Concert Review, Indie, Rock, Singer-Songwriter

Show Recap: Mitski Made Me Cry; Not Clickbait But It’s Believable Anyway

On a Sunday evening, a line of unfamiliar faces is outside shielding themselves from residual rain as they wait for the doors of the Columbus Theatre to open. In Providence, Rhode Island, Mitski’s Bon Voyage tour is about to start, the first date of the mini-tour headlining smaller cities in the Northeast before she embarks on her Be The Cowboy tour.

There’s an almost dream-like quality to the entire night (apologies for the cliché). Sidney Gish makes an incredible first impression with her opening set, joking with the small audience that the setting reminds her of community theatre. It becomes a running joke, almost, throughout her set, and she’s not wrong — the bluish purple lighting gives the venue a Twin Peaks-esque atmosphere, but the seating arrangement emanates a true theatre setting, much smaller than most high school auditoriums.

When we finally see her, Mitski Miyawaki comes out with her hair in a bun, wearing a white button-down shirt. The opening, which I’d find out days later is track six, Remember My Name, of her anticipated record, Be The Cowboy, starts with a distorted electric guitar that glides so swiftly along the first lines: “I gave too much of my heart tonight / Can you come to where I’m staying / And make some extra love?” Without an introduction and minimal talking throughout the set, Mitski’s only vessel into who she is as a person is her art right in front of us. She has the ability to display everything and nothing, her poker face almost calculated as she moves in fluid ways, sometimes exuding the beauty of a dancer through interpretative motions. She sprawls herself on the floor and the lone chair in the middle of the stage; she lays on her back as she kicks her legs to the air as if she were the only person in the room.

The energy was alluring, with every person’s eyes drawn to her like we’re holding our last breaths. Sidney Gish wasn’t kidding about the room feeling like community theatre — it was far from your local DIY gig or a night out at the House of Blues. Mitski’s control of the energy in the room was a punch to the throat in the most flattering way possible. The storytelling in her lyrics makes you feel a certain ache in your gut, as if you’d lived a thousand lives before this, all while she narrates each and every one to a T. There’s a moment that physically gave me goosebumps — it’s at the very end of Geyser, when she begins to mimic the motion of digging into the ground frantically, a homage to the music video in which she does the same thing on a rainy beach. Where her short songs usually carry a narrative, Geyser is full of unadulterated emotion in the vaguest way. I think that’s one of my favorite things about her music — her art is simply art. There doesn’t have to be an interpretation or meaning to every single thing, but the eruption her performance gives transcends something just beyond goosebumps.

It’s a very specific, very personal, visceral feeling to watch a person you’ve never met pour their heart out on stage. For my case, as I was nearly choking back tears during Your Best American Girl, a fan favorite, it’s like gazing at a mirror. That’s not to say I’m essentially making powerful indie rock and touring the country, but as an Asian American girl, to bask in Mitski’s music as well as other associated artists like Jay Som and Japanese Breakfast (a holy trinity) is to feel full of something euphoric.

Here’s what I’ve noticed in the niche community between the Internet and my own peers who love Mitski: the most common thing is everyone’s love for astrology — Mitski’s too. One day in 2017, in which she tweeted about her Scorpio rising, I asked her about her moon sign. Lo and behold, she tweets back, saying she’s a Capricorn moon, and I’m losing my absolute mind. For those of you who don’t know, there’s more to zodiacs than your usual sun sign, there’s also the ascendant/rising (how you appear to others), and your moon sign (how you are inside/emotionally). The point here is that I share my Libra sun, Capricorn moon, and Scorpio rising with Mitski, so for this whole time I’ve been listening to her, I constantly get reminded of how similar we possibly are in an astrological level. Despite the honesty in her interviews and her songwriting, there’s a surface level magnetism to her that I can only aspire for in an older, more evolved version of myself. In a recent The Fader interview, Mitski says, “I think Björk said in an interview that all of her albums are just exaggerations of a specific part of herself. I think it’s like that for me.” This shows through her art, in which her record and performance clearly displays her multiplicity.

Mitski glides on the stage like she’s alone in her bedroom, barely singing to the audience but more so to herself — performing like she’s in a dream as she wraps the mic cord around herself. It’s something recognizable, to see someone unravel themselves in an almost mind-numbing way. The singer casts a spell on the room as we watch her like voyeurs — especially shown in the lack of phone screens glowing throughout the audience.

The last moments of the show get stripped bare. The band does their instrumental take-off as Mitski leaves us with an impromptu intermission, to which she comes back with her blue acoustic guitar, and suddenly, it’s just her. More tears come (of course), specifically during A Burning Hill, a bittersweet ballad off of her last record, Puberty 2. She sings, “Today I will wear my white button-down / I’m tired of wanting more / I think I’m finally worn” while in her white button-down, and it’s like the stage is the audience’s own diorama. In the tiny venue with just her blue guitar, lights down low as everyone sits in silence, listening to Mitski has the same exact effect as listening to her record for the first time just after midnight. It’s just her voice, you, the glow-in-the-dark stars on your ceiling, and whatever multitude of feelings that burn in your chest.

One of the very few things she says throughout the entire show is a thank you to the audience at the end of her set, a humbling and quietly thoughtful exit as if it were her first show ever. There’s not really a way to put into words an experience that sticks to you like honey, how fast you’re snapped back to reality once the lights come back on and the audience gets up from their seats, but it’s definitely an experience I’ll never forget.


Header photo by Em Gray.


Concert Review, festival

Sunday Recap: Fortress Festival

Fort Worth’s Fortress Festival is a rarity in music festivals in that it is just that: a festival of music. In today’s entertainment world, festivals aren’t good enough until they have over the top accessories like ferris wheels, comedy shows, movie viewings, celebrity attendees, and an excessive amount of vendors. Boston Calling is becoming that type, having recently added a film and comedy aspect to the event. It feels like we are becoming less satisfied with one source of entertainment and constantly in need of distractions. Why I liked Fortress Festival was that it was completely dedicated to the music. Yes, there were the typical overpriced vendor and merch tents surrounding the premise, but nothing too showy that took away from the music. Well, with the exception of a hair styling tent.  The complimentary braiding and glitter accessorizing led to an infestation of glittery braided festival goers, which felt odd since it wasn’t Coachella. In the spirit of the festival, I got glitter braided, then immediately regretted the decision.

Fortress Festival is in its second year and is still small enough to feel like a personal experience. Unlike Boston where an April day could be cold rain, snow, or 90 degree weather, Fort Worth is pleasant this time of year. Festival goers were able to enjoy each act without worry of rain. Located in the cultural district of downtown Fort Worth, Texas, the festival neighbors the acclaimed Kimbell art museum as well as the Modern Art Museum of Fort Worth, where ticket holders received free entry there. I will say that witnessing band-mates from Pear Earl dance around the Kimbell fountain to Courtney Barnett’s set was a personal highlight of the festival.

Now let me tell you about the music. Midnight Opera was the first act of the day and unfortunately only a handful of people were in the crowd. People slowly trickled in throughout the day, and it really only got packed towards the later side. Ronnie Heart, once described as “future funk,” really blew the crowd away. His dance moves were on point, and his flute player rocked as hard as any flute player could rock. Local act Andy Pickett did not dance like Heart, but the energy was prevalent in his singing, piano playing, and his rockin’ horn section. His smooth soul singing is reminiscent to the 70’s and 80’s, but the young crowd seemed to be digging it. Pickett’s interactions with the audience added a nice friendly touch. Pearl Earl gave quite a performance, as well. Drummer Bailey Chapman was especially fantastic, whipping her hair back and forth putting her heart and soul into each song.

Courtney Barnett. Photo by Ismael Quintanilla

And of course, the bigger acts did not disappoint. Lee Field & the Expressions danced and sang, their happiness completely contagious and tangible. Tune Yards acted as a double espresso shot, providing an energetic burst for the tired afternoon. I don’t know how else to describe Courtney Barnett’s set except that she totally rocked, as she showcased her punk side screaming into the mic.  I missed The Texas Gentleman in order to secure a good spot for Father John Misty, but I will say they sounded great from a distance.

Father John Misty. Photo by Ryan Vestil

Father John Misty’s performance was worth both the wait and the almost destruction of my knee caps. Misty’s dreamy ballads had audience members singing each and every word, even the songs that were leaked from his upcoming album (God’s favorite Customer, coming out June 1st). Fans got to hear classics such as “Chateau Lobby #4”, “Ballad of the Dying Man”, and “Hollywood Forever Cemetery Sings” as well as some newer tracks like “Mr. Tillman.” Dancing, twirling the mic stand, and looking straight into our souls, Misty was an excellent performer. He sounded great live and the only disappointment was his rejection to the crowd’s ongoing encore request.

Fortress Festival is one of the smaller festivals, but it is worth going to. I came for Father John Misty, but the smaller acts really made the day. Even though the glitter in my hair may be temporary, I hope Fortress Festival is here to stay for awhile.

Concert Review, Hip Hop, Rap

Concert Review: BROCKHAMPTON @ House of Blues, 2/5/18

Everything about BROCKHAMPTON is unconventional. During 2017, the band released three feature-length albums over the course of six months, entitled the Saturation trilogy; each of which received high critical acclaim, with Saturation III peaking at 15 in the US charts. The collective of around 15 members produce everything themselves; creating their albums, music videos and merchandise all at their shared home in Los Angeles.

The group quickly developed an enthusiastic fan-base attracted to both the music and it’s content. BROCKHAMPTON discuss topics often ignored in popular culture, let alone in rap music, such as: sexuality, mental health, rape culture and addiction, amongst others. Despite the nature of some of these topics, BROCKHAMPTON’s music is full of energy and isn’t as hard-hitting as one might expect, with songs such as STAR, during which members of the group interpolate countless popular culture references over the course of the three minute track.

On February 5th 2018, I arrived at the House of Blues venue in Boston an hour and a half before doors opened to BROCKHAMPTON’s sold out show. Around a hundred or so people were already lined up, despite the bitterly cold temperatures of 20 degrees. Some fans were dressed in orange jumpsuits, with blue face paint – mimicking the costume often worn by the boy band in their music videos and live performances.  The audience consisted of all genders, primarily teenagers and those in their twenties.

Once inside the 2500 capacity venue, without any opening act, group member, Ameer Vann walked onto stage alone and slowly got changed into an orange jumpsuit. Within moments the other 6 primary members of the group ran onto stage in matching outfits, brock1.jpgwith the booming single BOOGIE opening the set. The boy band stormed through fifteen songs in quick succession. Each rapper was constantly jumping around the stage, dancing, interacting with the audience or providing backing vocals/ad-libs for the other members of the group – the energy and atmosphere was unlike any concert I’ve been to.

One unusual aspect of BROCKHAMPTON is that, despite being a rap group, “bearface”, one of the central members, just sings- only contributing to 5 songs over the entirety of the Saturation trilogy. After an hour and half of the main rap-heavy set, all other members left the stage, leaving only ‘bearface’. Prior to this, he’d just sitting on stage with a guitar, watching the previous set. He performed the slow-paced, emotional BROCKHAMPTON tracks SUMMER and TEAMleaving the crowd, who had been crazily moshing before, swaying from side to side with lighters raised in the air.

After the short solo set, the other members returned for an encore, which included performing their hit song, STAR, five times consecutively – each time requesting a larger mosh pit, bringing members of their crew (such as their sound engineers brock2or videographers) on stage before finally inviting thirty or so jump-suited, blue-faced loyal fans up- it was madness.

The 2018 national tour is entitled Love Your Parents Tour – A Live Experience By BROCKHAMPTON. I can’t think of a more fitting description of the concert than it being ‘a live experience.’  The music of BROCKHAMPTON is unique, energetic and emotional. I would highly recommend giving BROCKHAMPTON’s Saturation trilogy a listen, and seizing the opportunity to see them live when they return to Massachusetts for May’s Boston Calling festival.


Hip Hop, Rap, Review

Album Review: Ronny J – OMGRonny

Ronny J is the hottest underground hip-hop producer that you’ve never heard of. Over the last few years, the Miami-based producer and rapper has crafted hits for some of the most successful new artists in hip hop, such as Denzel Curry, Rich Brian, and Lil Pump. Somewhere between the glossy and highly produced work of artists like Migos and A$AP Mob and the hard-hitting underground sounds of artists like Ho99o9 and Lil Ugly Mane, Ronny J’s new project OMGRONNY is a short burst of interesting, garage-band-quality hip hop that is certain to haunt your mind like the most effective commercial jingles.

The project lends you twelve seconds of preparation before it kicks you in the face with the distorted bass and choppy percussion that persist throughout each of the tracks. While most producers would tend to avoid muddy bass and clipped percussive samples, Ronny J uses these features to create some exceedingly interesting effects. The distortion of the bass on songs like Snakes and 824 create a depth that a regular 808 could not have matched. The percussive arrangements are fairly typical of any other hip hop project you may have heard in the past three years, but the variety of pitches and effects he uses on snare and hi hat samples makes even simple patterns stand out and complement the songs greatly. Musically, the project is consistently exciting and innovative, making sure not to shy away from being too dirty or extreme.

The project relies heavily on features; only two of the eleven tracks feature no other artists. Verses from Ski Mask the Slump God (Costa Rica, Thriller (Forever)), Denzel Curry (Houston, Glacier), and Wifisfuneral (Snakes) provide much needed structure to the bulk of the tracks on the project. Ronny J’s shortcomings as a songwriter and vocalist become fairly obvious once these features are considered. His lyrics can at times seem uninspired and repetitive and his autotune-soaked vocals fail to captivate the excitement that the tracks often call for. He fails to differentiate himself from some of his contemporaries, rapping about the expensive things he owns and the women he gets (like we haven’t heard Kodak Black say the same exact things in every song he’s released in his career).  Unlike rappers like Travis Scott or Young Thug, who use Auto-Tune to enhance their vocal performances, Ronny J seems to use it to mask his uninteresting or otherwise poorly written hooks. There are, however, several moments in which he exceeds vocally. His performances on Thriller and 824 are smooth and at least fairly interesting. Without the features from more talented vocalists, the album would not survive.

Despite Ronny J’s vocal and lyrical shortcomings, his first full length project is an example of the diversity that is present in the modern hip hop scene. He differentiates himself from other current popular hip hop producers, such as Metro Boomin and Zaytoven, with a gritty and highly intense style that is unmatched by any other. He consciously avoids the same smooth bass tone and vocal production that haunts every Migos and Post Malone track you’ve heard on the radio, instead opting to use more colorful and varied sounds that would not normally be heard in a rap beat. Ronny J’s debut project serves as a vocal introduction for the producer and a showcase of unique and hard hitting beats that will certainly be some of the most memorable of the year.


Best tracks : Thriller, Houston, 824

Worst tracks ; Banded Up (lmao fuck xxxtentacion)

Interview, RPM, Singer-Songwriter

Moroccan Ballroom – A Chat with Katie Toupin

Katie Toupin grew up in Indiana and became part of the band Houndmouth. After taking a few years off, Katie took her chances at writing her own music and moved to LA. The result of this is her self released EP: Moroccan Ballroom, coming out March 2nd. I was fortunate enough to speak with Toupin on air about her new music, Midwestern upbringing, and her dog, Cheeto.

AE: Your EP is called Moroccan Ballroom. Can you tell what listeners can expect from the new sound?

KT: Moroccan Ballroom is named after the room in which we recorded in… I just spent 6 hours recording. And then when it was done we were looking back and thought this sounds great. This is exactly who I am, exactly where I’m at. These songs are all tracked live and they sound really great to me. There are five tracks on the EP and they all sound different. There’s an upbeat thing, there’s a very flow full key thing, there’s a duet, and a little darker rock, so there are different songs but they’re all me in my own voice.katie2

AE: The album cover is aesthetically pleasing, I love the colors. Can you tell us a little about the album cover? Was it shot in an actual moroccan ballroom?

KT: Thank you! No, the album cover is actually a subway station in Hollywood. My boyfriend is a photographer so he had taken it. Right when I saw that particular photo I said “Oh that’s gotta be the album cover”. No doubt in my mind. We’re actually shooting a music video for ‘Shake Baby’ which will be the new single we release. We walk through that subway station in the music video so you get to see a little bit more.

AE: You recently moved to LA. Do you think that’s influenced your sound at all?

KT: It’s hard to say. I took two years away from music after leaving [Houndmouth]. I was writing the whole time and it was a two year process of trial and error. Trying to find who I am because it was basically my entire adult life I spent in that band and the people in that band. I moved to LA about a year ago. And it’s really the first time I’ve had my own place and wasn’t travelling all the time and had got to have a normal routine… It’s the first time I feel confident in who I am. It took settling down for a second to find that and feel grounded. When I first moved I was like, do I wanna make pop music? Do I wanna make electronic music? What do I wanna do? I was all over the map. I think being in LA sorta helped me own what I have, which is a midwestern upbringing and a midwestern mixture of sound.

AE: I think whenever a person has a transition period it gives them time to define who they are and what kind of person they want to be. I think it’s important to know who you are… it’s good to have a sense of identity.

KT: Change is hard and a lot of the songs are about that change… I tapped in that as I went along and hopefully captured [that change] for the music part.  

AE: Is there a set date for Boston?

KT: I don’t have a set date for boston I literally in the last few days locked in some booking agents and was getting it all sorted. Because this is an entirely self released EP, there’s no label behind it. Im very happy about that. In a lot of ways this connected to the fans… I listen and can make things happen and decide in the direction in which I want things to go. [my listener’s] opinion very much matters to me. So I hope to get to Boston…  I’ll get there very soon.

AE: Are you listening to anyone in particular right now?

KT: Not anything new. I’m not great at finding new music. I find stuff I like and listen to it over and over. Recently, I’ve been on this pretty strong Strokes kick.

AE: Lastly… Your social media is always filled with beautiful pictures of your dog, Cheeto…

KT: He’s actually sitting right next to me right now, in a sweater with ears on the hood. I think I want to tour with him… I want to figure out how to bring him along. He’s like my best buddy. I thought I should maybe have a social media page entirely for my dog but I’m not sure I want to be entirely one of those people. Do I want to commit there? I’m not sure.


Toupin’s dog, Cheeto. Taken from her instagram: @katietoupin

Pre-order: Moroccan Ballroom

Katie Toupin’s Official Website

Hardcore, Metal, Punk, Review, Rock

Album Review: Ghost – Ceremony & Devotion

Most iconic bands have expectations. With AC/DC, you expect to see Angus Young striding across stage with his Gibson SG, hammering out heavy 3 chord bluesy heavy rock and roll. With Amon Amarth, you can expect to hear brutal moshing death metal. Ghost challenges all expectations.

Ghost formed in Linkoping, Sweden, in 2006. They consist of their front-man and vocalist Papa Emeritus, equal parts Papal and ghostly, and an assortment of masked instrumentalists, fittingly known as Nameless Ghouls. With such an image adorned with inverted crucifixes and Satanic lyrics, you would assume a band like Ghost would have the same aural onslaught of a band like Cannibal Corpse.

That is not the case. Their work has more in common with bands of the 1970’s like Dio-era Black Sabbath, and the stadium ready sound of Led Zeppelin. Their album Opus Eponymous was released in 2010, was recorded in a basement studio in the band’s hometown. Nothing about the album or sound would make you think of a debut recorded in a basement; the combination of 70’s style guitar and keyboard riffs, with Emeritus’ velveteen vocals indicate a band at their prime.

Exploring Satanic themes is nothing new to heavy metal, but never have the melodies been so damn fun. Much of their sound is like an undiscovered Satanic pop record from the back of an aging Stockholm record store, more in common with the catchy choruses of ABBA and the Beatles than the cookie monster vocals of many other “Satanic” metal acts.

With the release of their newest album, Ceremony and Devotion, it seems that Ghost has finally begun to arise to their pinnacle. The art of charismatic rock and roll front men like Mick Jagger and Steven Tyler seems all but dead in 2017. Fittingly, Ghost seems to be reviving that corpse on stage every night, proving that what is once dead may come back to life.

Over the summer, the band opened for Iron Maiden on their Book of Souls worldwide tour. It’s only fitting that a band with a twenty-foot tall walking undead mascot would be accompanied by a group of masked occult rockers. Both bands have a flair for the theatrical, never shying away from exploring both the lighter and darker sides of humanity.

Ceremony and Devotion was recorded this year during the North American leg of their tour. Opening the set was Square Hammer, the relentlessly catchy opening track from the band’s second EP Popestar. (The track debuted at #1, the first time in a Swedish band topped the Billboard Mainstream Rock Charts in the United States.) “Are you ready to swear, right here right now, before the devil?” sings Papa Emeritus at the song’s chorus, to a roar of overwhelming approval from the crowd. Next on the occult ritual’s set list is fan favorite “From the Pinnacle to the Pit”, with a monstrously swaggering bass riff.

It takes a serious degree of charm to make a ballad about a zombie queen sound so downright enjoyable. The ever charismatic Emeritus segues between songs; a smarmy, creepy, Rod Sterling-esque curator of an occult ritual you can’t help but want to join in wholeheartedly.

Across the 15 song-set, the band includes songs off all three of their studio releases, including the Ritual, and the acoustic ballad He Is. The album was mixed by Tom Dalgety, “Breakthrough Producer of the Year” for his his work on Royal Blood’s debut album. The album fittingly encapsulates everything great about Ghost’s unique sound. Every snare hit, guitar chord, and lyric comes through cleanly through the mix. A rarity on many live metal albums; you can actually hear the bass!

Even after a multitude of lineup changes over the past year, the band maintains the mystique and power of their studio sound in a live setting. Plenty of metal bands have embraced satanic themes, but none have matched the dark humor, melodies, and atmosphere of Ghost B.C. Come together and crank this album.

Hip Hop, Review

Album Review: Cyhi The Prynce – No Dope On Sundays

Hip Hop fans had no clue what to expect when word got out that long-time Kanye West affiliate and former G.O.O.D. Music signee, Cyhi The Prynce, was finally releasing his long awaited solo debut, No Dope on Sundays. After years of displaying his lyrical dexterity with clever double entendres on several mixtapes, writing on every West album since My Beautiful Dark Twisted Fantasy, radio show freestyles, and of course his breakout verse on West’s So Appalled off of 2010’s Dark Fantasy. Cyhi finishes off the fourth quarter of 2017 strong with No Dope on Sundays.

Like many black Americans in the south, the Stone Mountain, Georgia native grew up in the church, and that remains a consistent theme throughout this album. He recites a Bible verse at the end of the title track which then seamlessly goes into the third song on the album, Get Yo Money. The album is jam-packed with autobiographical double entendres depicting Cyhi’s former life selling marijuana throughout his teens and 20’s, in a way that doesn’t glorify the lifestyle but are more-so cautionary tales. At the same time, he continues to bring back the recurring theme that, even on Sunday’s, no drugs were sold.

“There’s only three ways out this, shit/ Dead, jail, or get your legal hustle on/ Get Yo money and get out the game” says a recurring character throughout the album, on who Chyi speaks to on the phone– who, in a way, becomes the narrator of the album. It verbalizes, through conversation, the points that Chyi is expressing throughout the album, ones the lamen may not understand.

“I was barely seventeen, rollin with some killers that was 30 plus/ Shoulda left these niggas earlier/ But I was broke as fuck in the street I was tryna get me a burger, bruh.” Says Cyhi on Amen, the album’s intro. Autobiographical lyrics like this are what make this album. Cyhi gives context to the circumstances that can potentially lead to youth living a life of crime by humanizing these individuals with vivid stories that don’t glamorize the lifestyle but function more like cautionary tales.

No Dope on Sundays has a little bit of something for everybody. For the true hip-hop heads who appreciate wordsmiths, try Amen (Intro), the title track No Dope on Sundays (feat. Pusha T) and God Bless Your Heart. For the more casual fans songs like the lead single Dat Side (feat. Kanye West) and Looking for Love allow Cyhi to show off his crossover appeal while at the same time not sacrificing his integrity as an artist to conform to radio.

If you haven’t listened to No Dope On Sundays I suggest that you do. I consider it a top 5 rap album of last year and, although it came out a little too late to be nominated for Rap Album of the Year for the 2018 Grammy’s, I expect that nomination in 2019.