Bicycle Face
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Brigitte Calls Me Baby – CANCELLED
The music of Brigitte Calls Me Baby is equal parts elegant time warp and up-close exploration of our modern-day neuroses. The Chicago-based band ingeniously spans genres and eras, merging the lavish romanticism of mid-century pop with the frenetic energy and spiky intensity of early millennium indie-rock. Centered on Leavins’ hypnotically crooning vocal work, the result is a rare convergence of sophistication and style and unabashed sincerity.As shown on their debut EP This House Is Made Of Corners — a five-song project made with nine-time Grammy Award-winning producer Dave Cobb — Brigitte Calls Me Baby possess a singular musicality informed by Leavins’ eclectic upbringing. Originally from the Southeast Texas town of Port Arthur, he grew up listening to Roy Orbison records at his grandparents’ house next door, while his parents played him new-wave bands like The Cars and his friends turned him onto Radiohead and The Strokes. At age 13, Leavins took up guitar and began writing songs of his own, quickly discovering his distinct vocal style. “At first I didn’t like the way I sang and couldn’t really do anything about it, but as I got older I started to appreciate it more,” he reveals. “My whole inclination toward music came from being in this small town in Texas with nowhere to go and nothing to do, and wanting to be understood without having to say anything.”Upon moving to Chicago in 2016, Leavins immersed himself in the local music scene and soon linked up with guitarists Jack Fluegel and Trevor Lynch, bassist Devin Wessels, and drummer Jeremy Benshish, who joined him in co-founding Brigitte Calls Me Baby. As the band built up their catalog, Leavins was tapped to take part in recreating a series of Elvis Presley songs for Baz Luhrmann’s 2022 biopic Elvis, a turn of events that found him crossing paths with Cobb. “Dave and I hit it off right away and started talking about the music we loved, and when we reconnected later he asked me to send him some of the songs I’d been working on,” Leavins recalls. Soon after sharing a batch of demos with Cobb (whose credits include modern classics like Jason Isbell’s Southeastern and Sturgill Simpson’s Metamodern Sounds in Country Music), Brigitte Calls Me Baby headed to Nashville to record their debut body of work at the legendary RCA Studio A.Co-produced by Cobb and Brigitte Calls Me Baby and mostly recorded live, This House Is Made Of Corners opens on a lush and cinematic track called “The Future is Our Way Out,” a prime introduction to the EP’s heightened yet palpably genuine emotionality. “I want to be earnest even when it’s uncomfortable, and write unapologetically about things like my intense fear of death,” says Leavins. “‘The Future is Our Way Out’ is about that fear, but it’s also about hoping there might be something beyond death, a way out of all the mess and the sadness that plagues us in life.” On “Impressively Average,” pounding rhythms and shimmering guitar tones form the backdrop to what Leavins refers to as a “a bit of a self-loathing song, about trying to cope with someone’s very high expectations of you.” And on “Eddie My Love,” Brigitte Calls Me Baby present a gorgeously aching portrait of obsession and despair. “‘Eddie My Love’ paved the way for all the songs that would come after it,” says Leavins, who first penned the track as a ballad. “It felt so vulnerable from the jump, and made me realize that there’s no point in being anything but vulnerable in what we do.”Website | Instagram | Facebook | YouTube | TikTok
Buzzcocks
“Electric charge to blow you in, to the arms of raging sin/Wanna ride the tempest wind’ Buzzcocks ‘Senses Out Of Control’ In a darkening musical landscape where viral fads and AI-generated fakery share chart-space with the self-absorbed products of the nation’s stage schools, Buzzcocks shine out as a gleaming beacon of hope. A constant, ever-evolving presence over the last 45 years of pop culture, the band’s legendary status will be set in stone — literally — with their inclusion in the Music Walk Of Fame in September, joining an illustrious roll call including David Bowie, The Who, Madness and Amy Winehouse. The band’s never-better live shows, meanwhile, are electrifying reminders of rock music’s power to inspire, educate and inform. All delivered with an energy and conviction of a band half their age. “It’s my lifeblood,” says Steve Diggle — 68 years young — of a non-stop touring schedule which over the summer will see them play to thousands of fans across Europe and the UK. “I’ve still got the fire in my belly. Some musicians get bored of being on the road, but I’m institutionalised. I’ve done 50-odd years of staying in hotels. It’s what I signed up for. Ever since I saw Bob Dylan in the back of a black taxi in (D.A. Pennebaker’s 1967 documentary) Don’t Look Back, I always wanted to live this kind of life — being interviewed in the back of a black taxi on the way to the studio.” While most of their punk peers are content to traverse the globe in jukebox-style revue shows, Buzzcocks continue to move with the times, attracting new fans wherever they go. A case in point being the huge all-ages crowd the band pulled at the Iggy Pop-headlined Dog Day Afternoon in July. “There’s not a lot of intellectual or emotional thinking in music these days,” observes Steve. “People are being controlled. They’ll watch a video of someone falling over a banana skin and think they’re being entertained. They don’t realise the beauty of words, and the power of music. I’d like to think young kids who come to see us feel the same excitement I got from Little Richard and Chuck Berry. It goes back to the punk thing. It was about attitude and a way of thinking. We had the questions, but we didn’t have the answers. But the questions are the important thing.” This desire to challenge both themselves and their audiences was reflected in 2022’s Sonics In The Soul. An eclectic mix of gilt-edged power-pop (‘Venus Eyes’), Big Star-esque bangers (‘Nothingness World’) and Groundhogs-style riffing (‘Experimental Farm’), it was both a critical and commercial success — a reminder that Steve Diggle has always been a master songwriter: a Lennon to Pete Shelley’s McCartney. The album also caught the ear of rock royalty. ‘Little’ Steven Van Zandt put in a request to remix Who-like epic ‘Manchester Rain,’ while Elton John got in touch with Steve to rave about first single ‘Senses Out Of Control,’ playing the track on his Apple Radio show. “Sonics In The Soul was a bridge from the old Buzzcocks to the new,” says Steve. “At the time, a lot of people said, ‘You can’t carry on without Pete.’ But I’d always written my own songs. Looking back, we were like two mountain climbers. We needed each other. But since then I’ve taken [the band] on and it made it more heroic.”Website | Instagram | Twitter | Facebook | Spotify | YouTube
Daniel Nunnelee
With the arrival of his self-released breakout single “Pick and Choose” in 2022, Memphis-born singer/songwriter Daniel Nunnelee introduced the world to his sweetly offbeat and soul-baring form of folk/indie-rock. An instant viral sensation that amassed over a million streams in just ten days, “Pick and Choose” soon led to the making of June, Baby: a strangely enchanting debut album revealing both his old-soul sensibilities and wide-eyed perspective on finding your way in the world. With its title nodding to his birthday month and to the duality he embodies as a quintessential Gemini, June, Baby explores such emotionally heavy matters as anxiety and anticipatory grief, endlessly showcasing the graceful musicality he first developed by playing guitar in church as a kid. A lifelong nature lover who wrote much of June, Baby at his favorite park and at remote cabins in Mississippi and Colorado, the Nashville-based artist also sets his self-reflection to a one-of-a-kind sound matching its homespun charm with the unbridled energy he’s brought to the stage opening for artists like Madi Diaz and Shakey Graves (in addition to headlining his own tours). A truly gifted vocalist who brings an undeniably playful spirit to his existential questioning, Nunnelee ultimately hopes that listeners might take whatever they need from his songs — whether it’s a deeper communion with the natural world that incessantly inspires his music, or a monumental shift in their own outlook on life.Website | Instagram | Twitter | Facebook | Spotify | YouTube | TikTok
Happy Landing
HAPPY LANDING is an American folk rock band formed in Oxford, Mississippi in 2020 by Matty Hendley (guitar/vocals), Keegan Christensen (keys/bass/vocals), Jacob Christensen (drums/vocals), Andrew Gardner (violin/mandolin/vocals), and Wilson Moyer (bass/guitar/vocals). The group pioneers a new style of “edgy, folky rock,” captivating audiences across the US with their energetic live shows and fresh sound, blended from the roots of indie rock, folk, and punk. In 2024, following a successful year of touring with notable bands like The Head and The Heart, Judah & the Lion, and The 502’s, the band is set to release and tour their first full-length album and make their debut at major festivals and venues around the country.Website | Instagram | Twitter | Facebook | YouTube
Mush, Puppy!
Incorporating elements of Midwest emo, skramz, shoegaze, and pop punk, this 4-piece outfit brings a new atmosphere to a nostalgic sound. Mush, Puppy! Packs heartbreaking, riffs, and head-banging beats to get a versatile sound that brings old memories to the surface while simultaneously creating new ones.Spotify | InstagramScoby Spotify
Live! On Stage: Jonathan Richman featuring Tommy Larkins on the drums!
“Richman is one of America’s most unique and dynamic songwriters…” – Nashville Scene “Richman didn’t need much else besides a beat to work his magic.” – New York Daily News “Buy tickets early. Buy tickets often. This is just good general life advice, but even more so when you’re talking about Jonathan Richman. Don’t get denied at the door, don’t leave things up to chance: You will regret it.” – Nashville Scene “Rhymes worthy of Ogden Nash.” – The New York Times “Richman has spent decades removing barriers between himself and his audience, cultivating an intimacy that is almost extinct in modern music.”- Nashville Scene “The music we’re doing now works well in quiet places like theaters and performing art centers. We still don’t use a program or a set list so we don’t know what we’ll do until we do it. Please do not expect old songs. Many singers my age do a retrospective; this show is not like that. It’s mostly stuff made up in the last 3 and 4 years. Some of the songs presented might be in different languages; this is not to be esoteric or clever, it’s because the different languages help me express different feelings sometimes. One last thing, my idea of a good show has nothing to do with applause. It’s about if all the songs I sang that night were ones that I felt.” – Jonathan
Bent Knee
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Carrtoons
CARRTOONS has become one of the most sought-after producers through his eye-catching Instagram videos and the buzz of his latest album, “Homegrown” (Wichita Recordings). His unique bass lines and fills have made him a favorite, leading to a recent appearance on NPR Tiny Desk (at home), and a commercial placement with Supreme + Nike. He has performed or recorded with Robert Glasper, Terrace Martin, George Clinton, Benny the Butcher, Mac Ayres, Kiefer and many more…Website | Instagram | Twitter | TikTok
The Big Star Quintet: 50th Anniversary of Radio City
CELEBRATING THE 50TH ANNIVERSARY OF BIG STAR’S Radio City Featuring Jody Stephens (Big Star), Mike Mills (R.E.M.), Jon Auer (The Posies), Pat Sansone (Wilco) & Chris Stamey (The dB’s)
