammy in 2019. Her latest project is set to release on March 15, 2024. – Buket Urgen

Little Simz, Drop 7

UK-based rapper, Little Simz, dropped an EP titled Drop 7, which is a continuation of her drop series that began in 2014. This album blends a mix of Portuguese rap, jazz, and R&B, which ultimately showcases the artist’s talent and versatility. With this blend, the rapper’s lyricism shines, as she addresses her personal struggles, along with societal issues. – AC

The Last Dinner Party, Prelude to Ecstasy

UK-based The Last Dinner Party released their much-awaited debut album to great acclaim on Feburary 2, 2024. The all-female quintet delivered stunning tracks, with scorching lyrics, exploring themes like feminity and the packaging of pain and grief as a commodity. Their appetite for originality in musical arrangments is evident, making for a fun and fascinating listen. They deliver a product that meets the epic hype generated by their earlier live performances and singles. This is a band to watch in coming years. – BU

Brittany Howard, What Now

Brittany Howard absolutely dazzles with her wide-ranging and etheral album What Now. It’s got a little bit of everything for everyone. Howard’s refreshing honesty, dreamy arrangements, and captivating vocals make this a must-listen. – BU