Sun June
The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick’s ‘Song to Song’, the pair were immediately taken by the city’s bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside. Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city’s esteemed Keeled Scales label in 2018. The band coined the term ‘regret pop’ to describe the music they made on the ‘Years’ LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach. Sun June returns with ‘Somewhere’, a brand new album, out February 2021. It’s a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it’s had a profound effect on their work; if Years was about how loss evolves, Somewhere is about how love evolves. “We explore a lot of the same themes across it,” Colwell says, “but I think there’s a lot more love here.” Somewhere is Sun June at their most decadent, a richly diverse album which sees them exploring bright new corners with full hearts and wide eyes. Embracing a more pop-oriented sound the album consists of eleven beautiful new songs and is deliberately more collaborative and fully arranged: Laura played guitar for the first time; band members swapped instruments, and producer Danny Reisch helped flesh out layers of synth and percussion that provides a sweeping undercurrent to the whole thing. Throughout Somewhere you can hear Sun June blossom into a living-and-breathing five-piece, the album formed from an exploratory track building process which results in a more formidable version of the band we once knew. ’Real Thing’ is most indicative of this, a fully collaborative effort which encompasses all of the nuances that come to define the album. “Are you the real thing?” Laura Colwell questions in the song’s repeated refrain. “Honey I’m the real thing,” she answers back.They’ve called this one their ‘prom’ record; a sincere, alive-in-the-moment snapshot of the heady rush of love. “The prom idea started as a mood for us to arrange and shape the music to, which we hadn’t done before,” the band explains. “ Prom isn’t all rosy and perfect. The songs show you the crying in the bathroom,, the fear of dancing, the joy of a kiss – all the highs and all the lows.” Links: Website | Bandcamp | Instagram | Twitter | Facebook | Spotify | Soundcloud
John Moreland
This is a seated show. Over the last half a dozen years or so, John Moreland’s honesty has stunned us––and stung. As he put hurts we didn’t even realize we had or shared into his songs, we sang along. And we felt better. But there has always been far more to Moreland than sad songs. Today, his earthbound poetry remains potent, but in addition to his world-weary candor, Moreland’s music smolders with gentle wisdom, flashes of wit and joy, and compassion. And once again, as we listen, we feel better. “I can’t dress myself up and be some folk singer character that I’m not really,” Moreland says. “I figured, I can’t dress up these songs and try to sell them that way. All I can do is be me.” Out February 2020, his latest album LP5 proves John Moreland has gotten really good at being John Moreland––thank God. A masterful display of songwriting by one of today’s best young practitioners of the art form, LP5 is Moreland’s finest record to date. The album’s experimentations with instrumentation and sounds capture an artist whose confidence has grown, all without abandoning the hardy roots rock bed and the lyrics-first approach Moreland’s work demands. “I feel like just this year, in the past few months, I’ve reached a point where I feel like I know what I’m doing here now,” he says. “And I feel comfortable with it.” There was a time when Moreland thought LP5 may not happen. Wary of expectations and his cemented status as a writer’s writer and critical darling, the Tulsa, Oklahoma-based Moreland found writing difficult at best––and completely undesirable at worst. “I’m hesitant to talk about it because I know people don’t want to hear some dude complaining that his dream of being a successful musician came true, but there are things about it that you don’t expect that can mess you up,” Moreland says. “One of the results of that was I really didn’t want to write songs for a couple of years.” He pauses and sighs. “One of the ways I got back into liking music again was to let go of the idea that every time I’d go mess around with an instrument, I’d have to be writing a really good song. I just gave myself the freedom to go into my little music room every day and mess around with different instruments and different sounds. It doesn’t have to be anything. It doesn’t have to result in anything.” Moreland points to that liberating rediscovery as a major influence on the sonic choices that shape LP5. There is no grand or alarming stylistic departure here––just different textures and background layers that add muscly new dimensions to Moreland’s heretofore instrumentally sparse recordings. The record also marks Moreland’s first time working with a producer. He chose Matt Pence. “I wouldn’t say that he pushed me into trying anything that I didn’t already want to do, but I think I came in with a lot of ideas that I found interesting but didn’t know how to execute. Matt was great at expanding on those things,” Moreland says. For Moreland, falling back in love with music also coincided with an even more personal change. “This past year, I’ve been getting into mindfulness and being kinder to myself,” he says. “I was really on that wave when I started writing these songs. I guess it shows.”Links: Website | Facebook | Twitter
JoJo
JoJo [born Joanna Levesque] is a chart-topping, award-winning singer, songwriter, and actress who, at just 30 years old, is already a veteran of the music industry. 17 years into her career, JoJo made a “triumphant return” [Uproxx] last year with her fourth studio album good to know, debuting at #1 on the Billboard R&B Albums Chart and earning widespread global acclaim from Vulture, TIME, Variety, NYLON, NPR, The FADER, and more, with Associated Press proclaiming “good to know is more than good. It’s grand.” At just 13, JoJo burst onto the scene with her self-title debut album, whose breakout smash “Leave (Get Out)” made her the youngest-ever solo artist to have a debut #1 single in the U.S. JoJo went on to sell over four million copies and became the singer’s first Platinum record, which she followed with a string of additional hits, including the Top 3 single “Too Little Too Late.” In 2016, following 10 years of legal battles with her former label that prevented her from releasing new music, JoJo returned with Mad Love., which debuted in the Top 10 on the Billboard Top 200. In 2018, JoJo re-recorded and re-released her first two albums (JoJo and The High Road) under her own label Clover Music, so her fans could finally get the nostalgia they had been missing for so many years. She has also pushed herself outside the confines of genre, collaborating with artists ranging from PJ Morton [on the GRAMMY Award-winning R&B hit “Say So”] to Jacob Collier [lending her vocal stylings to the jazzy “It Don’t Matter”]. On October 1, 2021, JoJo released Trying Not To Think About It. The capsule project is a musical expression of her continued honesty, vulnerability, and transparency around mental health, tackling the different shades of it – including anxiety, depression, negative thoughts, relationship self-sabotage, and emotional immaturity. Following its release, JoJo embarked on a sold out run of six live performance dates across the United States in Boston, New York City, Philadelphia, Atlanta, Nashville, and Los Angeles.Links: Website | Facebook | Twitter | Instagram | Spotify | YouTube | Apple Music
Jake Scott
To purchase VIP add on, visit https://www.jakescottmusic.com/vip/vip. VIP experience does not include a ticket to the show – you must also purchase a general admission ticket. Links: Website | Instagram | Spotify | YouTube
Shovels & Rope: The Manticore Tour
As the Brontë sister wrote, “The ties that bind us to life are tougher than you imagine.” Shovels & Rope, the musical duo of Michael Trent and Cary Ann Hearst, embody that bond. Married for a decade, their covenant extends to blood and beyond: as parents, bandmates, and creative collaborators who can now add the pursuits of festival curators, film subjects, and children’s book authors to that mighty list. Having released four studio albums and two collaborative projects (Busted Jukebox, Vol. 1 & 2) since 2008, Trent and Hearst have built their reputation on skill, sweat, and, yes, blood. Now, with the tough and elegant new record By Blood, as well as their High Water Festival in their hometown of Charleston, South Carolina, “Shovels & Rope: The Movie”, and the picture book “C’mon Utah!”, Shovels & Rope are primed for their biggest year yet.Accomplished musicians in their own right prior to dedicating themselves full time to Shovels & Rope in 2011, Trent and Hearst have made a career together by seizing opportunities and never resting on their laurels or being complacent in doing something just because. Carving out a niche in the music world with strong, roots/indie/folk/rock-inspired efforts like 2012’s O’ Be Joyful, 2014’s Swimmin’ Time, and 2016’s inward-looking Little Seeds, as well as their powerful live show, far-reaching tours, and myriad TV and festival appearances, Shovels & Rope have earned the right to follow their own muse. And so, in an effort to satisfy their numerous creative interests and adapt to a changing industry, Trent and Hearst have firmly planted their flag in realms beyond recording and releasing albums.The third annual High Water Festival curated by the band will be held over a weekend in April and will bring 10,000 fans to a park in North Charleston to witness a lineup of artists comparable to some of the best in the country—including Leon Bridges, The Head & The Heart, Lord Huron, Jenny Lewis, Mitski, and Shovels & Rope themselves. High Water benefits select organizations and water conservation charities in Charleston and aims to avoid the feeling of corporate inundation and discomfort that plagues many big-name music events. Trent and Hearst work with production companies and agencies to book acts, then serve as on-site hosts in addition to performing throughout the weekend.“Shovels & Rope: The Movie” is a performance film that has been expanded into feature-length with an external narrative weaving through and connecting the live performances. Directed by their frequent visual collaborator, Curtis Millard, the ‘live show’ portion of the filming took place over two nights at The Orange Peel in Asheville, North Carolina, during the tour for Little Seeds. The rest of the film was shot in various locations in and around the Southeast. The result can be described as a David Lynch meets John Hughes (a fun, silly, and tongue-in-cheek film for fans to enjoy that also represents the band at the peak of their live power.)The children’s book, “C’mon Utah!”, sets the lyrics from the new song of the same name to illustrations by the artist Julio Cotto. It is an inspirational story, set in the future aftermath of the building and subsequent destruction of the southern border wall. The separated and displaced families are figuring out how to start to put the pieces back together. Communities form to organize and support each other.Links: Website | Facebook | Twitter | Instagram | YouTube
Naked Giants
Seattle’s Naked Giants burst onto the national music scene with their 2018 full-length debut, SLUFF, a candied and insanely catchy blast of unhinged pop-punk-grunge-surf-rock. But if that record was the sound of, as one reviewer labeled them, a trio of “affable miscreants just out of high school” getting their musical rocks off, then The Shadow, the band’s new and second studio effort, is in comparison a decidedly more—what’s the word?—mature offering.That is, if “mature” is the appropriate term for an album where one member is credited with playing a fun machine, and another merely with “charisma.”And so, welcome once again to the extraordinary and eccentric world of Naked Giants. They might be older (average age: 23) and wiser, but the band members—singer and guitarist Grant Mullen, singer and bassist Gianni Aiello and drummer Henry LaVallee—are still out to conjure a rip-roaring good time.In fact, cue up The Shadow, and within little more than the first five minutes you’ve already careened through the throttling “Walk of Doom,” a blitz of post-punk riffing, wastoid gang shouting and toms-heavy drumming; the singalong anthem-for-the-disaffected “High School (Don’t Like Them),” in which Mullen aloofly intones of former class mates, “Now you’re lying on the couch and life’s busted / Never made a big sting or erupted” over waves of ratty, distorted chords; and the taut, falsetto-flecked “Take a Chance,” a Talking Heads-ish funk-rock workout with bits of shimmery synth and lo-fi slide guitar riffing thrown in for good measure.“It’s all about how many smiles can we crack on the people that are listening to this music,” LaVallee says by way of something like a mission statement. “And also on the people that are playing it.”And to be sure, The Shadow is an energetic and exhilarating musical rollercoaster ride. But there’s also a whole lot more to it.Take, for starters, “Turns Blue,” an ‘80s-tinged dream-pop torch song that floats along on an undulating bass line and heavily reverberated dew-drop guitars before erupting in a soft explosion of pounding drums and harmonized na-na-na’s in the chorus.Or “The Ripper,” a slice of mellowed-out, dark-toned psych-folk that, in lines like “wash me away ‘til my color’s gone,” explores, as songwriter Aiello puts it, the “effects of Western cultural domination and colonization attitudes from the large scale onto the small scale” (even if, LaVallee admits with a slight laugh, he interpreted those same lyrics as being about “ripping bong hits”).Subject matter aside, the point, of course, is that The Shadow reveals new and welcome layers to the Naked Giants sound, both musically and lyrically. For every anthem like the wiry, slamming “(God Damn!) What I Am” (“I’m feeling all right / I’ve got my band and my song is playing all night”), there’s a “heartfelt acoustic ballad” (LaVallee’s words) like “Song for When You Sleep,” a junkyard-blues workout like “Better Not Waste My Time” and a socially-conscious new-wave jam like “Television,” where over a loopy, hypnotic groove Aiello laments, “Eighteen, nineteen dead this week / But have you seen this fucking meme?”Links: Website | Instagram | Twitter | Facebook
La Luz
On their self-titled fourth album, La Luz launch themselves into a new realm of emotional intimacy for a collection of songs steeped in the mysteries of the natural world and the magic of human chemistry that has found manifestation in the musical ESP between guitarist and songwriter Shana Cleveland, bassist Lena Simon, and keyboardist Alice Sandahl.To help shape La Luz, the band found a kindred spirit in producer Adrian Younge. Though primarily known for his work with hip-hop, soul, and jazz acts, Younge saw in La Luz a shared vision that transcended genre. “We both create music with the same attitude, and that’s what I love about them,” he says. “They are never afraid to be risky and their style is captivating. It was an honor to work with them.”The result is an album that is both the most naturalistic and psychedelic of the band’s career. All the elements of classic La Luz are still present—the lush harmonies, the impeccable musicianship, the gorgeous melodies—but it’s a richer, earthier iteration, replete with inorganic sounds that mimic the surreality of nature—the humming of invisible bugs, the atmospheric sizzle of a hot day. La Luz is an album that celebrates love—of music, of friendship, of life in all its forms.Links: Website | Instagram | Facebook | YouTube
Symphony X
A distinct murmur went around the world in 1994 when a certain six-string guitarist from New Jersey named Michael Romeo of the prog band Gemini recorded The Dark Chapter demo and sent it out to record labels. It seemed the new guitar messiah of the coming 21st Century had made himself known to the world and he’d soon launch a new band that would stir up the prog genre. With an innovative mixture of heavy metal, progressive rock and neo-classical sounds, Romeo and his men in SYMPHONY X recorded a debut album (released in Japan in ’94; released worldwide in 1995) that began their journey to create a blueprint for the young generation of prog metal bands to follow.The Damnation Game (1995) celebrated the debut of the band‘s second asset: the charismatic, deeply emotional and relentlessly aggressive vocals of Russell Allen. The Divine Wings Of Tragedy (1997) placed the emphasis on the band’s progressive approach and is still considered to be SYMPHONY X’s ultimate masterpiece. Twilight In Olympus (1998) livened up the band’s classical aspects with the instrumental ‘Sonata’ (which is based on the piano Sonata No. 8 ‘Pathétique’ by Ludwig van Beethoven). Via V: The New Mythology Suite (2000), the quintet delivered their first concept album at the turn of the millenium that dealt with the myth of Atlantis. Live On The Edge Of Forever (2001) was visual proof that the band could easily transpose their complex material onto the stage. Oriented towards the eponymous poem by English poet John Milton, the thrashing harshness of The Odyssey (2002) is said to be the band’s most aggressive album to date. Paradise Lost (2007) is the darkest and most gothic-like work in the band’s discography.Considering this accomplished history of prolific creation, prog connoisseurs may ask themselves how SYMPHONY X could possibly go one better. The answer comes from the singer himself, Russell Allen: “Iconoclast delivers a summary of our previous work and a musical positioning of SYMPHONY X within the second decade of the new century.” Meanwhile, Michael Romeo raises the bar enormously with his guitar work: “This record will only become accessible to the listener after several runs. That was our purpose – otherwise we would have failed trying to create a multi-faceted and profound album that gives pleasure to our fans for a long time!”‘Iconoclast,’ an opus of an eleven-minute opening track, leads off with convoluted, labyrinthine guitar parts that become smoothly interconnected. To comprehend its motives right away would be an achievement; this also remains true of the remaining 52 minutes of concentrated prog-power.Whether it’s the straight rock track ‘The End Of Innocence,’ the ponderous and doom-like ‘Dehumanized,’ the dynamic ‘Bastards Of The Machine,’ the thrashing dark ‘Heretic’ (the most obvious cross-reference to the previous album Paradise Lost), or the virtuosic but brutal ‘Prometheus (I Am Alive),’ the fusion of musicality and the fascinating richness of detail shown here will make the listener ask whether Iconoclast should be considered a straight prog rock album or a classic rock record accentuated with elements of prog.Links: Website | Twitter | Facebook | YouTube
Sammy Rae & The Friends
For as much as Sammy Rae & The Friends may be a band, this collective of, dreamers, and artists considers itself a family first.Fronted by singer and songwriter Sammy Rae, the group flourishes in any spotlight with a combination of all-for-one and one-for-all camaraderie, palpable chemistry, deft virtuosity, and vocal fireworks. Their sound is a mélange of Sammy’s influences, rooted in classic rock, folk, and funk and sprinkled with soul and jazz. Complete with a rhythm section, horn section, keyboards, and two backup singers, Sammy Rae & The Friends have or will deliver their high-energy, spirited and unrestrained shows to sold-out audiences in the Northeast and beyond, including New York City’s Brooklyn Steel, Boston’s The Royal, LA the Teregram, Burlington’s Higher Ground, and Chicago’s Lincoln Hall.“Because we come from so many different spaces and studies of music, we’re able to create something very unique,” Sammy states. “We learn from one another as we’re playing together. We’re grateful to have found people who speak the same language, but also speak their own. We have a vision for longevity. The only way that works is if we behave as a family. We’re all very grateful to have the support of one another. This is a large group of people where everyone plays an important role. It’s the lunch table I always wanted as a kid.”Sammy Rae & The Friends built this kind of trust one show at a time. As the story goes, our fearless leader grew up in Derby, CT, learned piano, and penned her first crop of songs at just 12-years-old. Under the spell of everyone from Queen to Ella Fitzgerald to Bruce Springsteen, she honed her voice. By high school, she cut her teeth in local venues, even releasing a series of independent solo records before college. New York eventually called to the songstress as she enrolled in Manhattan College during 2013. Toughing it out tooth and nail in The Big Apple, she left college in 2014 to pursue music full-time and threw down at countless gigs while continuing to write and record at a prolific pace. At the same time, crowds doubled with every rapturous performance as they built an inclusive safe space for fans everywhere.Meanwhile, they’ve racked up over 20 million streams on Spotify and have played festivals along The Revivalists, Lake Street Dive, ST Paul and The Broken Bones, and more. The unit only grew stronger.The band advocates for the importance of their community. Avid music fans themselves, they pride themselves on this original grass-roots, word-of-mouth growth. The Friends is their community of followers, artists and creatives who help in the creation of their songs and sustenance of the project—their mixing engineer, band photographer, graphic designer, budget manager, and everyone who hangs around the shows supporting the vision. Shows are safe spaces to feel overwhelmed with love and acceptance. “Friends” in the audience are encouraged to dress how they like, dance how they like, join the party and form person-to-person Friendships. Sammy Rae & The Friends shows are like a house party, a church of rock and roll, and shot in the arm of affirmation of individuality.Links: Website | Instagram | Facebook | Twitter | YouTube
Porches
I’ve been making music as Porches since 2009. It’s an ongoing exploration of any sounds or ideas that I find interesting in a particular moment. Ideally, as time passes, these seemingly disparate ideas will become unified in the context of the Porches catalogue. Kind of like a public diary.My aim is to swim to the bottom of myself and find the most beautiful and strange things I can offer. Porches is my love affair with music and my love affair with the world. Music keeps me alive and I hope these songs can serve the people that listen to them as well.My new album, Ricky Music, was written and recorded between Dec 2017 and the spring of 2019. Mostly in New York at my apartment, but some of it in Chicago, Los Angeles, and various cities while touring around Europe. This record is an account of the beauty, confusion, anger, joy and sadness I experienced during that time. I think I was as lost as I was madly in love. In these songs I hear myself sometimes desperate for clarity, and other times, having enough perspective to laugh at myself in some of my darkest moments. That’s sort of what this album is about, I hope you enjoy it.Links: Website | Instagram | Twitter | Facebook | Spotify | YouTube | Soundcloud
