May 14, 2024 | ktru
By Gustavo Raskosky
South by Southwest has always been an event that I wanted to experience; however, there was always some roadblock – until this year! I joined fellow KTRU DJs, Keegan Pierce and Steven Burgess, in Austin as we got on our bikes, birds and traversed all throughout the land of Austin, Texas.
DE FACTO began my “official” SXSW experience. I could hear the echoes and reverberation of the show from the moment I stepped off a lime scooter in front of Willie Nelson’s statue at the venue’s entrance. Unfamiliar with their music, I entered the Moody Theater without any expectations and noticed the audience members were either abnormally calm or lost in a trance. A few minutes into their set, I realized it was the later. The Moody Theatre temporarily became DE FACTO’s dimly-lit, underground club serving heavy grooves and a slow, alt-reggae jam. DE FACTO exudes a cool, calm and calculated vibe with their set. Their drummer, Cedric Bixler-Zaval, constantly looked towards their bassist, Omar Rodríguez-López, throughout the set in a rather calculated way. After noticing their interactions, I realized exactly who they were – The Mars Volta! It was a great surprise to start the SXSW; however, I was looking forward to the higher energy some of the later sets in my schedule were offering. After enjoying a few more songs with a KTRU peer, Keegan Pierce, it was already time to begin concert-hopping as a few other shows I had on my list were just about to begin. I hopped onto another lime scooter and commuted ten minutes northeast to make it in time for my next set at the Palm Door on Sixth.
Minimal Schlager caught my attention early on. This edgy, synth-pop duo hails from Berlin and combines Italo disco with the intimate sounds you’d find in a European dive club. Their music sounds like it could’ve been involved in the soundtracks for Blade Runner 2049 or Stranger Things. They also sound like a slowed-down, more alt-indie version of CHVRCHES. They’re an 80s techno band lost in 2024. NOTE: In these comparisons, I hope not to deduce the amount of schlager this minimalist group produces. Their most-streamed song, “FMB,” came on and the duo confidently found their placing. Alicia Macanas, the group’s lead singer, maintained so much energy and audience engagement throughout the set. They played roughly six different shows that week and although this was the first one literally right off of their flight from London, I was able to see that they kept their performance pace through video stories highlighting their other sets. This duo produces magic and holds so much enthusiasm towards their craft – I can’t wait to hear them as they continue their journey. Minimal Schlager exudes maximal energy.
The night was off to a great start. I had a few other artists favorited for the night, but I stumbled upon the “Tokyo Calling” showcase.
Chiaki Mayumura was finishing up her set on the Elysian stage, but it felt more like it was only beginning. When I walked in, I saw Chiaki suited up in an aluminum NASA space suit smiling ear to ear while getting the entire audience to follow her signal in making a wave. I thought the last duo had plenty of energy for their set, but Chiaki Mayumura had the audience following her orders in Japanese. Shortly after I found a good spot, she changed out of her space suit and a stage manager brought her a guitar. The multi-talented Chiaki charismatically had the audience in the palm of her hand. A stagehand threw an inflatable pool floatie into the crowd. The highlight of the show? Watching Chiaki Mayumura belt out a few of her songs, surf the crowd on a floatie and simultaneously entice the audience to join in on her song with off-beat claps.
I left Elysian and ran into two women promoting another show that was part of the showcase. They handed me an info-sheet and a Pokémon dime bag filled with Japanese candy. I took a selfie with them – then realized afterward that I had just taken a photo with the lead singer and guitarist for Tokyo Syoki Syodo (東京初期衝動) aka “Tokyo Initial Impulse.” I was definitely coming back.
Joachim Garraud held the next set I would attend at The Venue ATX. This would be a change of pace as this legend in electronic music had a crowd that dwarfed the audiences of all the shows of my Monday night lineup. He probably put up more songs with a higher BPM than all the other shows as well. It was exhilarating. Joachim began his set with a simple French flag graphic and their national anthem. The anthem quickly turned into a quick-paced banger, and the audience came alive. Roughly fifteen minutes into his set, Joachim put on an alien mask. The audience loved it. He disappeared for ten seconds and reappeared with two handfuls of alien masks to throw out. The audience roared. My favorite concert and audience experience was this set. He makes being paid to party a very enticing calling. Joachim Garraud may be fifty-five, but his set proved that age really is just a number.
Tokyo Syoki Syodo was the only reason I left Joachim Garraud’s set early. Their time to claim the Elysian stage had arrived. Tokyo Syoki Syodo is a rock and J-Pop four-member girl band. As they took the stage, the crowd cheered. The younger version of myself who loved Avril Lavigne, Green Day, My Chemical Romance and J-Pop duo, “PUFFY,” was LIVING! A “Scott Pilgrim vs. The World” band had escaped the comics and materialized onto the Elysian stage. Each member of the band looked like they were having so much fun on stage. This could’ve been (and most likely was) the first time most of the audience experienced Tokyo Syoki Syodo, but you wouldn’t have been able to tell. A moshpit quickly formed. My second crowd surfing sighting of this SXSW experience was had as Sheena (Vocals/Guitar) trustingly jumped into the crowd backward. Overall, I’d say this was one of the most fun concerts of the whole SXSW 2024 experience.
Backdrop Cinderella was the final performance at Elysian that I stayed for – and I was not ready. Formed in 2006, this J-Pop/Punk band came onto the stage how I’d expect a metal band to – a dive into the crowd. The lead singer, Dendeke Ayumi, introduced the band then quickly counted down his leap into the dark-void that was becoming of the late-show’s audience. Dendeke kept up his energy during the entirety of their set with some high kicks, jumps, more crowd dives and attempts to start multiple mosh pits. It was an unexpectedly fun way to end the first real day of the festival’s music portion.
My second day of South by Southwest 2024 began with an unforgettable Keynote on the Daniels’ victory in filmmaking by describing their process and ideas conceived when they began conceptualizing “Everything Everywhere All at Once.” Shortly afterward, I received a confirmation message from two artists I had been chatting with: HIEN and JW Francis. Both were available for an interview!
HIEN’s set was up first. I packed my equipment and headed out to Shangri-La in East Sixth. HIEN is a Budapest-born Vietnamese artist residing in New York City. Her electronic/pop-based music hints at her Vietnamese upbringing (her grandparents were Cai Luong musicians) fused with influences from her environment (Hungarian folk). Her performance was part of the Budapest Showcase. On a more overcast day, her set was one of the earlier ones at the outdoor Shangri-La venue. Once she gave the AV team an “ok,” she began setting up her beat machine and grabbed a mic. HIEN walked the stage once she got a loop set, danced and sang. It seemed to be a bit early for many audience members to join in; however, there were a few by the stage who were entranced by the beats. HIEN’s music invoked a variety of emotions – and when “Bloom” and “Family” came on, those emotions were felt and left the audience cheering. I picked up on quite a variation of moods in her work – so I decided to ask about the varying messages and production in each song. HIEN responded, “I have both sides. I’m very bubbly, like, rainbows and unicorns-type of person, but I also have my super emo and melancholic side. I’m a Pisces and both are living in me. I think I express that through my art.”
Shortly after speaking with HIEN, I went to High Noon further east to catch JW Francis for an interview before his set.
Subsonic Eye was playing when I arrived. The young, Singaporean, alt-rock band crushed their intimate High Noon appearance. They are aptly described as, “a coming of age band you’d hear in all the 2010s rom-com movies if they had existed then.” I didn’t hear too much from them, but I feel as though I’d be doing my experience a disservice without mentioning stumbling upon them – even briefly! They were that good!
Veeze was the next artist I’d encounter on my adventure as Keegan and I awaited Teezo Touchdown. Honestly, I wasn’t really impressed by Veeze’s performance. His energy was low, his crowd did most of the talking and on top of that – I wasn’t familiar with his work. Being fair to all the performers I saw during this festival, I hadn’t seen or heard a majority of them, yet they would still win me over with their energy and performance. I’m sorry to say, but Veeze’s was the most memorable in being my least memorable.
Fortunately, DJ Rosegold came on shortly after for about twenty to thirty minutes in between sets and engaged the crowd more fully. I was ready for Teezo.
Teezo Touchdown came onto the stage the same way you’d imagine a Hall-of-Famer quarterback to enter a home football game. With studded-out shoulder pads and a bouquet of flowers as his mic, he owned the Moody Theatre stage for the next hour. I’d say he tied both Backdrop Cinderella and Tokyo Syoki Syodo in terms of sheer energy. It was an extremely fun and photogenic set. I kept thinking that I’d love to see him do “RUNITUP” with Tyler or “MODERN JAM” with Travis – live! Unfortunately, I left his set after a handful of songs to make it in time for JW Francis’s set back at High Noon.
JW Francis was a rather important set for me as it was not only the last set I could attend during my first (and rather short) stint at SXSW 2024, but he was the first artist I reviewed for KTRU. I came across JW’s “We Share a Similar Joy” album a full year ago. It had been lost in the stacks – unreviewed – since the beginning of COVID. I had a good gut feeling about it. I remember listening to it on repeat and trying to get a good sense of each song – so much so that I’d be able to memorize the lyrics. I’d have friends listen to it with me and pick out tracks that stood out. It was my introduction to thoroughly reviewing music at KTRU – and I loved it. I’m a major Mac DeMarco fan, and this reminded me of a more energized version of his Lofi tracks. I told JW Francis that his music sounds similar to how a warm hug feels. While at South by for KTRU, I looked at a few random events that were popping up and noticed JW Francis’s name was mentioned. I IMMEDIATELY got on Instagram and reached out. He contacted me shortly after, and we scheduled a brief interview as he prepped for his show! Once he got on the High Noon stage, he grabbed his guitar, introduced himself and began strumming away. I don’t think I’ve seen anyone bounce as joyously and continuously for the entirety of a set like he did. A few standout songs in his set include “John, Take Me With You” which is currently his most popular streamed song and “I Love You” which is simply him saying the phrase over and over while pointing to different audience members. In that moment – he was joy incarnate.
I left for Houston the following day to take care of some work (and see Nickelback perform live at the Houston Rodeo), but I decided to return to Austin for one more day. On the final day of my first South by Southwest experience, I saw Tierra Whack, Fairlane, Illenium, Bootsy Collins, and Questlove’s DJ Set. All of which were fantastic. I reached my Air BnB that night around 2am and heard heavy bass from a small bar across the street. I decided to go check it out and found three nameless DJs around my age having the most fun by playing all their early 2000s favorites. Energy is contagious – and this experience was a reminder of that.
Selfie with Tokyo Syoki Syodo (東京初期衝動) at Elysian
Teezo Touchdown at the Moody Theater
JW Francis at High Noon
HIEN at Shagri-La
May 14, 2024 | ktru
By Keegan Pierce
Every year around Spring Break, thousands of bands and brands, as well as hundreds of thousands of professionals and partiers, descend on downtown Austin, TX. for the one-of-a-kind festival/conference/expo/billboard that is South by Southwest. Since 1987, the annual event has been a hub for all kinds of creative industries, showcasing music, movies, and more. Here’s some stuff I saw there this year.
Some Non-Music
A big part of the conference is the industry focused keynote speakers. I saw Conan O’Brien and Dave Kroll at one cutting it up about Conan’s new show, which won him a new fan. J.K. Simmons got stuck talking about his insurance ads, which was a nice nap, and I saw Mike Judge and the cast of Office Space do an anniversary panel for the movie. In my opinion, that panel was overly editorialized by the moderator. She didn’t let David Herman joke around.
SXSW runs on corporate sponsorships, which means that there’s all kinds of sponsored “activations” around. I got jumpscared in a confession booth set up on the side of the road to advertise some movie. I got a picture with Master Chief and in the USS Enterprise’s captain chair at a Paramount place. I saw Mark Cuban at a party hosted by the host of the “Call Her Daddy Podcast.” There were also giant eye-catching inflatable poops around by Poo-Pourri. Fun stuff. You can really feel the new skyscrapers around downtown.
Inside the convention center, there was a creative industries expo featuring all kinds of companies giving out swag for contact info and such. What I was most excited about was the Flatstock 92 print showcase. There were rows and rows of vendors showcasing and slinging their poster prints. As an amateur screenprinter, I was blown away by every booth and star struck to meet the artists behind gig posters that I have on my walls. I was honored to get a book signed by the OG Andy Macdougall and hear him talk about motorcycles.
Music
The first big show I went to was a crazy triple header of experimental rock music. First was the minimalist rock band Water Damage, whose artistic focus is monotony and whose motto as a group is “Maximal Repetition Minimal Deviation.” I’ve been wanting to experience their radical repetition for a while, and it did not disappoint. While I’m not sure that they played any more than one song, the members deftly wielded their repetition to constantly reveal new patterns and textures in the loops like a violent William Basinski. A special treat for the weekend was the reformation of the short-lived dub offshoot of At the Drive-In, (which would become The Mars Volta), De Facto. It’s really saying something that De Facto is perhaps the strangest turn for the band members Omar and Cedric considering their other genre-redefining projects. Still, next to the driving bass of ATDI and the proggy-weirdness of Mars Volta, their improvised, Scientist/King Tubby-esque, instrumental dub kind of makes sense as the bass drives and the keyboard strikes and weaves. Finally was the headliner, Mogwai. The songs of the Scottish post-punk band are less structured and more shaped. Each of their songs starts as a seed– a little line that repeats itself– and crecendos into ear splitting volumes pummeling your chest. It’s inescapably moving because the music moves so much itself like the breaths of a giant– in dynamics, speed, and tonality. It’s like a meditation CD turned up so loud that it pumps your blood for you.
The next night, I got my blood pumping to Veeze. Veeze practically slurs his raps in a deceptively laconic Detroit flow, which can hide all of his great one liners and make it appear like he’s not even trying. I’m a big fan though. If you can see past his bleary-eyed veneer, I really think he’s got the hooks and bars. Teezo Touchdown was up next. He’s also totally up next – a great performer who works the crowd way above his weight class. Just gotta get some better songs lol.
One of the biggest established names on the lineup this year was The Black Keys, who came promoting a new album and a film. While they performed a number of sets throughout the week, I know I caught the best one at Mohawk when they were playing songs from their 2021 album, Delta Kream. That’s because it’s an album honoring the Mississipi blues that inform the Black Keys sound, and I love some MS delta/hillcountry blues. In a way, I was reminded of the acoustic Beck show I saw last time I was at SXSW, where he wore his country and blues influences on his sleeve for an intimate set. In two ways, The Black Keys’ set was not like that. For one, The Black Keys went a step further by bringing out their heroes turned collaborators Jimmy “Duck” Holmes and Robert Finley (and others I didn’t see because my bike got stolen right before I went over), to play on the stages before them. “Duck” Holmes had me laughing and hollering at his alternatingly raunchy, devastating, and worldly blues. Known as the last Bentonia bluesmen, he stands, at the age of 76, as the last known steward of his regional style of blues. I’m very glad The Black Keys brought him out. Robert Finley, legally blind, age of 70, only released his debut album 6 years ago, but he his soulful blues voice shows his life drenched in the gospel and blues of Louisiana, which is why Dan Auerbach of the Keys collaborates with him and brought him out. To prove I was in the right place, I got to shake hands with the frontman of Spoon, my favorite band, who was also there to check it out. The Keys were good too.
SXSW offers the unique opportunity to see a lot of small international bands that don’t normally tour the states. I saw Tokyo Syoki Syodo at a stage of Tokyo artists. This Japanese punk band brought an infinite amount of energy and little chocolates to give to the audience and it was a blast seeing them tear down the club. There was also The Canada House down the street, where I caught the end of a buffet but no bands that really excited me. I think the Canucks just don’t really have good music and that The Unicorns are a bit of a unicorn. (I kid– really, I just didn’t go at a good time, and this Yankee thanks ye for the sandwich.)
Our Southern neighbors were out in full force, however. The burgeoning Latin American influence on pop music was clearly heard at the festival (or at least at the shows I went to). I saw American groups like the Chicago-based “psychedelic tropical” band Cabeza De Chivo or the hometown cumbia group Los Bravos De La H driving the dance floor harder than any other acts. Meanwhile, the Mexican star Peso Pluma’s set at ACL Live was at capacity from early in the afternoon and was the most hyped concert all week. I saw one of the openers, the Puerto Rican singer Pink Pablo, at another showcase, and I totally recommend checking out his unique blend of sounds, but I wasn’t cool enough to get into ACL Live that night.
Instead of the Peso Pluma show, I saw the breaking London-based, indie-darling trio (quintetto live) Bar Italia. The set captured the entrancing and moody sound of their records; however, with live drums and bass replacing the programmed rhythm section on the album, there was an added edge of energy as the band ploddingly entwined their melodies. The audience was completely dialed in. Unlike many bands at SXSW that are still building a fanbase, Bar Italia had a packed house singing along, and while their blend of lo-fi, post-punk, and shoegaze might not seem to lend itself to mosh pit formation, the excitement boiled over, and you know that I was throwing elbows. I met this cool dude there who had just graduated from college radio, and I asked him where to go next.
He introduced me to Zheani, a self-described “Australian artist, musician, and occultist.” Equally infectious, scary, pummeling, and grooving, I never would have heard her otherwise since A) I haven’t explored a lot of occult electo pop and B) She claims to be shadowbanned because of the videos of her scantily clad running around the Australian outback that often accompany her music.
This takes us to a whole host of Texas bands I saw!
I randomly stumbled upon Joe “King” Carrasco returning to SXSW. While he is listed a notable musician of the year 1990, the “King” of tex-mex, who has a song with the king of pop, was playing a random small stage in East Austin next to the food truck I ordered chicken at. Even if his spotlight has changed, I think that his audience consisted of the same people at 1990. A polo’d fan was harassing him before the set about doing a cruise, which is probably the catalyst for me seeing him as a Tex-Mex Jimmy Buffet.
The most impressive soloist I saw was the Texas born multi-intstrumentalist Blue Lakes. He designed his custom zither especially for his playing style, which is to say that he’s masterminded completely unique aural landscapes. I saw him inside a beautiful historic church sancutary, which further elevated the zither’s spell as it washed over me. It was ultimately serene.
Behold! born from the ashes of various psych rock acts across Texas and possessed by an interdimensional being of funk, the band Grandmaster! This band has an expanding universe of lore following it with a YouTube series documenting their story of being possessed by this cosmic force of funk that writes all of their songs. I did an interview with them while they were loading out, and the members I grabbed were worried that they weren’t familiar enough with the forbidden knowledge to tell me about it. “Just make it up!” their band leader said, which I think sums up this silly, funky, and cosmic band.
I’m like 90% sure that Nolan Potter of Nolan Potter’s Nightmare Band was filling in for a member in Grandmaster – I definitely saw a case with his name on it there. I ended up walking past this band a few nights later and stopped by. They were pretty groovy, but I couldn’t really get lost in the jam because this dude sitting on a block close to me started a fight with the people in front of him by aggressively tapping them with his cane to get out of the way, which lead to security coming over and yells exchanged.
After evacuating that scene, I headed over to Revival coffee to wait in line for the Houston legends Propaine, Sauce Walka, and Z-Ro. Shouts out to them all for showing up late else I probably wouldn’t have gotten in. I got stuck just outside the gate at capacity. Even bigger shouts out to the security guard out there who saw my Houston radio badge and fought for me to get in to see the Houston rappers. I did get in before it got real, and I had my H in the air. A fitting end to my time in Austin that got me excited for the drive back to Houston.
May 14, 2024 | ktru
By Steven Burgess
This year, I attended SXSW with two other KTRUvians (Gustavo and Keegan) as we experienced the explosive music scene surrounding Austin. Being at SXSW, every direction you look, something is happening: movie screenings, promotional events, and concerts. The variety of venues at SXSW ranged from huge to intimate stages allowing for multiple artists to play wildly different sets.
Mogwai
The first show I got to catch at SXSW was Mogwai. Mogwai, hailing from Scotland, are a post-rock band that have made a name for themselves with seminal records in the genre like Young Team (1997). Seeing Mogwai live could best be described as having your face sonically melted off. Performing at the Austin City Limits venue, Mogwai had the longest set out of the acts I saw with a 90-minute show. What Mogwai does best during their sets is create atmospheres on their songs, whether it be creating beautiful and lush arrangements on “A Place for Parks” or eerie build-ups to songs such as “Like Herod.” These atmospheres build to the eventual gut-punch of sound Mogwai releases through the speakers.
The band ended with their 16-minute epic “Mogwai Fears Satan,” hitting the crowd with a wall of sound. From ear-piercing drums to distorted guitars, the volume and intensity of Mogwai’s musical peaks made my clothes shake. The band would communicate non-verbally on-stage to seamlessly crescendo from quiet and melodic instrumental sections to heavy and monolithic soundscapes. Mogwai delivered one insane show that overpowered the audience with its melodic build-ups and abrasive sonic climaxes.
The Rare Occasions
Next, I headed to Cooper’s BBQ for The Rare Occasions to perform in a fairly intimate setting. The garage rock band hailing from Los Angeles, CA, The Rare Occasions became viral sensations with their song “Notion” blowing up on TikTok. During their set, they played fun and ear-grabbing rock songs which translated well to the small, but responsive crowd. Throughout their 45-minute set what was most apparent about the band was their energy and how much fun they had on-stage and with each other. The Rare Occasions would interact and talk to the crowd, dancing alongside to their carefree tunes. They performed songs like “Origami” to the crowd as if it was a sold-out show. The Rare Occasions gave such a fun performance with a lot of audience engagement and great stage presence!
Friko
The last stop on the SXSW music scene was Friko. Friko, a Chicago-based rock group, has been making waves with their most recent EP, Where we’ve been, where we go from here (2024). Performing at the iconic Waterloo Records, Friko’s songs are loud and pack a punch!
I loved rocking out to songs such as “Crashing Through,” delivered with eccentric and passionate vocals over crunchy bass lines and booming drums. Frontman Niko Kapetan holds so much love for his craft that anytime he picked up the mic, veins would pop out of his neck as he belts vocally over electrifying song after song. “Cardinal” was a highlight for me as it was a musical shift for the band, with a hauntingly beautiful vocal performance over a lovely fingerpicked ballad in the same vein as Jeff Buckley. The seamless shift between energetic rock and stripped back ballads made me a fan of their music. With this performance, Friko proves themselves to be one of the most exciting up-and-comers in the indie rock scene with versatility and energy that is refreshing.
Mar 26, 2024 | ktru
By Devin Gonzalez
We recently had the opportunity to talk with Allah Las/PAINT guitarist Pedrum Siadatian about their experience touring, finding musical inspiration and putting out their latest albums “Zuma 85” and “Loss for Words”.
How does touring with the Allah Lahs now feel different compared to when you were first starting out?
Pedrum: When we first started, it was a way smaller operation. There’d be tours where we’d be opening for a other band. And we’d rent a minivan or something and fit all our gear in and just drive together. We’d share one room, two people a bed, and sometimes we’d sleep in the van. Now we get hotel rooms, sometimes we tour in a bus, sometimes a sprinter. It’s just more comfortable now than it was because we have gotten a bigger audience and all that.
Have you noticed if your audience has changed(like new, younger fans in the crowd) or do you feel like there still remains a strong demographic of longtime psych fans that go to shows?
Pedrum: It’s a bit of both honestly, I’d say it’s mostly people in their 20s and 30s for the most part.
How do you go about getting inspiration for your music? Or do you find yourself getting inspired when you travel on tour around the world? Or do you mainly have to sit down in a studio and see what flows out?
Pedrum: I feel like I always have my antennas up and it’s just a matter of paying attention to what’s around you, and what you’re digesting, what you’re watching, what you’re reading, and actually putting the effort into making something whether you feel inspired or not. So I never regret trying even if I’m not feeling it in the moment because things reveal themselves when you least expect it.
What’s you’re general approach to how you want your sound to evolve, like do you explore through different decades and eras or do you feel what’s in the moment?
Pedrum: I don’t really think about encapsulating a specific era necessarily when I’m working on stuff. But I do always want it to be different from the record before. That’s all I know, I always want to be advancing and changing.
Devin: I hear a lot of like, especially for your albums Zuma 85 and Loss for Words, a lot of Kraut Rock influence and stuff like that.
Pedrum: Yeah, we love that stuff, I love that stuff. I feel like for the most part, I honestly don’t listen to much rock and roll anymore. I mostly listen to electronic music. A lot of German stuff like the Kraut Rock stuff and like Cluster. And a lot of dance music honestly like house.
What’s your experience like self releasing your album versus working with a label?
Pedrum: There’s something satisfying about doing it yourself and having full control over when it comes out. And you’re just involved every step of the way and you realize how expensive it is. But there is something satisfying about doing it all yourself. The nice thing about a label though is that a label has a built in kind of audience usually who is alerted to the record coming out. They’re just connected to all these facets of the music industry. So more people will end up hearing it and you don’t how to pay as much out of your own pocket, which those things are nice. But the downsides I guess are the money is less transparent and you may not get paid from the record you put out for a while. You may not see like money from it, but more people will be exposed to it.
What was your intention behind creating your own label, Calico Discos?
Pedrum: I think it was just to kind of put out records from people we know, friends and things. It’s just another avenue for putting things out from people we believe in. And the record we just put out with Innovative Leisure was like a joint release with Calico. So just building another thing up. And going to back to record labels versus self releasing, with the record I put out, I don’t have any distribution or anything. So it’s all direct from me, like through Bandcamp and through shows. So it’s a lot harder to move records if you’re not touring a lot and stuff. And it’s like how many times can you post your Bandcamp link, it’s kind of just like ridiculous at a certain point. So there’s satisfaction putting it out yourself but ultimately you have to put a lot of your own money into it, a lot less people hear. Even though I think it’s the best thing I’ve ever done.
How do you navigate collaborating with other musicians?
Pedrum: Honestly, I haven’t done much of that. I haven’t done many co-writes. There’s one that’s gonna go on the new PAINT record. Maybe a few of them but outside of the Allah Lahs, I don’t really do many collaborations.
How do you go about finding your sound for your solo project? And how is it different from like, how you try to go for the sound of Allah Lahs? Do you find a natural separation between your ideas?
Pedrum: Yeah, I try to keep them sonically different, but sometimes you can’t help for one to make it into the other.
How is the workflow with working with the other members in the Allah Las versus just on your solo project?
I feel because Allah Las is a really democratic band, everyone kind of puts their own touch on it. And there can be a certain magic in that but it can also be hard to arrange a song I guess. When it’s like [solo], I can execute what I want and there’s something easier about that, sometimes. But there is a whole different magic about trying to work with people you’ve been playing with for 15 years, you know.
Do you find yourself wanting to leave the past behind?
Pedrum: Yeah, I do. For real I do. But I’m always trying to move forward with stuff and playing newer songs because I identify with them more and they feel more relatable to who I am now. Playing older stuff, I feel a detachment.
This interview has been edited for length and clarity. The views, commentary, and opinions expressed during the preceding editorial are solely those of the person(s) expressing them and not necessarily those of the faculty, staff, or administration of Rice University.
The Allah Las’s album “Zuma 85” and PAINT’s album “Loss for Words” are both available wherever you stream music.
Photo: taken by Andrew Riley (@_soggycardboard on Instagram)
Mar 20, 2024 | ktru
By Gustavo Raskosky
As self-described on their website, the members of Bombay Bicycle Club have been writing songs for Saturday nights and songs for Sunday mornings since their mid-teens. I think that’s a perfectly apt summary of the type of energy the group brings to their art. After speaking with a variety of concert-goers, I realized that this was about to be a shared journey of nostalgia – and that is exactly what it was. It had been 10 years since the group had graced Houston. The anticipation in the air was palpable. It felt like a decade’s worth of memories was about to be unraveled.
Opening the night was Mustard Service, a band that seemed to arrive on stage with a touch of nerves but left with the crowd wrapped around their fingers. Even those unfamiliar with their music embraced them as if they were the headliners. Their infectious energy set the tone for the evening, with everyone in the audience visibly enjoying the performance.
As Bombay Bicycle Club took the stage, the crowd erupted with excitement. Being in the pit, I had a clear line of sight of all the members of the group – each wearing a giant smile as the crowd continued to cheer. They opened with “Just A Little More Time.” Fun fact: most shows that allow photographers in will only allow the photographers to shoot the first three songs. The last song I was able to see up-close-and-personal was “Feel,” which is a favorite of mine. “Feel” combines South Asian influences with a 2010s indie groove. The energy is contagious – at least it felt that way.
“Luna” was a standout moment, with a fantastic performance by the lead vocalist, captivating the crowd. “How Much Sleep Can You Swallow” turned out to be an unexpected crowd-pleaser, despite its more mellow vibe. To be fair, it’s one of the three more viral songs that had introduced the band to many people. “Everything Else Has Gone Wrong” carried a poignant message, especially considering the challenging times during the pandemic. Jack Steadman, the lead singer of Bombay Bicycle Club, mentioned how the song was formulated to encapsulate the moment they found themselves in shortly after reuniting. “Eat, Sleep, Wake (Nothing But You)” showcased the power of simple repetition, creating a fan favorite with its infectious rhythm.
The performance of “So Long, See You Tomorrow” stood out as one of the better-paced songs. The transitions around this song were the best crafted of the set. It began with the calming sounds of “Reign Down” (that actually acts as a portion of “So Long, See You Tomorrow”) and accelerated as the drummer changed the tempo. The drummer’s chimes at the end added a unique touch, leaving a lasting, *tongue-in-cheek* impression.
The false ending with “Always Like This” created an infectious wave of clapping and dancing. The real ending featured two special songs, “Turn The World On” dedicated to the lead singer’s two-year-old son, and a lively finale with “Shuffle,” reigniting memories for the entire crowd. Bombay Bicycle Club’s concert at White Oak Music Hall was a celebration of a decade of music, bringing together a crowd of (mostly) lifelong listeners and creating an unforgettable night.
Dec 8, 2023 | ktru
By Kevin Lei
White Oak Music Hall became a haven for pop-punk enthusiasts as Knuckle Puck and Real Friends took the stage for a joint concert last Thursday night. The two bands are currently on a co-headlining tour across the United States. Despite the fact that it was mid-week, the two bands were able to garner an impressively sized audience.
Openers One Step Closer & Arm’s Length helped to set the tone for the rest of the night as they rocked out on stage. I was particularly impressed with the Arm’s Length set; they wore their emo influences on their sleeve, but their stage presence was infectious. I could see them being excellent successors to Real Friends and Knuckle Puck. One Step Closer’s sound was more hardcore, and their explosive performance energized the crowd ahead of Knuckle Puck’s set.
In order to make time for the other co-headlining band, Knuckle Puck had to keep their setlist relatively short. They played for just under an hour, but were able to play a breadth of songs from their catalog. This included classic tracks from their earlier albums like “No Good,” and “Want Me Around.” They also performed some songs from their latest studio album released a few weeks ago, Losing What We Love. Lead singer Joe Taylor acknowledged the fact that many fans might not have heard the new songs before, but from the energy of the crowd you would not have been able to tell. The band’s stage presence and the collective vigor within the room made it easy for anyone to enjoy themselves even if they weren’t familiar with much of the band’s recent releases. Before leaving the stage, Knuckle Puck finished off their set with a few fan-favorites like “Pretense,” “Gone,” and “Untitled,” which the rest of the fans and I greatly appreciated.
During the intermission before Real Friends, I noticed that many Knuckle Puck fans left the venue. However, those that stayed were rewarded with an exceptional second half to the show. I wasn’t a huge fan of Real Friends before attending this concert, but I was astounded by how engaging they were as performers. A lot of this was chalked up to the charismatic personalities of the band members. Real Friends played a wide range of songs from their discography, including a few singles from their latest album There’s Nothing Worse Than Too Late, which was released in early 2023. The band even performed a rendition of “Happy Birthday” to celebrate bassist Kyle Fasel’s birthday (happy birthday Kyle!). Towards the end of the set, lead vocalist Cody Muraro came off the stage and stood in the middle of the crowd to sing “Teeth,” one of the band’s most emotionally potent songs. This definitely tugged on my heartstrings and was by far my favorite moment of the concert. Real Friends also played a cover of Jimmy Eat World’s “Sweetness” and two fan-favorites, “Get By” and “Late Nights in My Car,” to finish off the show.
My Thursday night at the Knuckle Puck & Real Friends concert was full of fun surprises and unbridled energy; I was incredibly grateful to be in attendance. The two powerhouses of pop-punk put on an entertaining show that was mostly exciting and at times emotional. The show also felt very welcoming, and I think that anyone, regardless of their familiarity with pop-punk or emo, could have found something to enjoy. Afterwards, I was left exhilarated and exhausted, but also convinced that pop punk is very much alive and kicking.
Nov 23, 2023 | ktru
By Rachel Bui
The 6-piece band Ripe, hailing from Boston, ended their tour at a small venue (about 300 people) Sunday night, though this did not indicate the following this band has achieved (the band has performed at venues like MGM Music Hall and Brooklyn Steele). What was interesting was that people in the crowd were equally excited for the opener HOKO as they were for Ripe. Both bands were to perform a sold-out show that night.
Openers HOKO brought a liveliness that a typical main act would garner up. The band translated their experimental pop sound to a live band act seamlessly, and their performance did not disappoint. Lead singer Nathaniel would periodically hop from the stage into the crowd to hang out with the audience while singing; this interaction with concert-goers felt natural and laid back, the general vibe that the band gave off. A favorite song of their set was “Hellogoodbye.”
After a much needed stage reset to accommodate the headcount increase in performers, Ripe hit the ground running with their beloved cover of “Lola,” originally sang by The Kinks. From there, the tracks continued to get everyone dancing. Between the soulful style of singing and the incorporation of live brass, the dance/funk band kept the energy levels up. While some audience members may have been disappointed that the band’s setlist of the night did not include tracks they shouted requests for, towards the end of the night, lead singer Robbie Wulfsohn did sing snippets of songs that were requested.
Not only did the band have great stage presence, they also had light-hearted stage interactions with each other. They had the hallmarks of a band that truly have fun together, and it seemed like they enjoyed being on tour throughout the experience. Before their encore tracks, they brought back onto the stage HOKO to perform a cover of “Tubthumping” by Chumbawamba.
Ripe performed “Good Intentions” once returning to the stage, and then sent the crowd off to feel a “Little Lighter” with their final song. Overall, both HOKO and Ripe are recommended bands to see live to enjoy their presence as well as musical performances.
Nov 20, 2023 | ktru
By Alexa Scott
Few albums changed the indie music landscape as much as ‘An Awesome Wave’ by alt-J did when it debuted in 2012. With its seamless transitions from track to track, the album succeeds in immersing the audience in a unique sonic experience with its weird nonsense-esque sounds, which somehow transform into clever references the more you listen. Despite how dense and meticulous each track is, each song is catchier than the last, a feat to be recognized and applauded.
So, when I heard alt-J was coming to White Oak Music Hall in the middle of November for an anniversary tour, I knew I had to be there. And by the looks of the sold out sign on the door as I walked in, so did every single alt-J fan in the greater Houston area. The venue was packed, with people left standing in the middle of the open doors leading into the space (this I think was largely due to the crowd’s unwillingness to crowd together).
There’s something uniquely special about anniversary tours, not only do artists get to revisit past work and long-time fans get to reminisce about the first time they heard the band, it also gives artists full freedom over setlists, to hell with playing recent tracks. alt-J clearly took advantage of this, playing the entirety of ‘An Awesome Wave’ from start to finish and wrapping up with some fan-favorites from other albums.
Right off the bat, I was wowed with the light production for the show. Combined with the heavy building bass of songs like “Fitzpleasure,” it created an otherworldly atmosphere. Largely due to the layout of WOMH Downstairs, alt-J frontman Joe Newman was consistently bathed in streams of red beams of light timed with drops that made for a really cool visual experience.
I was a bit disappointed to see an overall lack of energy from the band as a whole. Other than the occasional breaks between songs to talk to the crowd, there was very little that differentiated one song from the other in terms of what they were doing. This meant that for popular, fast paced songs, the momentum from the crowd was there, and it was awesome. But for more dramatic, slower songs like “Bloodflood,” it felt lackluster. Maybe this is part of a larger conversation of comparing bands to past versions of themselves, but it was tough to see.
All in all, I’m glad I got to catch alt-J on their tour. After this brief stop in Texas, alt-J is headed to Canada before coming back to the US to wrap up their An Awesome Wave Anniversary Tour.
Nov 9, 2023 | ktru
By Gustavo Raskosky
George Clanton (a.k.a. Mirror Kisses, ESPRIT 空想, and Kid’s Garden) performed live in Houston on October 18th, 2023, at White Oak Music Hall with accompanying acts: death’s dynamic shroud and Frost Children. This was the backend of George’s “Ooh Rap I Ya” tour. On my way to the venue, I decided it’d be wise to listen to the openers as I had not previously heard of them. I had roughly 45 minutes of time-on-bike to peddle through some of their hits. Death’s dynamic shroud reminded me of something I’d listen to in the background of a work session or on a film soundtrack. Experimental electronic vaporwave music best describes their sound. Their work is as dynamic as their name; however, their live performance is much more like an infamous 2000s band energy coming to life with a side of lo-fi DJ who couldn’t stop headbanging to the beat. The aforementioned DJ, Tech Honors, kept his head bopping to the rhythm of the tracks and had more energy than just about any of the audience members during their set. Second place during the set went to James Webster, their singer, who displayed plenty of passion in his guitar and vocal performances. Despite the passion James displayed and Tech’s eye-catching headbanging, the performance wasn’t as memorable as what was to follow.
After a brief intermission, Frost Children took the stage and raised the crowd’s energy exponentially with their hyperpop sounds. Their songs, “FOX BOP” and “FLATLINE,” visually amplified the crowd’s vibe; however, it still seemed like the crowd wasn’t all in. I think most of the crowd had a singular mission to hear their favorite electronic musician (George Clanton) and was taking their time to digest the rest. Fair enough – as Frost Children presented plenty of new sounds that would take time to digest if you weren’t accustomed to it. I loved their on-stage presence. At one point, they began mentioning a variety of sights they saw in Houston, then stuttered on one location… beginning their
next song, “OBSESSED.” At one point, Lulu and Angel (the duo behind Frost Children) came within arm’s length of the audience to let some of them play on their keyboard. Their eccentric personalities and youthful energies came as a welcomed change of pace to how the night was going.
It was finally time for the man, myth, and legend George Clanton to take the stage. He humbly showed up on stage roughly 15 minutes before his start time to set up and test his instruments. As the crowd chanted his name, he remained focused on connecting his power supplies and messing around with lighting. He opened with “Livin’ Loose,” one of my all-time favorites off his 2018 album “Slide.” The energy of the venue shifted. Surrounded by two piles of retro televisions, some smoke, and a few lasers, George put on some stylish glasses and looked like his inner kid was having the time of his life. Everyone looked to be in a fused state of elated peace and high anticipation. The energy wasn’t ever too high, nor was it low. It remained “neutrally euphoric.” Throughout his performance, he also passed into the audience section to throw some water around and high-five some fans. George ended his set with “I Been Young,” solidifying George’s internal Peter Pan showcased earlier in the performance. I left the venue feeling a bit more inspired than I did going in – not because of the rollercoaster ride that is a typical concert experience, but because it felt like George was someone who could continue his passion for music, jamming out and having fun with a somewhat-carefree attitude. He’s having fun livin’ loose, and it’s a beauty to see (and hear).
Nov 9, 2023 | ktru
By Devin Gonzalez
We recently had the opportunity to talk with the Brian Jonestown Massacre’s frontman Anton Newcombe about their tour and their latest album, “The Future Is Your Past,” which was released in February.
How has the tour been going, and how does touring feel now compared to when you were starting out?
“I think that people are a lot less skeptical with what it is that I’m trying to do. I think when we first started, like when I first went to Iceland, everybody’s like, ‘you’re just here to fuck our women or some shit bullshit, right?’ And then people were saying like when we play, what is this The Monkees? There was no point of reference. But I think now we found ourselves in a really interesting space with a diversified audience of people that like the music and also of all ages, even when it’s people bringing in their friends for the first time or something. It’s like a really good space because most concerts even no matter who it is, a lot of the audience, they’re crossed arms and they’re just skeptical of everything they’re witnessing live because I think it’s the product of hypernormalisation where people don’t know what to think about anything. Whether it’s the dumbest person in the world running for president or whatever. They don’t know what to think or they’re just tired of thinking. So I think we really lucked out. It’s been really positive and heartwarming. For the most part, I can just do what I want without battling idiots.”
Have you noticed if your audience has changed (with new, younger fans in the crowd) or do you feel like there still remains a strong demographic of longtime psych fans that go to shows?
“We’ve always had a really mixed crowd. Always, from the beginning: from original hippies to the youngest people we could get in the door, and that’s never changed.”
“It’s really cool to see in a city when there’s all kinds of people, old people, children, instead of just like, oh, wow, we’ve got this ‘.com’ thing and everybody’s just some jerk. Yeah, that’s a bunch of money for two weeks and the rents are all too high and it’s all Airbnbs and another group of assholes who come in and leave every day. It means that your city’s alive. You know, wherever you see all types of people, like for instance, in the Hispanic community or whatever you see that’s happening, that means the city is actually alive and living. It isn’t like some dead zone that places get, that’s a beautiful thing and I’m very thankful.”
Do you find yourself getting inspired by traveling around the world getting new experiences, or do you mainly get inspired when you have to sit down in the studio seeing what flows out of your mind?
“When I was a little kid, I knew very quickly I didn’t want to be like anybody I’ve ever met, or like any of my friends. So I already had the inspiration in me to be myself. So I don’t need inspiration. What I need to do is never forget what my core values as a person are and my techniques. See, it’s like I told my 10-year-old that you don’t need to learn and memorize everything. What you need to do is figure out how to answer the question that you’re asking, or to know where to look for the answer. It’s like most of the people walking around in the Western world and many other places have a computer in their pocket called a smartphone that’s more powerful than the computers that were used to put people on the Moon. But they don’t ever do anything with it. But the thing is, it’s a very powerful tool if you’re very inquisitive. Even Google, as horrible as it is, can be really really a powerful tool if you love learning. And I certainly do.”
How do you see your sound evolving over time? Or do you envision yourself trying to explore more of your ideas such as in your new album (“The Future Is Your Past”)?
My sound evolves because part of it is experimental and the other part is totally traditional. What I understand from where I come from, you know, I was born in 1967. So between my parents’ record collection, everything that happened, I watched all that stuff and I closed my ears at the right time and opened them up back again. My only goals are to carry on. Not picking on old people or anything, but you know, there’s people like the Rolling Stones who they’re now in their 80s doing this thing that doesn’t resemble anything. But it’s a big show, you know, it’s entertainment. And they certainly are professionals and people are there for it. I don’t want to be that person. What I want to do is prove to other people that it’s a ridiculous notion to think that manufactured teenagers are where it’s at. It doesn’t matter if they’re hip hoppers or whatever. That is not actually the pulse of anything. That’s the pulse of big business. Like for instance, in the 60s. The people that were producing and making up the wild sounds and making everybody sound so good, they never, ever asked 13 year olds what they wanted. However, if there were some hot shit teenagers ripping it up, it doesn’t if it was in surf music or anything else, they would make 10 of those. Doesn’t matter if it’s psychedelic or anything else, they go ‘we better get on this train very quick’. So it was a 50/50 balance and it’s very important in politics and everything else, not a deadlock, but that people consider those things.
You often post your music on your YouTube channel before you actually release it on streaming platforms, or on shelves. What’s your motive behind this?
So say like, your band’s gonna be this big thing and you’re hiding your big premiere of your song for Pitchfork or whoever, right. And they put it out on their social media. Within five minutes you’re off the fucking screen, all your money and all the king’s horses. I watched everybody’s records sink below the sand. What I do is I interact with the works in progress and if I don’t release it, so what. If I mix it and it’s better and I finish singing the words correctly, fine. But people can interact with it. It’s more in our world. It’s an observation that I made because I’ve been using computers as long as people have been using the internet. I understand how it works and how it actually works. Not to manipulate it to like help get an edge up on somebody else or rescue somebody else. But I understand how it works and how discovery works. Rather than selling something, I’m more interested in building culture.
When it comes to finding band members or potential people to collaborate with, do you try to find people that have a similar energy or people that could go along with your thought process?
I will teach anybody I care about everything I know about music, or life, art, perceptions, ways of seeing. And that doesn’t mean that I’m being like a cold guy. It’s kind of the only way there’s ever been. But it doesn’t matter if you’re making oak beds or brass beds, or teaching somebody to intern. You’re gonna teach them everything you know about your craft, and it doesn’t always work out. It doesn’t matter if you’re a plumber and you take a teenager in for a summer job or not. It’s not going to be everybody’s gig. That’s exactly the way I do it. Exactly like somebody who’s a plumber that you would call and find some kid who wants to work or some person wants to try it and I try to teach them what I know that works. Every aspect right down to work is play. Then it does not feel like it’s work. So you’re not just harboring resentment over every little thing you do grumbling and then bitching about why your life doesn’t work. But treat everything that same way.
This interview has been edited for length and clarity. The views, commentary, and opinions expressed during the preceding editorial are solely those of the person(s) expressing them and not necessarily those of the faculty, staff, or administration of Rice University.
The Brian Jonestown Massacre’s album “The Future Is Your Past” is available wherever you stream music.
Photo taken by Aurelien Guichard from London, United Kingdom – Brian Jonestown Massacre, CC BY-SA 2.0, https://commons.wikimedia.org/w/index.php?curid=22318710
SXSW offers the unique opportunity to see a lot of small international bands that don’t normally tour the states. I saw 
The most impressive soloist I saw was the Texas born multi-intstrumentalist 
Behold! born from the ashes of various psych rock acts across Texas and possessed by an interdimensional being of funk, the band 
Opening the night was Mustard Service, a band that seemed to arrive on stage with a touch of nerves but left with the crowd wrapped around their fingers. Even those unfamiliar with their music embraced them as if they were the headliners. Their infectious energy set the tone for the evening, with everyone in the audience visibly enjoying the performance.
In order to make time for the other co-headlining band, Knuckle Puck had to keep their setlist relatively short. They played for just under an hour, but were able to play a breadth of songs from their catalog. This included classic tracks from their earlier albums like “No Good,” and “Want Me Around.” They also performed some songs from their latest studio album released a few weeks ago, Losing What We Love. Lead singer Joe Taylor acknowledged the fact that many fans might not have heard the new songs before, but from the energy of the crowd you would not have been able to tell. The band’s stage presence and the collective vigor within the room made it easy for anyone to enjoy themselves even if they weren’t familiar with much of the band’s recent releases. Before leaving the stage, Knuckle Puck finished off their set with a few fan-favorites like “Pretense,” “Gone,” and “Untitled,” which the rest of the fans and I greatly appreciated.
During the intermission before Real Friends, I noticed that many Knuckle Puck fans left the venue. However, those that stayed were rewarded with an exceptional second half to the show. I wasn’t a huge fan of Real Friends before attending this concert, but I was astounded by how engaging they were as performers. A lot of this was chalked up to the charismatic personalities of the band members. Real Friends played a wide range of songs from their discography, including a few singles from their latest album There’s Nothing Worse Than Too Late, which was released in early 2023. The band even performed a rendition of “Happy Birthday” to celebrate bassist Kyle Fasel’s birthday (happy birthday Kyle!). Towards the end of the set, lead vocalist Cody Muraro came off the stage and stood in the middle of the crowd to sing “Teeth,” one of the band’s most emotionally potent songs. This definitely tugged on my heartstrings and was by far my favorite moment of the concert. Real Friends also played a cover of Jimmy Eat World’s “Sweetness” and two fan-favorites, “Get By” and “Late Nights in My Car,” to finish off the show.
The 6-piece band Ripe, hailing from Boston, ended their tour at a small venue (about 300 people) Sunday night, though this did not indicate the following this band has achieved (the band has performed at venues like MGM Music Hall and Brooklyn Steele). What was interesting was that people in the crowd were equally excited for the opener HOKO as they were for Ripe. Both bands were to perform a sold-out show that night.
Openers HOKO brought a liveliness that a typical main act would garner up. The band translated their experimental pop sound to a live band act seamlessly, and their performance did not disappoint. Lead singer Nathaniel would periodically hop from the stage into the crowd to hang out with the audience while singing; this interaction with concert-goers felt natural and laid back, the general vibe that the band gave off. A favorite song of their set was “Hellogoodbye.”
George Clanton (a.k.a. Mirror Kisses, ESPRIT 空想, and Kid’s Garden) performed live in Houston on October 18th, 2023, at White Oak Music Hall with accompanying acts: death’s dynamic shroud and Frost Children. This was the backend of George’s “Ooh Rap I Ya” tour. On my way to the venue, I decided it’d be wise to listen to the openers as I had not previously heard of them. I had roughly 45 minutes of time-on-bike to peddle through some of their hits. Death’s dynamic shroud reminded me of something I’d listen to in the background of a work session or on a film soundtrack. Experimental electronic vaporwave music best describes their sound. Their work is as dynamic as their name; however, their live performance is much more like an infamous 2000s band energy coming to life with a side of lo-fi DJ who couldn’t stop headbanging to the beat. The aforementioned DJ, Tech Honors, kept his head bopping to the rhythm of the tracks and had more energy than just about any of the audience members during their set. Second place during the set went to James Webster, their singer, who displayed plenty of passion in his guitar and vocal performances. Despite the passion James displayed and Tech’s eye-catching headbanging, the performance wasn’t as memorable as what was to follow.
It was finally time for the man, myth, and legend George Clanton to take the stage. He humbly showed up on stage roughly 15 minutes before his start time to set up and test his instruments. As the crowd chanted his name, he remained focused on connecting his power supplies and messing around with lighting. He opened with “Livin’ Loose,” one of my all-time favorites off his 2018 album “Slide.” The energy of the venue shifted. Surrounded by two piles of retro televisions, some smoke, and a few lasers, George put on some stylish glasses and looked like his inner kid was having the time of his life. Everyone looked to be in a fused state of elated peace and high anticipation. The energy wasn’t ever too high, nor was it low. It remained “neutrally euphoric.” Throughout his performance, he also passed into the audience section to throw some water around and high-five some fans. George ended his set with “I Been Young,” solidifying George’s internal Peter Pan showcased earlier in the performance. I left the venue feeling a bit more inspired than I did going in – not because of the rollercoaster ride that is a typical concert experience, but because it felt like George was someone who could continue his passion for music, jamming out and having fun with a somewhat-carefree attitude. He’s having fun livin’ loose, and it’s a beauty to see (and hear).
