Bands Through Town, Issue 10

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One-woman Blues band: Ghalia Volt (Photo: Cory Weaver)

FEATURED Go DJ, That’s My DJ

Covers:Front(TrackstartheDJ),photographybyCoryWeaverandback(MakingMovies)photographybyFelipeRubilar

BEATS + EATS: TAKASHIMA, EPITOMIZING THE BEATS + EATS CONCEPT 52

Wow. After our ninth issue featured one the most daring outlaw country, alt-country, Americana, flat-out rock artists known to man—aka, Nikki Lane—hit the streets, it took a minute to realize that the next issue was going to be the 10th

After personally distributing the magazine throughout Kansas City and select locations in Nashville—the grind sorta came to a halt. This is hard. Of course, if it were easy there would be 10 music magazines in the Midwest, right? If it wasn’t hard, perhaps this magazine wouldn’t be so damn good? This is where you take a step back and realize that this is important and it’s needed—oh, and it’s really cool…and doing cool shit isn’t easy.

After promising in-person and phone meetings about advertising and issue sponsorship with people who have said they “love” the magazine fell flat, I asked myself whether this magazine should continue to exist beyond a 10th issue.

But alas, music has always been a part of my life—well, at least since I was 18 and picked up a camera to shoot rock bands in Lawrence, Kan.—and for now I must persist. One of the greatest supporters of this magazine has been Takashima Record Bar, and on back-to-back nights in March, they had Cut Chemist spinning—he was the DJ

for Jurassic 5 and later, Ozomatli—and the following night they had Trackstar the DJ spinning. I was reinvigorated, excited and I had an epiphany, “Trackstar is going to be in the next issue.” With an intro by Takashima owner Dan Hayden, we talked about the magazine and he was down from there to be in the issue; although, I don’t think he expected to be on the cover.

I am using the music as the driving force to make this issue happen and not letting the people who want to be in the scene, but not A PART of the scene, get me down. With that said, this is probably the best issue of Bands Through Town magazine thus far—which is what I’ve said about the past four issues.

If not for Covid, perhaps this issue would possibly be the 14th or 15th issue—and that would be so wild. But, I’m sorta glad that it’s not because things fall into place for a reason, and having the features we have in this packed, 72-page issue feels right. With this 10th issue, that means number 11 is on the horizon, and I’m not sure if having an online-only version or a limited print run is going to be the answer to the lack of advertising and sponsorship interest.

Enjoy this issue. It’s for you. —CW

Cory Weaver Producer & Editor

Jennifer R. Weaver Editor & Writer

Madisyn Siebert Asst. Editor

Alex Bakken Writer

Josh Chaiken Photographer

Melanie Broussalian Writer contributors

Liam Owen Writer

Brian Amick Writer

Thomas Crone Writer

Laura E. Partain Photographer #10

Sean Rider Photographer

Philip Hammer Photographer

Tori Lohmann Writer

Wil Thomas Features Advisor

Reviewed

Photo: Sean Rider

Photo: Sean Rider

Tennessee ‘Cannonballers’

Colony House Packs the Pageant

Story: Alex Bakkan

I did not know much about Colony House before their live show at Delmar Hall on Feb. 17. I had casually listened to their popular songs like “Silhouettes” and “You Know It” from time to time, but that was pretty much the full extent of my history with the band. Going in, I assumed I would have a typical indie-rock concert experience—holy hell did they blow my expectations clear out of the water.

Colony House perfectly understands how music is meant to be shared live. They have cracked the secret code to fully engrossing a room full of hundreds of people. It’s a mystery to me what exactly got everyone in the crowd so amped up, but there was clearly some magic happening. I was there and I still don’t quite understand how they did it!

One guess I had was that the band hit every single point in the “good show” formula. Genuinely chatting with the crowd—check. Changing up their songs just enough to keep us on our toes—check. Keeping up the energy with drum solos between songs—check. Adding an incredible electric guitar riff to a slow ballad—check!

But calling this performance formulaic does not do justice to the absolute MASS of energy these four guys brought onto the stage. Brothers Will and Caleb Chapman, as well as Scott Mills and Parke Cottrell, have been making music together for just over a decade. You’d think after that much time—not to mention their five album releases—someone would start to lose their pep. Absolutely not. This show kept the gas pedal on the floor from start to finish. Even slower songs like “This Beautiful Life” and “I’m Not Dyin’’ managed to be completely captivating.

Maybe what did the trick was the songs themselves? For a set list mostly made up of music I’d never heard before, I found myself singing along more often than not. If I could catch onto the lyrics, they’d be coming out of my mouth. And for those who were long-time fans of Colony House… forget about it! I’m honestly not sure if the first five rows of the crowd stopped signing once.

Speaking of long-time fans, Colony House made sure the fans got every ounce of music they could handle. St. Louis had the honor of being the first stop on their “Cannonballers” tour, meaning we got the chance to hear all the songs they hadn’t yet decided to cut for time. Whether it was jamming out to the upbeat newrelease “Landlocked Surf Rock” or basking in the acoustic performance of 2014 hit “Second Guessing Games,” I can’t imagine there was a single fan left unsatisfied. One long-time fan, a young man named Chance, even made it on stage and

played lead guitar for their song “2:20.” In Caleb’s words “I’ve played this song so many times, I’m done with it. Let’s leave it up to Chance.”

Something that truly surprised me, though, was how much fun I had watching the crowd during Colony House’s performance. There was a group of college guys just in front of me who, no joke, appeared to be forming core memories together watching the show. Another duo, a mom and daughter to my left, were unabashedly dancing to every single song together. The entire room was absolutely enthralled by the music. Words can’t describe it, the entire crowd was all in

The true code to Colony House’s success may remain a mystery, but honestly—who cares. I could study the show 10 times over and keep finding new things that pushed my amusement further. At the end of the day, I suppose you just had to be there to fully understand it. I know I’m happy I was.

Breaking the Curse with Arlie at the Duck Room

Story: Madisyn Siebert

Playing in an intimate venue like the Duck Room can be difficult for some artists, especially on Feb. 18, the day of St. Louis’s infamous Soulard Mardi Gras parade, but not for Arlie. The basement of Blueberry Hill filled up as time crept closer to Arlie’s arrival on stage. Then the music stopped, and one member of the band walked out dressed fully in white and began to play, then another followed and another until the stage had four bandmates all in white building up to Arlie’s big entrance.

Arlie jumped out of the green room and bounded over to the stage in a similar all white ensemble, but with an added touch—white feathered angel wings. The energy he brought to the stage was outrageous and was immediately devoured by the crowd.

After a couple songs, Arlie took a chance to take a breath, and he encouraged the whole crowd to take three deep breaths with him. He gathered his band, and everyone in the room fell silent except for the huffing sounds of inhales and exhales. He then looked at the crowd making sure everyone felt better and simply said, “Hot girls don’t gate keep,” with a knowing smile.

The whole point of everyone taking deep breaths according to Arlie was so that everyone could make it through the full set and keep their energy high. But, if you asked me, I believe he did this so that everyone could lose their shit as he played “didya think,” his most popular song with over 35 million streams on Spotify alone. The crowd went crazy, and you could tell Arlie was giving the crazy energy right back to them.

It is always interesting to see an artist perform their major hits so early on and “break” the social norms of leaving those songs last for a finale. It leaves room for two alternatives: they are either relying on the good fans to stay, or they plan on doing something big to end the show. I believe Arlie had neither of these goals. I think he performed “didya think” so early just because he wanted to and for that I respect him.

Arlie had a few tricks up his sleeve for this show, such as covering “Fly Like an Eagle” by the Steve Miller Band, breaking out his saxophone for a couple songs and even going on a tangent about how yawning is contagious. The best surprise of the night was him taking the time to introduce an unreleased song that he hasn’t even recorded yet, citing it as, “very special to him.”

What is so special about Arlie is the way he carries himself and his music. You can see he truly loves doing what he is doing and being who he is. He throws himself into every song, takes the time to connect with the audience, but ultimately doesn’t give a crap what anyone else thinks about him. If someone told me he was the love child of Freddie Mercury and David Bowie, I might just believe you based off what I was able to witness on that stage, and I was here for it along with the rest of the crowd.

He pranced off stage with his band for the finale and slowly checked from the green room to see if people still wanted him to return, which the crowd was desperate for. He jumped back on to the stage with almost the exact same amount of energy he had at the beginning of the show—an almost impossible feat to deliver. He stared at the crowd and put on a smirk as he said, “We really didn’t want to bother you with another song”—a notion that the crowd immediately rejected. Arlie set the stage for his last songs and introduced “big fat mouth” as his “baby” and explained to the crowd how this is the song he spent the most time on and was the first song he ever produced.

Arlie and his Angels (a.k.a. the rest of the band) pulled together a wide variety of songs for the show, including songs from his first EP Wait, his latest album, Break the Curse, and even his latest single, “findaway,” that was released earlier this year. Both new and old fans could enjoy the show and dance in harmony together. Plus, with Arlie’s energy, it was hard not to dance with everyone and truly embrace being yourself, just like Arlie preaches.

Angel Olsen Brings Haunting Vocals ‘Home’ to the Factory

Story: Jennifer R. Weaver

Before her performance at the Factory in Chesterfield, Mo., on Jan. 28, I’d never seen Angel Olsen perform live. I’d only heard secondhand reports or read about how lovely her vocals were live (including the BTT review from one of her 2019 Brooklyn Steel performances from the “All Mirrors” tour).

Being there in person brought the hearsay to life, and the rumors about her voice lived up to the hype. It’s not just lovely—it’s hauntingly beautiful.

This tour stop on the back of her 2022 release, Big Time, was a sort of homecoming for Olsen, who grew up in the St. Louis area in Richmond Heights, later moving to Chicago and eventually eastward to North Carolina. With Olsen’s talent, she could easily fly solo and hold her own on stage— just her and her remarkable collection of guitars, or maybe backed by a few basic instruments. But the live experience is enhanced big time (no pun intended) by a band that includes violin, cello, bass, drums, guitar and keys—and musicians who are aptly known as the Big Time Band.

Olsen started her set with four songs from Big Time , including “Dream Thing,” the album’s title track, “Ghost On” and “Right Now,” songs from an album that was a sonic shift from her previous LP, All Mirrors (as documented in our June 2022 album review). She then skipped back a couple releases to My Woman, playing the standout single “Shut Up Kiss Me” to heightened applause, followed by “Give It Up.”

At this point of the show, after not much stoppage in between songs, she warmed up and began to banter with the audience. What caught me off guard was Olsen’s sense of humor—she had the crowd laughing with her quips for the remainder of the performance.

“Y’all are tame,” she said, engaging the crowd. “It’s Saturday night!”—and after a long pause—“in Chesterfield!”

As a former St. Louis-based musician, her fascination with the newish, impressive venue that’s located roughly 20-25 miles from the STL venues she’s used to playing was evident. But after talking about the clubs she played in her younger years, she slipped and said that her favorite STL venue was Off Broadway, an obvious oops moment that had everyone laughing again. Later she asked if anyone remembered the STL Punk website on which she had a presence in her younger days, and at another moment she asked everyone to shout out their moon signs.

Olsen then played a couple from All Mirrors, performing the album’s title track and “Lark,” which has a captivating crescendo and the heartfelt lyrics:

“Wishing we could only find one another/ All we’ve done here is blind one another/ Hate can’t live in this heart here forever/ Have to learn how to make it together.”

Circling back to Big Time, she performed “Go Home,” “Through the Fires,” which slides into country, and “All the Good Times,” a personal favorite and a song Olsen said she wrote after an upsetting situation.

“Y’all ever been mad before? Write those thoughts down and don’t act on them,” she said. “I wrote this song when I was mad and I’m glad I did.”

She rounded out her set with “Sister,” “Chance” and a Tucker Zimmerman cover of “Slowin’ Down Love.” Her encore was a cover of Harry Nilsson’s song, “Without You,” a song befitting of Olsen’s repertoire and vocal range.

Photos: Cory Weaver

Photos: Cory Weaver

I think people like the sound of the live show. I just think as a whole there’s something about this band that people kind of eat up, which feels really special and kind of nerve-wracking at times.

Gable Price and the Vulnerability of Music, On and Off Stage

Story: Alex Bakkan

Just before their show at the Old Rockhouse on April 22, I had the pleasure of chatting with Gable Price and Friends about their music, influences and philosophy.

The dynamic of band members Gable Price (lead vocals), Cameron Pablo (guitar), Daniel Vargas (drums) and Adam Elizararraz (guitar) was distinctly warm from the moment they introduced themselves. The four have been close friends since they attended ministry school in Northern California, where Gable and Adam were the first to meet one another.

“Me and Adam had been talking about a song I had written, and Adam had the idea of ‘what if we recorded this?’ So then it kind of blossomed into an E.P., into a go-fund-me, into ‘okay, let’s really write these songs,’” Gable recounted.

As the writing process continued, Gable’s and Adam’s good friend, Daniel, started to get involved.

“We recorded The Redding E.P. under the name Gable Price and Friends, because the plan was for me to move home and then continue doing it with a collective around my own name, which is so funny because then I decided to come back to California, and we just kind of felt locked into Gable Price and Friends.”

The trio released their next single, “Magnetic Love,” in April 2019, and that’s when Cam came into the picture. “Cam’s a phenomenal musician all around, and so it was just this natural thing of like, ‘Oh, we need someone else to perform live. Let’s introduce Cam live!”

With musical influences including Kings of Leon, The Killers, and, begrudgingly admitted by Adam, Linkin Park, the band continued to write stadium-worthy tracks with the intention of creating a spectacular live performance. “Seeing [those bands] playing stadiums, I mean, man… I want to do that one day!” Adam said. If you ask me, Gable Price and Friends are well on their way to that level of performing.

During our interview, the group reminisced about their very first time playing in St. Louis. “Last time we played here we were opening, and the headlining band had two drum kits at the front of the stage, so we had this much space for our whole show,” Gable said, barely outstretching his arms. “We were that close, and it got worse. Adam has a string break on

his guitar, and—oh my god—at one point I dropped my guitar pick and just kept strumming ‘til my fingers bled. There’s still blood on one of my guitars from that. My guitar beat me up.”

Even through bloody performances the band has built an incredible amount of momentum from their early days, perhaps the most evident of which can be found in their wildly passionate fanbase. While approaching the venue earlier in the evening, I quickly noticed the large crowd of people gathered outside the unopened doors. The group of fans, many already sporting Gable Price and Friends merch, were buzzing to see the show. Once inside the Old Rockhouse, a number of fans got a chance to meet the bandmates as they set the stage. Those that unfortunately missed the opportunity were eagerly pointing out the band members to their friends.

“That’s Gable, that’s him!” one fan said, poking his girlfriend’s side.

It was not until the venue lights dimmed and Gable Price and Friends took the stage that I realized just how devoted these fans were. The entire crowd must have moved forward nearly 10 feet once the first song began, everyone ecstatic to be as close to the group as possible. Throughout the set, the energy only got more and more palpable. The moment a song’s first note was played you could hear the recognition spread throughout the room. At one point I distinctly remember thinking, ‘They’re not singing to the crowd, they’re singing with the crowd.’

“I think people like the sound of the live show. I just think as a whole there’s something about this band that people kind of eat up, which feels really special and kind of nervewracking at times.” Gable recalled. “It’s just us being us, too. So that’s the cool thing for me. None of us have had to change what we do or how we talk or who we are.”

That is the essential element of Gable Price and Friends—they are downright the most genuine group of guys you may ever meet. In an industry where self-image and inflated egos run far and wide, Gable Price and Friends have continued to be themselves from the beginning.

“By the end of these shows I’m like ‘oh, I’m having fun and they’re having fun too,’ sometimes they’re even more excited than I am now! That’s what I’m realizing more, I’m doing something that I think is just me and people like it.” The authenticity of this group can especially be found in their lyrics.

“I only want to share personal stuff in these songs. For me, if I’m writing about something that happened in the past or something that, you know, I want to see happen, it doesn’t

feel accurate to where I’m at,” Gable said. “So that’s why our music is an emotional rollercoaster, because it’s just exactly where I’m at. I think the honesty and vulnerability is everything to me.”

From songs about slow dancing with his wife to cherishing faith in times of need, Gable does not stray away from showing his true self in the music he writes. And as if this group of guys couldn’t be any sweeter, the entire group matches Gable’s sincerity when combining the lyrics with their music.

“We’ve kind of been looking at things and trying to intentionally make something, not just be like ‘the lyrics are cool,’ but how can we intentionally make music around everything that is going on in our lives. More and more we try to approach it as communicating an emotion not just with lyrics but with music. That’s what has changed a lot more in our lives and in our live shows. We’ve learned a lot.”

The Old Rockhouse was electric during their entire set. I, along with the rest of the crowd, danced my ass off to songs like “Awestruck Revival” and “Lucky #17.” When it came time to slow down, Gable took the stage by himself for an acoustic set that included “Treason,” “Midway Drive,” and an unreleased tune, “Deeply Human.” Even with an early warning from the group, I was still utterly surprised by the crowd’s passionate reaction to closing song “Brother Jack.”

“It’s my favorite song to perform live right now. It feels very special. Just being a song that started out as a letter to my brother, it feels really rewarding every night when people scream the lyrics with me,” Gable said. “For people to be chanting a thing that was supposed to just be between me and my brother, I mean, that’s awesome.”

Gable Price and Friends’ genuine nature, intentional songwriting, energetic performing and loyal fanbase all culminated in an incredible night of live music that I will not soon forget. With the last notes of “Brother Jack” fading from the speakers, their interview fresh in my mind, and my belief in genuine songwriters restored, Gable took to the mic one last time and shared some final words with the crowd that have stuck with me since:

“Keep your heads straight, hopes high and hearts right.”

there in the crowd and you are watching one of your best friends immerse herself into the moment.

With a 17-song setlist, Samia had the Old Rock House audience on their feet and fully zoning in on her. Her “Honey” tour focused on her 2023 album Honey but threw in some of her favorites from her debut album The Baby that was released in 2020.

The 26-year-old may not have the most glamorous outfits, or the most glamorous set, but what she does have is a quality that makes people not look away from her, plus she has an amazing voice. She seemed a bit timid at the beginning of the show, but throughout the evening you could see her find her confidence. She makes it look like the feeling of riding a bike, a little nerve-wracking at the beginning, but once you know you won’t fail you lose yourself in the fun.

What also gave Samia a “girl next door” feel is the way she interacted with her band. She was accompanied by a drummer, bassist, keyboardist, guitarist and a back-up singer. She danced with them and struck poses with them like it was their own secret language that had been formed over years of knowing one another.

At one point during the show Samia welcomed back her opener, Christian Lee Hutson, to help her perform her song, “To Me It Was.” Again, this soft moment of them sharing the stage looked like old friends that had been playing in each other’s basements for years, not just a connection that happened on tour.

Samia seems to be someone who just wants to be herself and because of that people are naturally drawn to her. Whether that is her bandmates, her opener or her fans, no one can escape her charm. This power is so real that within that her first three songs to start the show were in the top four of her most streamed songs. Not many artists have the balls to do that for fear of losing their audience, but not Samia.

In addition to this charm she has, she also is just a caring person. She was talking to fans in the front row, even taking one’s BeReal. But, what really indicated her care was before she performed “Breathing Song,” she issued a trigger warning and encouraged fans to take a step out if they needed to.

Madisyn Siebert

Sometimes you attend a show and it feels like you are watching a performance. Something that is perfectly planned and repeated night over night with not much feeling or charisma. Samia put on a show that was not that. She pulled off a show that felt intimate, like one of your best friends from high school was putting on a jam session. You belong

What truly makes it worth seeing a Samia concert though is of course her voice. She hits beautiful notes that reverberate in your soul, and she makes it look effortless. She performs beautiful harmonies with her backup singer throughout the set and is not afraid to hit the high notes, like at the end of “Breathing Song,” where she sings a capella.

The “Honey” tour is just the beginning for Samia, who digs into her feelings and writes touching songs that you never want to forget.

Story:

Samia: Charm and Grit on Full Display at the Old Rock House

Photo: Sean Rider

MEET ME AT THE CROSSROADS

Story: Thomas Crone

Photos: Cory Weaver

We went to the Juke Joint Festival in Clarksdale, Miss., the preeminent festival in that town, though far from the only one. Every single night of the week, live blues is heard in town, with folks traveling from all over the US to attend, with no small amount of international visitors hitting the 14,000-population city for this event. The reputation is deserved, and a salt-and-pepper group of die-hards descend on the city every April for the communal experience of catching live blues in the Delta.

The event, like many of this sort, builds over the weekend, with nice attendance on Thursday, fuller streets and shops on Friday, then a huge spike on Saturday. By Sunday, the numbers drop a little bit, though it’s still a busy festival on the fourth-and-final day of this spring fest.

We wandered around town for a chunk of the festival and were able to catch bands, while taking in the interesting sidebars of life in this small, southern town. The area’s known for blues tourism, so the town and nearby hamlets are ready for the influx of big crowds a dozen times a year, when festivals turn this otherwisequiet place into a bluesy, boozy wonderland of sound (and smells; trust us, you’ll want to BBQ around the clock here).

Though far from comprehensive, here’s our quickie travel tip sheet.

Cathead: You’d be forgiven if you don’t make Cathead your initial spot on the trip to the Juke Joint Festival, but let’s just say this: you’re making a mistake if you stop anywhere else first. Even the wristband-andguidebook station should wait. This store’s got a bit of everything that’ll appeal to a fest-goer. Bluesthemed art. Records and CDs. Magazines and books. Ephemera, like cigar box guitars. There’s a “stage” directly in front of the shop and that’s where you’ll find music throughout the weekend, from festival start into the early evening hours. The best part of the experience at Cathead is hanging around the front desk, especially if it’s being worked by the store’s founder and curator, Roger Stolle. For over 20 years, he’s run this place and has done as much as anyone to keep the festival rolling along. As customers come in, many are immediately familiar with Stolle and they strike up conversions, even if a year, or three, has passed since they last spoke. In short bursts of information, Stolle catches them up on the hot tickets of the weekend, places to go, places to avoid, the works. He’s a font of information and isn’t shy in offering opinions about what’s taking place in town that weekend. The good thing is, these opinions are as informed as they come and even a couple minutes

of eavesdropping will make you a smarter concertgoer the whole weekend ‘round.

Deak’s Mississippi Saxophones & Blues

Emporium: Run by a character named Deak Harp, Deak’s hosts outdoor blues music all day, while also serving as a music shop. By the end of the fest every fourth person you see on the street is wearing a t-shirt from this place and you’re likely to find Harp sitting in on the (yes!) harp during a ton of the sets that take place just outside of his shop.

CHICAGO BLUES MEETS MISSISSIPPI HILL COUNTRY

You can find Deak Harp all around Clarksdale before, during and after the Juke Joint Festival. He’s a permanent fixture during the festival— performing daily in front of his shop at 13 Third Street, a block away from Ground Zero Blues Club. His unique style of drenching one-chord Hill Country blues with Chicago harmonica is truly an experience—you’ll want to catch it more than once.

Food & Drink: You have options!

For a lot of folks, the first place you’ll want to hit when reaching town is Ground Zero Blues Club, which features the blues, sure, as well as BBQ, sandwiches, fried pickles, baked beans, regional beers and the like. When we were through, a big biker club from Texas took up a goodly chunk of the center of the room and the effect gave it all kinds of “Roadhouse” vibes.

Hooker Grocer & Eatery gets great marks online, but our time in Clarksdale wasn’t as long as we’d have liked, so we were greeted by closed doors on both runs by the place. Bummer; next time.

Levon’s fills the “nice restaurant” niche and live blues can be caught here, alongside Southern fare, tasty burgers and regional beers. The staff’s super-young and enthusiastic. A decent spot for dinner and the place you’ll find our publisher/photographer Cory Weaver during the evening hours! If beans-and-rice are on the menu that night, you know what to order, right?

Meraki Roasting Company is a fine place to enjoy a cup of coffee or pastry during the morning hours, with the coffee shop serving as a venue for spoken word and Q&A sessions. Mission-driven, the coffee’s good and the environment’s better. If needing to catch up on email while filling your system with in-house-roasted coffee, this downtown spot’s got you covered.

Yazoo Pass is the kind of place that’s clearly run by a family, with the teen members serving as cashiers and food runners on a busy morning. There’s a little bit of everything here for the breakfast and lunch crowd. Traditional southern food’s there, of course; but so are unexpected things like poke bowls. Grab a sandwich, some sweet tea and a window seat and you’ll have a good time. (And shout-out to the cleanest bathrooms in town! Seriously, you could do a lot worse on that front.)

The Legendary Mississippi Ghost Riders: This attraction is unlike anything you’ll see this year or next or the next 10. It’s all about monkeys riding dogs shepherding rams, with the enthusiastic, carnival-style emcee and animal wrangler

Jim “Wild Thing” Lepard running the show. The show runs four heats throughout one day of the fest, with racing pigs featured on another. It’s not a long event, only about 10 minutes, but it’s all the glory of any small town festival you could hope for in that abbreviated space. (Yes, we will note that it has been targeted by animal rights groups.) Truly old-school, animal-act entertainment; free, at that.

Hambone Art and Music Gallery: Run by the artist Stan Street, Hambone’s a bit like Cathead, in that it’s very much influenced by the blues and Southern outsider art. Street’s work is found throughout the space, though it’s not exclusively his work. There’re blues CDs and a stage for blues and even a miniature juke joint, created within the same room as the gallery, featuring a small selection of beers and spirits but a huge amount of character.

Proximity to Memphis: The biggest city within a reasonable drive—and the place where many attendees will fly into—is Memphis, about 75-minutes, or so, from Clarksdale. As many of Bands Through Town’s reading audience is St. Louisbased, Memphis is a city that’ll remind me of homebase. Blues, BBQ and baseball (in the form of the Cardinals’ Triple-A Redbirds) are all available to you and throwing in an extra day on the way down or back is not a bad idea. And at the risk of adding more great music viewing and listening to your

trip.

Real Estate: This may seem far afield, but there’s a TON of real estate available in Clarksdale, a lot of going for a little amount of money, relatively speaking. If you’re walking around the grounds for any amount of time—and, here, we’re talking about a couple of hours— you’ll find yourself looking at a building, calling up realtor.com on your phone, then talking about what exciting possibilities you could see in that space. The thing is? Many

actually found their

envision a life in which Clarksdale has become your new, second home.

Good places to start your planning include: the official site, jukejointfestival.com; Cathead’s page, cathead.biz; the local chamber’s home, visitclarksdale. com; and visitmississippi.org for things to do on the way there and the way home, as Mississippi in home to countless roadside attractions, museums, parks and bits of Americana.

people have

Stan Street ‘tending his Hopeless Case Bar inside Hambone Gallery—an extremely popular stop during the Juke Joint Festival.

Photo: Thomas Crone

One of many of Ghalia Volt’s appearances at the Juke Joint Festival—playing to a packed Bluesberry Cafe. Quickly becoming one of the fixtures of annual Juke Joint Fests, the Belgiantransplant’s one-woman band is a can’t-miss show.

Can’t lie, the artist at the Juke Joint Music Festival that caught my ear the most was also the player working at the loudest volume. Those are probably related things. Jesse Cotton Stone’s the fella’s name. Dude can play. Dude makes me wanna invest a bit more in the blues.

JUKE JOINT’S ALL STARS

(Top) Robert Kimbrough, Sr., son of Junior Kimbrough, and Duwayne Burnside, son of R.L. Burnside, play one of many packed gigs at the Bluesberry Cafe; James “Super Chikan” Johnson will turn any locale into a juke joint—in this case, the Collective Seed and Supply Co. fit the bill.

(Bottom) One of the unsung heroes of Clarksdale and perhaps, modern Blues, is Anthony “Big A” Sherrod. Big A, the man who taught Kingfish how to play guitar, jams with John Holmes, brother the famed, Jimmy “Duck” Holmes—Grammy-nominated guitarist and proprietor of the Blue Front Cafe on the Mississippi Blues Trail, the oldest surviving juke joint in Mississippi.

For this year’s festival, the artist Jimbo Mathus was working in the back of a multi-purpose facility called Shared Experiences. The driving force behind the long-running band Squirrel Nuts Zippers was in town to work in a completely unique form of music, namely: creating marionettes and sets that he planned to use in a short-form film. During the Juke Joint Festival, he’d been in town for several weeks, already, creating much of what he planned to use during filming the following week. Guests were able to share in his vision for a story called “The Secret World of Charley Patton,” a blues-drenched story of the music great and his family. Further information can be found at sharedexperincesusa.com, the website that documents the history being told, curated and collated at this Delta music history workshop, which brings in folks like Mathus, who’re able to bring unique storytelling to life through residential programs for artists.

Story: David Kvidahl

Feature Photo: Phillip Hammer

A student at the University of Tulsa at the time, Miller’s uncle, Ken, took him to the used car lot where they stumbled upon this perfectly imperfect gem.

“I paid $600 for the Volkswagen Beatle so I could pick up the girl who said ‘If you pick me up we can go on a date, I guess,’” Miller said. “We dated for two years before I moved to L.A. When I got to L.A. I drove the bug for about a year.”

Miller had a friend upgrade the Bug with a Bowman sound system, tape deck and amplifier. As he rolled around Tulsa and eventually Los Angeles, music was everpresent and often played at speaker-cracking volumes.

“It had sounds in it because I was the king of have to have my sound system,” Miller said. “I was always bumping some pro-Black medium of exchange. De La Soul, Brand Nubian, KRS-One, you name it. Public Enemy for sure.”

It was in the Bug that Miller began his ascent into the music business where he would become one of the biggest movers and shakers in the industry. Miller’s resume is simply astonishing as he’s been in, around and part of some of the most influential groups, labels and personalities that have defined American popular music the last three decades.

He’s worked with and been mentored by the likes of music executives Paul Stewart (PMP), Steve Rifkind (Loud Records) and Benny Medina (Warner Brothers). He was briefly signed to Paul Rubin’s sublabel, Ill American Records, where he and a friend wrote the song “Ours,” which Sugar Ray bought and used on their self-titled fourth album that was certified gold.

“I went on to write other records with other artists but my passion is not necessarily to be creative,” said Miller, 53. “It’s really being a voice for creatives.”

He was there when Wu-Tang Clan inked its first deal with Loud Records in 1992. It’s a historical oddity that one of

the East Coast’s defining rap groups was signed by a record label based on the West Coast.

“I was one of the first hirees at Loud Records and definitely part of the team that heard the first demo from Wu-Tang,” Miller said. “Loud Records was based in L.A., it started in Los Angeles. Wu-Tang couldn’t get fired in New York City at that time.”

Miller hopped from Loud Records and eventually landed at Warner Brothers where Medina became a close friend and guide. But in 2000 when he was let go from Warner Brothers—where he said he signed a very favorable contract should he be let go—he had enough resources to start a company with another friend called Worldwide Heavyweight that distributed DJ Rectangle mixtapes. While DJ Clue and DJ Drama were the more notable names of this mixtape era, Miller puts DJ Rectangle ahead of them both.

“I had an opportunity with my boy Jordan. We started what was called Worldwide Heavyweight and started immediately selling mixtapes, records, vinyl, whatever. We became a full press, discounted one stop shop for (distribution),” Miller said. “DJ Rectangle outsold everybody. We were getting more mixtapes bootlegged than we were actually selling but we were outselling everyone. We sold to everybody, twice.”

There has always been plenty of hustle in Miller, which should come as no surprise as he’s from St. Louis, born and bred. He lived at the infamous Pruitt-Igoe housing project as an infant. He was a toddler in the Central West End before his parents landed in Florissant and eventually Madelaine Manor in Berkeley. Not long after, his mother and father split. His mother, Joyce, found her high school sweetheart in Los Angeles and took Miller with her. Miller bounced between his parents’ homes in L.A. and St. Louis. It wasn’t long before he was back in St. Louis on a semi-permanent basis.

The Bug was cheap and covered in primer. It was about his age, maybe a little younger.

Adrian Miller didn’t care. He just needed some wheels.

“I’m 11 and I was very rowdy and I wasn’t listening,” Miller said. “She sent me back to St. Louis for a summer vacation and told my grandmother she wasn’t sure if she wanted me to come back to L.A. ‘Let him go to school in St. Louis.’”

It was in his hometown that Miller’s love affair with hip-hop culture and music bloomed. His father and uncle owned Black Circle Records on North Kingshighway, which gave him access to anything and everything on vinyl in the mid to late-‘70s and early ’80s. Even when he was spending time in L.A., St. Louis was influencing him. He saw someone popping and locking as a kid and thought he could do that. Miller didn’t know at the time that the dance was in part invented and popularized by Don Campbell, who was also born in St. Louis.

Miller was part of a dance crew and at the family gettogethers he was a star as he got down with the latest dance making its way through the community.

His slick moves translated well at the skating rink. Miller and his friends spent their fair share of weekends rolling through Saints Roller Rink, Aloha Roller Rink and Skate King. He didn’t have a car then but he could put the four

wheels on his feet to good work as he and his friends worked the room in search of young love.

“We definitely had somewhere to go where we could dance, do acrobatics, be seen in our fresh gear outside of school,” Miller said. “For me, I was going to meet so many different girls from so many different schools. If you were there I had to hurry up and meet you if you were my type. It was a wrap. That’s where I had to do my most work.” Miller graduated from McCluer High in 1988 and enrolled at Tulsa where he studied theatre and history. It wasn’t long after that his uncle took him car shopping and they found the Bug.

Nowadays Miller’s endeavors run through Xyion Inc., the company he founded in 2009 as a way to service artists and help them become better entrepreneurs. Among the clients Xyion works with are civil rights attorney Benjamin Crump and Jordan Brand, a Nike subsidiary.

The most popular artist to work with Miller recently is Anderson .Paak. Miller managed .Paak as he shot to superstardom following his appearance on Dr. Dre’s 2015 record Compton, an appearance that Miller helped make happen.

Miller’s latest work can be found in the hit television series “Wu-Tang: An American Saga.” Miller was asked to supervise the music for the show’s third and final season, which premiered on Hulu in February. He said working with Wu-Tang Clan super producer RZA, who’s also the show’s director, was memorable and informal.

“It’s definitely one of things where you have to pinch yourself, take two steps back and make sure you don’t make a mistake,” Miller said. “Typically, people would think ‘RZA’s not going to let anyone touch the music for his show because it’s his music.’ And they are partially right. RZA is who he is. He thought it through very thoroughly, made sure he didn’t make any bad choices along the route.”

RZA trusted Miller’s ear in part because it was one of those that believed in Wu-Tang Clan way back when.

“God is good and it’s crazy to me that some weirdo kid from the projects in St. Louis gets an opportunity to see and be a part of this,” Miller said. “I’m humbled by it, trust.”

(Opposite page, L-R) Pictured at 50 years anniversary screener of “Enter the Dragon”, Mario Van Peebles, DJ Classicz, RZA, and Dr. Adrian L. Miller. Photo: Danny Hastings (This page) Anderson.Paak with Dr. Adrian L. Miller.

Photos: Cory Weaver

“Run the Jewels has never done a show without me and hopefully that stays that way forever.”

Story: David Kvidahl

Gabe Moskoff had no idea what awaited him when he walked into the Ch’rewd Marketing office.

He just knew there would be goodies.

An up-and-coming DJ who immersed himself in the underground St. Louis hip-hop scene, Moskoff’s weekly pilgrimage to Ch’rewd in the early 2000s became a measuring stick for himself.

When he first started showing up they’d slip him whatever leftover promotional records they had. Eventually they began setting aside music just for him.

“That was one of those things when I had my own cubby there, I knew I’d made it to a certain level when I’d show up and there were records for me,” Moskoff said recently over the phone.

“I thought ‘I’m getting a little bit of priority, I must be doing something.’”

What he was doing was laying the foundation for a career and a life he never dreamed possible.

Moskoff, now 42, is better known as Trackstar the DJ, the unofficial third member of Run the Jewels with MCs Killer Mike and El-P. It’s a position he’s held since the group’s inception in 2013.

“I’m super thankful that I’ve been able to be the DJ for this outrageously great group that’s been more successful than any of us could have imagined,” Moskoff said. t

That’s how it’ll be this fall when Run the Jewels goes back on tour to celebrate its 10-year anniversary and the group will be doing something different as it commemorates its first decade. Starting in September and going until the middle of October, Run the Jewels will play four consecutive dates in each of New York, Chicago, Atlanta and Los Angeles. Each night the group will perform one of its four albums in its entirety as well as other selected tracks.

“There’s a bunch of songs we’ve only played live one or two or three times and there’s one song we’ve never

played live. That’ll be exciting to do for the first time,” Moskoff said. “It’s going to be pretty cool. It’s going to be a lot of words to memorize and rememorize but we’re all looking forward to the challenge. We’ve got such an amazing fan base—if we forget the words they’ll remind us.”

If not for a simple twist of fate there’s little doubt Moskoff would be in that crowd. The way he became Run the Jewels’ DJ is nothing short of wild. The short version is he read an interview with Killer Mike in which the Atlanta MC shared his phone number. As a gag Moskoff called it. Much to his surprise Mike picked up. The two started talking and from that initial conversation formed a friendship that remains to this day. That relationship has taken Moskoff across the country, around the globe and put him on stage with artists he grew up idolizing.

In 1997 he paid to get in when Rage Against the Machine and Wu-Tang Clan toured together.

Last year he was on stage as Run the Jewels did 20 dates with Rage Against the Machine before lead singer Zack de la Rocha tore his Achilles tendon after less than a month.

The rest of the 2022 and all of the 2023 tour dates were scratched. “It was pretty incredible to tour with them 25 years later,” Moskoff said.

It was a tour and a pairing that had been in the works for years as Rage and Run the Jewels were set to go hard around the globe for the better part of a two-year tour, starting in the spring of 2020. Final rehearsals were set for mid-March that year in Los Angeles and everyone went their separate ways for a few days before joining forces again to head out on tour.

Moskoff returned to St. Louis where his wife, Camille, and infant daughter, Amina, were getting settled in after recently relocating to be closer to their friends. The hope was there would be a strong support system for Camille and Amina while Moskoff was globetrotting.

Only the tour never got off the ground.

“We were supposed to fly home for two days then go to final rehearsals before the Rage dates started,” Moskoff said. “That was right when COVID hit so they said ‘Go ahead and unpack, we’re not doing that.’”

What was expected to be a brief postponement turned into two years of being a homebody. Moskoff rolled with it. He wasn’t on tour but he was with his family and that was a trade he was happy to make.

“One silver lining was when I was supposed to go on tour Amina would have been one-and-a-half and I’d have been gone from one-and-a-half through three-and-a-half basically. Those are prime years,” Moskoff said. “It was nice to be able to delay that a little bit and get that time. For the better part of two years it was just me, Camille and Amina together 24 hours a day, nothing else. We kept talking about it during the pandemic but I felt really lucky I like my family. Some people don’t seem to like their families as much as I do. Staying in the house all day wasn’t so bad.”

Returning to St. Louis from Southern California turned out to be a masterstroke, too. It’s where he and Camille first met. It’s a place near and dear to both of them, and the cost of living is manageable, especially when your primary gig isn’t happening because of the pandemic.

“We moved back in February of 2020. Three weeks later I was not going on tour and we were not allowed to see all of our wonderful friends,” Moskoff said. “It was an interesting turn of events but it went the way it was supposed to. If the world was going to shut down and our income was going to be slashed at least we moved somewhere cheaper than Southern California.”

Moskoff could live anywhere but St. Louis got into his blood and won’t let him go. Born in Madison, Wis., his interest in rap music began when his sister bought him DJ Jazzy Jeff & the Fresh Prince’s “He’s the DJ, I’m the Rapper” on cassette. A Tribe Called Quest’s “Midnight Marauders” pulled him in deeper.

When he heard “Enter the Wu-Tang (36 Chambers)” as a teenager his relationship with rap music changed forever.

“I have a memory of walking to my friend’s house with my headphones on listening to Enter the Wu-Tang with my jaw just dragging across the sidewalk,” Moskoff said. “It painted this picture to me I hadn’t seen before.”

It was the spark that ignited Moskoff’s passion for rap music. A passion he followed to college. He was looking to get out of Madison to a bigger city and wound up at Washington University in St. Louis.

“The first building I set foot in was the radio station (KWUR) when I came to visit. I was all excited. I looked at the walls of records and they had every record I ever wanted to hear just sitting there looking at me,” Moskoff said. “That’s literally when I decided ‘Oh, I guess I’ll be a DJ because if I become a DJ then this keycard will let me into this studio and I can come in here anytime I want and listen to records.’ That’s how I started DJing, I wanted to listen to those records.”

He graduated with a bachelor’s degree in business management in 2003 and stuck around because he’d made connections and relationships in the underground scene. Moskoff couldn’t believe the talent level that was routinely on display in St. Louis. Bits N Pieces and Rockwell Knuckles were among a litany of area artists that inspired Moskoff early on.

“All of these guys, how are these guys not everybody’s favorite rappers? They’re my favorite rappers and they’re right here,” Moskoff said.

Over time he made inroads and became a regular at Blueberry Hill’s The Science Hip-Hop Spin on Fridays and the HiPointe Cafe on Mondays. He was a mainstay at Halo Bar, too. Moskoff was spinning music and selling mixtapes.

Mixtapes he made while delivering food for 569-DINE in what had been his grandmother’s tan 1991 Ford Taurus.

“I was a lunatic. I would drive around with my computer on my passenger seat burning copies of my mixtapes so I’d have copies to sell at the gig that night,” Moskoff said.

Food delivery wasn’t his first choice of jobs out of college. On multiple occasions Moskoff applied to work at Vintage Vinyl—St. Louis’s iconic record store— if only so he could spend his days surrounded by music and get paid for it.

He was rejected every time.

“I was just this music nerd, rap fan. I just wanted to work in a record store. I’d say I’m so thankful that they didn’t hire me,” Moskoff said. “I was really sad about it at the time. If they had hired me I’d probably be very happily still working there. I’d have no idea what I’d missed out on.”

I have a memory of walking to my friend’s house with my headphones on listening to Enter the Wu-Tang with my jaw just dragging across the sidewalk.

It was in these formative years that Moskoff made a relationship that would alter his trajectory. He linked up with Wes “DJ Solo” Allmond who was the general manager at Ch’rewd Marketing. A St. Louis hip-hop heavyweight, Allmond was a friend to all and a mentor to many. He was 43 when he died in September of 2020. Moskoff was among the select few that attended the funeral due to COVID protocols at the time.

“He was an amazing guy and always looking out for other people, always giving advice, always looking out for opportunities,” Moskoff said. “He’s one of those guys I think a lot of people saw him the way I did, as one of their closest mentors, one of the most important people to their career but not just their career but their path through life. He was a great guy that was always helping people that worked really hard. A lot of people loved him and we miss him.”

There’s no doubt Allmond would have been all about Moskoff’s latest venture. Inspired by his basement full of records, CDs, tapes and other memorabilia, Moskoff wanted to see what gems other collectors may have stashed away in their crates. So he started “Give Up the Goods: A Hip-Hop Swap Meet.” This is on top of his regular Friday night gig on Sirius XM Radio’s “The Smoking Section” and his Rap Fan line of merch.

“I know every other DJ is a hoarder, close to every DJ is a hoarder. We’ve all got our basements full of stuff,” Moskoff

said. “I envisioned a big garage sale with a bunch of the homies, excavating their basements and closets and bringing out the cool stuff they have.”

“Give Up the Goods” has had several iterations in St. Louis, its most recent on April 8. In March, Moskoff hosted one in Austin, and it was a hit. There are plans in the works to take the swap meet on the road in the near future.

“Anybody that walks in there is pretty much guaranteed to be into cool shit. That’s been one of the funny revelations, I’ve got more stuff now than when I started the swap meet,” Moskoff said. “It’s been a really great time. We’re definitely going to be doing more out of town ones. Including, maybe, in four different cities this fall. Maybe.”

As rap turns 50 this year no one could have predicted it would take over the world the way it did. Where it’s headed is anyone’s guess. Moskoff has no crystal ball, but as someone who’s been in the game for more than two decades and a fan for nearly three, he’ll be listening and loving it.

“I don’t know where it’s going but I know people are going to keep making dope shit that I want to hear, and I’m going to keep finding it and telling other people about it,” Moskoff said.

Gabe “Trackstar the DJ” Moskoff with Killer Mike and El-P. Photo: Camille Peace

I would drive around with my computer on my passenger seat burning copies of my lunatic.

mixtapes

I was a so I’d have copies to sell at the gig that night.

MAKING

Story: Lauren Textor

Feature Photo: Felipe Rubilar

Mov(i)es

Often, culturally significant bands are said to “transcend labels.” They go beyond conquering a genre and leave behind a legacy of musical fusion. To say that the Latin Grammy-nominated, AfroLatino rock band Making Movies has integrated a variety of styles is too passive. It’s more accurate to describe their performances as energetic fever dreams with roots in cumbia, Son Cubano, mambo and the African diaspora.

Most of all, their performances are fun. Before kicking off their 2023 tour in Memphis, Making Movies invited their home-base Kansas City community to a live recording of their XOPA album at the Folly Theater on Jan. 28.

Guitarist and vocalist Enrique Chi is vulnerable and intense on stage. It balances out bassist Diego Chi’s constant headbanging, his eyes hidden behind 3D glasses. Percussionist and keyboardist Juan-Carlos Chaurand slips off his shoes while he plays. Drummer Duncan Burnett even garners wolfwhistles as he strips off his shirt, working up a sweat from rapping on the drums.

And Slipknot was the headliner. We’re not very Slipknot-y,” Chi laughs. “There’s no masks. I haven’t learned how to scream like them. They played to, like, 50,000 Mexican people, and I could’ve sworn that none of those people spoke English, but they were singing all the words. I don’t think I’ll never write a song in English again, but I’m less worried about it. We’re going to Slipknot people. That’s the new mission for Making Movies.”

XOPA is an album written entirely in Spanish, but whether you’re fluent or you only know how to ask “¿dondé está la biblioteca?,” you’ll be able to understand the meaning from

This live recording underlines what’s at the heart of Making Movies, and has been since its formation in 2009: the urgency of interconnectedness.

Enrique Chi was born in Panama and immigrated to Lee’s Summit, Mo., with his family when he was 6. He describes the band’s sound as “outsider music,” but he’s confident that it can reach anyone who’s willing to listen.

“Early on, we learned we had to code-switch to get in the door,” Chi says. “That really hasn’t changed. At this point, we’re more focused on making music that pulls you somewhere, and the language is irrelevant.”

“Last year, we got to play this big music festival in Mexico.

the rhythm. It’s full of universal experiences and themes like desire, loss and the search for meaning in a disordered world.

One of the songs closest to Chi’s heart is “Mamá.” It’s based on a dream that the singer had of his deceased grandmother, where he was able to ask her what she has learned since she passed on.

“The spirit of the song is threaded throughout the album,” Chi says. “It’s a reconnection with my own feminine energy. We carry male and female biology within us, and part of the album is about expressing that duality. ‘Mamá’ is about the idea of all the women who came before me to make

(This page) Enrique Chi, (Opposite page) Diego, Chaurand, and Burnett at the band’s live recording at Kansas City’s Historic Folly Theater. Photos: Josh Chaiken

me who I am. These women’s journeys, their wisdom, sometimes their pain and their trauma, and their flaws because of their trauma…it’s all inside of me.”

Chi, his brother Diego, Chaurand, and Burnett are in sync on stage and off, but their distinct personalities are what gives the band its strength.

“It’s a band that requires four identities to really be what we are, and I hope it remains that way. Some bands become a name. They can swap and replace other members,” Chi says. “These four identities, right now, are on the same page on the why. We see music as a way to better ourselves as individuals, our spirits, on our journey through this life. It’s a way to better ourselves as brothers, and a way to better our families. The more successful our band becomes, the more we’re able to inspire young kids who feel disenfranchised.”

In 2017, Chi founded Art as Mentorship, which encourages typically underserved students through the support of international recording artists. It also gives the students access to instruments and studio facilities.

Although Chi believes that the success of Making Movies depends on the individuality of its band members, he is passionate about ensuring that Art as Mentorship can survive on its own.

“I’m really close to a feeling like this can live outside of us,” he says. “Once we saw the hole and we started to fill it, the next step was, ‘How do we create a system that can fill this hole that doesn’t depend on us individually?’”

Whether you’re interested in donating to Art as Mentorship, supporting the band on tour, or you’re just curious about the phenomenon that is Making Movies, Chi has a message for you.

“Come see it for yourself,” he says. “Take off all the labels and just come see it for yourself. See if we Slipknot you.”

we’re more focused on making music that pulls you somewhere, and the language is irrelevant.

The Brummies:

Your new favorite feel-good band

Meet your new favorite feel-good band. The Brummies are an indie-rock band hailing from Nashville by way of Alabama and have built a career on carefree tunes with a retro sound that pays tribute to some of their favorite 70’s influences.

Their first album, Eternal Reach, released in 2018, sent them into the mainstream with “Drive Away,” a duet featuring country superstar Kacey Musgraves. They released their second record, Automatic World, in 2020, which is perfect for spring and summertime and long drives with the windows down. A new single, “Cosmic Space Girl,” came out last year and aptly features more synthesizers and a generally psychedelic vibe.

Bands Through Town caught up with the members of the Brummies—Jacob Bryant, John Davidson, Trevor Davis and Warren Lively—in between studio sessions to talk the recording process for their third album, the return to live shows, and the importance of protecting drag performers in Tennessee. Read through to get the scoop.

Story: Melanie Broussalian Photos: Laura E. Partain

Bands Through Town: I’m excited to talk to you all. I’ve been listening to all your music and love it. So I’m really excited to get the chance to chat. So just to start off, for people who are just getting to know you, can you give me the origin story of the band?

Jacob: Yeah, me, John and Trevor, we grew up in a small town, Pinson Valley, outside of Birmingham, Alabama. And we moved up to Nashville, was it 11 years ago? We toured around under another name—it was kinda like a duo thing. But then we were like, the Brummies, like we’re an indie rock band. That’s what we always wanted it to be. So, in 2018, that’s when we created our first album and released Eternal Reach. And then, we met Warren, Warren’s from Kentucky. Trevor met him at a house party up on a roof one night. And we just hit it off. And Warren’s been the last member of the band ever since.

BTT: your guys’ music is that it’s especially upbeat and positive, both in the arrangements but then also lyrically. In a world where it’d be so much easier, I feel, to write more melancholy music, where do you guys come up with the inspiration to go the uplifting route?

Jacob: like it’s easier to write sad songs for some reason. Happy songs are kind of, you know, they’re harder to, to come by. But I feel like all four of us are pretty damn happy and if you hang out with us, we’re always having a good time. We’re always cutting up and laughing. I mean, we have some melancholy stuff, and we have sad songs. But on the happy side, being inspired and being around happy people, you know, it’ll come out.

John: Too many sad things to be adding more to it. So, it’s good to go against the grain.

Warren: I just think with sad songs, they’re easier to write. It’s like more of a powerful emotion. You’re real sad about something. You’re like, “Man, I just gotta get this out.” With happy songs… It’s like, I don’t know. They have to happen right. And sometimes you’re like, “Is this cheesy? Is this actually gonna sound the way I want to?” But I think we toe the line nicely, hopefully.

BTT: Love it. So, when tracing the line from your first album to Automatic World and then listening to “Cosmic Space Girl,” I can kind of hear a gradual leaning towards more of the synth-y and psychedelic. Is that where you guys feel like you’re headed in your next album? Is that a conscientious choice or is that somewhere that you guys are just like kind of finding yourself?

Jacob: I’m glad you noticed that because that is exactly kind of like the progression. Eternal Reach was like seventies, kind of like dreamy seventies, in that world. And we even intentionally recorded it that way, just classic. And then with Automatic World, we kept some of the tape, you know, drums kind of stuff. And yeah, we are seeing this progression where it’s like more synthesizers and it’s evolving. It’s like our same song, our melodies and style. But yes, we love like the synthesizer

and everybody back in the day is always like pushing and I feel like that’s what we’re

What has the process looked like for making music this time around for this album? Are you trying

and like our own

So, throughout the that, everybody kind of got holed up in doing their own thing. Warren’s got a studio there, Trevor’s place is where we practice and has like a live room. And Jacob’s

just working on music, ourselves. And so, I think this time around, there’s more ideas being brought in on an individual basis, and then we’re bringing ‘em together as a band. And so, we’re kind of exploring in that way. And then when we get together, we’ll see where that idea kind of forms as a band would take it with each of us putting our own interpretation musically onto what that idea could probably possibly be. So, that’s the difference that I’ve seen in this past go around for this next album.

BTT: I heard this Bob Dylan quote, where for him, songs just come out of the air fully formed. And I was like, “Yeah, I mean that can happen,” but I feel like that takes the collaboration out of it, too. What’s cool about what I’m hearing from you guys is you could come to the table with

three notes and then you have a song just because you guys are all working on it together.

Jacob: For sure. But I do agree. I feel like music is magic because there’s not a better feeling in the world than something didn’t exist, and there’s an idea and it does come to us. John could write a song by himself, as well, but bring that to the table and then we all kind of collaborate on top of that. Even if one person does write it, we’re all recording it and we’re trying to do the best for the song, you know?

John: Yeah. It doesn’t become complete until we’re in there recording it, and we’re all actually on our instruments saying, “Okay, here’s the thing. Here’s the idea, here’s the spark that it came from, and then here’s what I’m hearing on it.” And then it just turns into what’s on the record. And I don’t think without each person doing their piece, you’re not gonna hear the product—being what it would be a Brummies song. So, it takes all those components coming together.

Warren: My favorite thing about music is like you wake up in the morning, you have some coffee, you have nothing. And then you know, whoever you write a song with or by yourself, but by the end of the day you’ve got your favorite song ever and you can’t stop playing it and telling people about it. So, I know that’s personally my favorite thing about it.

BTT: I wanna talk a little bit about touring and life performance since you guys were like a lot on the festival circuit. I would love to know what was it like coming back to live audiences for the first time? Do you remember that first show and kind of the feeling?

Jacob: Heck, yeah.

John: I mean it was exciting.

Jacob: The pandemic, we couldn’t tour, you know? And that’s—as much as we love making music, we love touring. That is our favorite thing. It’s like, we’ve got to see the world through making music and going and touring, and it’s like we’ve literally got to see the world. It’s our favorite thing, making music and touring and being out and seeing people singing and it resonating with people. ’Cause everybody can release music, but to see people are actually coming and listening and caring, it’s amazing. And I feel like in the pandemic, everybody had to stop touring.

And for me, I was like, “Are we still gonna be able to do this?” I forgot what the feeling was and then we got on stage. And we played and it was just from the first note going out, it’s like, “We’re back.” You know? It’s like, “This is it. This is all I ever wanna do. This is amazing.”

John: It makes you appreciate it, you know? And then also just hearing people talk about live music and how much they need it. And when we were without it, it really kind of put things into perspective and how much you miss it, and what it really gives to society, and us as a culture and in everyday

life. It brings happiness for us as artists and for us as fans too, when we go watch people play.

BTT: And live music is kind of the only art that you feel in your body and you receive in your body. Like you go to a museum, and you see art, but you only process it through your eyesight. With music, it enters your body through your ears, like you feel it. And I think not having it made it so much more special when it came back; like you’re part of the community.

Warren: Yeah. I mean, not to diminish other types of art. I love reading and visual art and all that, but a lot of it’s after the fact. Like if I read a book or a poem or look at a piece of art, watch a movie, that’s been made and presented to me. But when you go to a show, you just see people making it right there. I think that’s really cool and something I love about it.

John: And you’re able to experience that with a group of people kind of experiencing that with you.

Warren: Yeah, and you get to mess up too (*laughs*).

Jacob: And I was gonna say, speaking of art, and this doesn’t have to do with music, but I don’t know if you know, in Tennessee they’re banning drag shows. And it’s messed up ’cause it is an art form. We go to drag shows, some of our friends do that, and it’s messed up. So, I want to go on record and say people need to know about what’s going on here, and it sucks.

John: Yeah. And art, you know, is constantly pushing boundaries, and that’s what this is doing. There are people right now trying to put a box on it and shut it up. And it’s devastating. It’s devastating to a lot of our friends, to a whole community, to a way of life, to artistic expression. It’s stupid and hopefully progress here will win out and we’ll do our part in trying to make sure that happens.

BTT: Appreciate that, and I’m glad you’re bringing it up. Finally, can you guys set the scene for the most ideal way to listen to the Brummies? Should you be driving, what’s the weather like, should you be at home? What would be the perfect scenario to listen to your guys’ music, in your opinion?

Jacob: Gosh, you know, it’s just like there’s different kind of moods, you know? I feel like someone said if you’re listening to Eternal Reach, that’s like a nighttime drive or hanging out. You’re drinking wine with your friends and you’re just chilling. And then I feel like Automatic World, like get out in that sunshine, maybe like a pool party or something and crank that, you know. Having fun at both with friends.

BTT: Thank you guys so much for your time and I can’t wait to hear what’s next. Next time you guys come to California, I will absolutely be there.

Note: This interview has been edited for length.

It doesn’t take but a question or two for Carl “A.C.” Newman to open up about his ideas on songwriting. He can wax enthusiastic about previous experiences or future plans, with strong, yet playful, opinions.

The Linchpin of

The New

Pornographers

Story: Thomas Crone

Photos: Cory Weaver

It doesn’t take but a question or two for Carl “A.C.” Newman to open up about his ideas on songwriting. He can wax enthusiastic about previous experiences or future plans, with strong, yet playful, opinions.

As an example of a technique he’d like to try: Newman, in a late-March interview, wondered about a songwriting trick in which he’d take a famous song, using the chorus of which to build verses around. At the time that “song” was finished in that form, he’d take out the known passage, creating a new chorus and, thus, a whole new song with the ghost of a song as the influence. It’d be completely removed, but still there, still heard in a sense.

Newman’s songwriting explorations have continued with the March 31 release of “Continue as a Guest,” the New Pornographers’ latest album on Merge Records.

The 10-track record is produced by Newman and features the New Pornographers core musicians, including Neko Case, Kathryn Calder, John Collins, Todd Fancey and Joe Seiders. Sax player Zach Djanikian is all over the album, the band’s ninth full-length release, and co-writing credits are given to both longtime NP contributor Dan Bejar (frontman and songwriter of Destroyer) and Sadie Dupuis (Speedy Ortiz, Sad13).

In the case of Bejar’s contribution, Newman dusted off the album-opening “Really Really Light,” which had been in the surplus songs file for a good long while as an unfinished bit from earlier times when Bejar was splitting time between Destroyer and New Pornographers. With Bejar’s blessing, Newman reworked the track and a killer album starter is the result.

As for the Dupuis co-write “Firework in the Falling Snow,” Newman said, “I was feeling like I wanted some help, so I sent it to Sadie and she sent me back this complete song that had these great lyrics. She included the line ‘A firework in the falling snow,’ and I was like, ‘Yeah, that’s great.’ Sometimes you need that one thing to center the song, and even though I only used a few lines of hers in the end, I couldn’t have finished it.”

Newman remains the songwriting linchpin and the person through which the New Pornographers project flows.

He believes a mix of new and old within his crew is the best way for the band to grow, with members able to peel off for a short hiatus, or to leave entirely for new projects and opportunities.

“It’s good to have new blood,” he said. “Sometimes it can suck when members are getting to the end. They just don’t want to be in the band anymore and sometimes that can come through. You look at a band like U2, together for 40 years. How do you do that? Or the National, when you have the same five people for the duration. Then there are bands like The Shins where it will always be James Mercer and whoever he’s playing with and no one will ever question that.”

Newman said the New Pornographers have a fan base that’s been around awhile. They’re loyal, follow both the records released by the band and solo projects of band members, too; included among them are a handful of AC Newman solo releases.

“I think that people find you along the way,” he said. “A ton of people found us within the first five years. I haven’t taken a poll or anything, but I’d like to think that people are going back and still finding us. Some bands are popular and then they kind of get forgotten. Everybody knows Pavement, but there are a lot of bands from the ’90s that’ve fallen by the wayside.”

Because of the duration of the band’s fandom, they’ve got favorite cuts. And with a pretty good base of songs from which to choose—as well as the odd cover or pull-in from solo projects—Newman said the process of choosing what songs to play in a live show can run in multiple ways. Again, the occasional new member can go a long way to reenergizing some buried tracks.

“A few years ago, Joe, our then-new drummer, was in the tour bus playing our old songs,” Newman said. “He joined in 2014 and was playing songs that he wished that we’d

Photo: Ebru Yildiz

play. ‘Jessica Numbers’ from Twin Cinema was one that we’d stop playing, but that I was legitimately a fan of. But I’d forgotten it. We learned it the next day and we opened our sets with it for about a year. It was rescued from obscurity to become one of our fan favorites. ‘It’s Only Diving Right’ from Electric Version hadn’t been played in years. And it’s a big crowd-pleaser. We should’ve played it all along! On this year’s touring, we plan to resurrect a few songs, too.”

Then there’s a series of songs of which he said “We might get sick of them, but people want to hear them. If people are excited about hearing a song, it doesn’t matter if you’ve heard it 1,000 times.”

New songs will be a part of the mix, too, and they’re pretty fantastic, tracks that easily fit into the band’s extensive canon.

“Because of the pandemic, we had to transform a little bit,” Newman said. “We were all in different places. I didn’t have other people with me to record. John had a baby, a daughter. So not only was there a pandemic happening, he had this little daughter now. So it’s not that I could say, ‘Hey, John, come live in my cottage while we make this record.’ It all changed. I had to find people around Woodstock (N.Y.) to play and so I thought, ‘Maybe I’ve got to embrace this.’ The New Pornographers felt like they were evolving into something else.

“Maybe someone in the band would say ‘I don’t like what this is evolving into’ but I like pushing the band into another era,” he elaborated. “We’ve already made Mass Romantic

and Twin Cinema and Brill Bruisers. Those albums are always there and we made them. We don’t have to keep making them. You want to move forward. From the beginning, I saw the band as more of a concept. I didn’t see it as a band of personalities. I thought we’d be a faceless band, but there were too many people in it that were magnetic. We couldn’t be a faceless band. Now I find myself going back to that idea, being a faceless band again. I wanna put out records and maybe it doesn’t matter as much who’s playing on it. If fans don’t like the new album, you can listen to the albums you do like. Now, me saying that doesn’t give the fans enough credit. But, yeah, I feel like the band wants to evolve.”

With that in mind, the group will tour just enough to satisfy the wants of most fans, just in terms of proximity. At this point, Newman said his life now allows him to relax on the idea of pursuing music as intensely as he had, if only on the financial front. And with family at home in Woodstock, he’d prefer to tour about three months a year, splitting those dates between the New Pornographers and Neko Case’s band, of which he’s also a member.

“I think I’m pretty lucky in that I don’t have a super-stressful life,” Newman said. “Even to the extent that my wife has a decent job and I don’t have to be as stressed as I used to be. Of course, I want to make money, but I feel like I have a certain amount of time (available) to music and (am) not pressured. I can go on tour and try not to do too much there. I feel like I have to embrace this time and be grateful.”

Sometimes it can suck when members are getting to the end. They just don’t want to be in the band anymore and sometimes that can come through. You look at a band like U2, together for 40 years. How do you do that?

Carrying the Post-Punk Torch

Blond Guru

A Midwest-emo ensemble from St. Louis, Blond Guru is a name you’ll hopefully hear a lot more of in 2023. The five-piece, made up of Noah Gregory (lead vocals and guitar), Sean Buchert (drummer and vocals), Hal Gregory (keys and vocals), Cole Conner (bass) and Josh Hezel (guitar), met at Lindbergh High School and started making music amid the start of the pandemic in 2020. While having band practice via Zoom, the group discovered their unique, alternative grunge sound, reminiscent of bands like Hippo Campus, The Strokes and The Arctic Monkeys.

Story: Tori Lohmann Photos: Sean Rider

With inspiration from their high school music classes and unfinished projects, lead vocalist Noah and bassist Cole knew they wanted to take their music a step further—and thankfully, they did. Blond Guru released their first LP, Your Friends, in 2022. This project is full of beautifully isolated vocals, intense instrumentals, perfectly crafted crescendos, and thoughtfully angsty lyrics—it’s something your inner teenager is craving.

Already developing a strong presence in the St. Louis music scene, opening fully packed shows for bands like The Cavves, Waltzer, and Blunt Bangs, the future looks bright for Blond Guru. We sat down with Noah and Cole to learn more about their story, first album, and upcoming projects.

Bands Through Town: How did Blond Guru start? Where did you guys meet and what was the inspiration behind starting a band?

NOAH: “Oh, goodness…originally Blond Guru was another band with Hal, Sean, and other members. That band called it quits eventually, but Cole and I started a recording project senior year of high school where we had to record music, and we were like ‘Wait, sh*t, this isn’t actually, like, bad, so let’s try that.’ Cole and I started working together; we pulled Hal in and Josh, who was a good friend throughout high school. We started working on the album, and I had Sean come in, who was in another band [with me] at the time. He did all the drums, Josh played bass, and then COVID happened. We gave up on everything, but still tried to record the rest. From there, it’s been the five of us. We started working together productively in 2020.”

COLE: “Originally, Noah and I had taken a music tech class in high school where we learned to produce and record music. At the time, [Noah] and I were agreeably into bands that were more lo-fi with shoegaze elements, so I wanted him to help me write a couple songs. After we made those two songs, we decided we wanted to keep a project going. Over time, it evolved. It started for fun, but then we both agreed we wanted to be serious about it.”

BTT: How would you describe your sound?

NOAH: “The first record was meant to sound a little within the Midwest emo genre. We tried that, but I don’t think it came out as emo as we wanted it to sound, but it did that lo-fi thing we like. Now, it’s somewhere between garage rock and post rock/punk.”

BTT: What was the process of making your first album?

NOAH: (*laughs*) “Oh, it was a sh*tshow. So, we wrote like two or three songs in that class and released them on SoundCloud, like, ‘Here’s the final product; we’re never gonna do anything with these.’ And that was a lie. We reworked a few of those in the Summer of 2020 to try to make an album…but that really failed. We gave up. It was too hard. Over time, we were all going through stuff, so we were all writing different things and trying to piece them together. Eventually, we had nine songs that fit a similar enough theme. We were stuck at home, so it was hard to interact, bounce ideas off of each other. It was a lot of things we had backlogged, and we were lucky they all kind of went together.”

COLE: “It was challenging, because when we all decided we were serious about it, it was 2020 during COVID, so that made it difficult. But once we could comfortably be around each other and record, we did pretty well, and have stayed consistent.”

BTT: What has your experience in the local music scene been like?

NOAH: “I think we’ve been really fortunate.”

COLE: “Yeah, it’s been very welcoming. A lot of the bands that we’ve played with have been really awesome about inviting us to play shows. We got to play with two bands from Chicago.”

NOAH: “Yeah, The Sinkhole [St. Louis venue], gave us two touring bands to open for, which was cool because we’re a new band drawing 10 people to a show on a Thursday night, but here’s a group from Chicago [with an established fan base], so we got to immediately make new connections that we were hoping to make. We also have friends in different bands that we’ve got to play with a bunch, like Yard Eagle, Non-Euclidean Geometry, Middle Class Fashion, No Antics and The Lizardtones. We’ve [also] played at venues like Off Broadway and Venice Cafe and have upcoming shows at Red Flag and The Duck Room.”

BTT: What influences your music the most? Are there certain themes you’ve focused on?

COLE: “There’s a lot of themes of adolescence, coming into young adulthood, and certain emotions you go through during that time period, in the last record, with a lot of the songs being written in high school. It’s realistic and [talks about] facing things like depression or isolation. We also have quite a few influences in music, and [incorporate] different elements of garage rock, alternative rock, indie.”

NOAH: “Yeah, bands like Interpol. We take indie rock and make it, like, really moody. It’s fun. I think so much of what inspired the first [album] was adolescence and kind of being a sh*thead teen, and thinking, ‘Man, why doesn’t anything work out for me, even though it’s probably my fault?’ But, you don’t want to acknowledge that as a teen. Songs like “Need” were reflective of thinking, ‘Man, I need to get my sh*t together.’ And songs like “It’s Not Me, It’s All You” and “Answer Your Phone” where I’m just being a petty little piece. I think the only reason that happened is because “Tranquility Base Hotel & Casino” by Arctic Monkeys had the piano and I was like, “Okay, well I’m gonna play the piano.”

BTT: What’s your favorite lyric you guys have written?

COLE: “I feel like throughout some of the songs there’s a lot of nice ones. One that stood out to me, it’s kind of dark, but it’s something people can relate to: ‘Why do I fear the reaper if I hold the same power?’

It’s really dark, but it’s heartfelt and something a lot of people have felt at some point in their lives. When we play that song, and it’s sung, it’s kind of coasted over, but if you seek it out, there’s a little bit of residence there.”

NOAH: “Cole, that’s the same one I was kind of thinking but didn’t want to bring it up. We’ve all been there. Also, in “Awkward/Detached” I like, ‘Rock bottom has a basement/ Pick me off the pavement/If you could have it all, why would you want to change that/If I could have it all, why don’t I chase that.’

It’s just the thought of getting worse, but also thinking, “Why am I doing this to myself?”

BTT: Is there a story behind the album cover?

NOAH: (*laughs*) “High School Musical! You gotta get that jump in there! Just kidding. There was a tunnel that I absolutely loved from my ’tween into early teen years of hanging out at Ronnie’s [Cinema in South St. Louis County]. It’s the tunnel in between Ronnie’s and Incredible Pizza. You go in there, and it’s like you’re in a different place. It’s also where we smoked weed for the first time. (*laughs*) I really wanted to shoot [the album cover] there because, that night in particular, the light just would not stay on. It would keep going on and off. So we were just doing as much obnoxious stuff as we could before the light would turn back on, which is the picture that ended up being the album cover. I’m thinking of Elliot Smith and Brand New, who both did the thing where they were jumping out the window, and I just really like album covers with pictures instead of a big title.”

COLE: “I agree with that. Picture albums are always neat because it leaves room for curiosity. I also feel like that tunnel where the picture was taken, for most of us in the band, has sentimental value because we grew up in that area.”

BTT: What does the future of Blond Guru look like? What’s next for you guys?

NOAH: “I think the first album was a good introduction to the band, but the second one is a lot catchier. All the bangers are on there. We want to be known as more than “a sad band,” so we want to get more into the [happier] side of things. We started recording [the second album] recently. Some of it’s leftover stuff from previous bands that we never really got down. It’s all actually been written for longer than the stuff from the first album. It’s going much quicker than the last one because we’re not all stuck in our houses and we’re actually, like, a functional band. We’re also trying to go on tour, hopefully this summer, to main cities in the Midwest, possibly places in the East.”

Blond Guru is hoping to release their second LP later this year. You can check out their music on all streaming platforms.

Takashima: St. Louis’ Preeminent Vinyl Listening Lounge BANDS THROUGH TOWN MAGAZINE

Story: Brian Amick

Photos: Cory Weaver

Surrounded by over 7,500 records— most of which are his own—Dan Hayden clearly loves music. The former DJ and current co-owner of Takashima Record Bar recognizes the importance of a space like the one he and co-owner Robbie Hayden provide.

“As long as people are having a good time, enjoying the music and enjoying the atmosphere, that’s the most important thing,” he said about his overall goal for the business.

Takashima Record Bar, located in the Grove, is a listening lounge for vinyl record enthusiasts and music lovers alike. It’s inspired by Japanese listening bars, which date back to the 1950s, that provide a top-notch musical experience with high-end audio equipment where patrons listen to records selected from a record library behind the bar. That idea has made its way to major cities around the world like London, Paris, Toronto, New York and Los Angeles. St. Louis can count itself among those.

“Takashima means ‘tall island.’ It’s the sister city of St. Louis in Japan,” Dan said. “What that meant to us, more or less, when we took over is that we have the Japanese whisky program, it’s a tip of the cap to the listening lounge in Japanese culture, there’s elements like the color of our booth is the color of the bridge in Takashima, Japan.”

Dan and Robbie formerly owned The Wine Tap in Belleville, Ill. The duo took over Takashima Records after it shuttered during the COVID-19 pandemic, rebranding the business to add something new to the Grove’s active nightlife scene.

Not just known for its music, Takashima also serves Japanese whisky, curated cocktails, and approachable small food plates to go along with a rotating roster of guest local DJs and selectors that fill four-hour slots from 5 p.m. to 1 a.m. DJs can play whatever they want, usually sticking to a specific mood or the feel of the room.

The inclination for many would be to simply play atmospheric music to not upset the lounge vibe, but Takashima gives its guest DJs the freedom to mix it up. As creative director, that’s important to Dan, even if the music is something heavier like Mastodon. “If it’s somebody that has been in here and they want to do that, they’ll know or mention it to me,” he said. “If it’s somebody new who’s trying out a new concept, I’ll usually put it on a 5-9 on a Wednesday or Thursday just so that we’re not throwing them out there that might be different from the norm. We try not to pigeonhole ourselves. I want to have that variety.”

While Takashima does bring in national acts such as Easy Mo Bee (a hip hop legend most notable for his affiliation with Bad Boy Records in its early years and his heavy production involvement in The Notorious B.I.G.’s acclaimed debut Ready to Die), it’s more so a showcase for local artists.

“Being able to support locals, and being a place where people can get a vast representation of local talent showcasing themselves is one of my favorite things about having this space,” Dan said.

The Beats

(Top to Bottom) Robbie Hayden with Takashima’s signature neon and Dan Hayden, aka Hal Greens fills in on the tables.

Being able to support locals, and being a place where people can get a vast representation of local talent showcasing themselves is one of my favorite things about having this space.

The Haydens have plenty of experience with food as well. In addition to The Wine Tap, Dan helped open the first Mission Taco on Delmar as well as the one in Soulard. While many aspects of Takashima are nods to Japanese culture, they wanted the menu to be authentic to themselves and appeal to their customer base. They introduced some of the concepts from their previous ventures in crafting the menu.

“I want to do what I do, and do it well. We carried some of those concepts over from The Wine Bar,” Dan said. “We did everything from scratch. All of the cocktail recipes are Robbie’s and our other bartenders’; the food is all Robbie and myself. All of that was us taking this space and that concept and refining it into what it is now. Some stuff sticks, some stuff doesn’t. We don’t want to get stagnant, not just from a music standpoint, but food, cocktails, wine and beer as well.”

Among the food items guests can munch on during their visit:

Margherita Flatbread—Roma tomatoes, fresh mozzarella medallions, basil, on red sauce drizzled with balsamic glaze.

Charcuterie & Cheese—Three meat house selection, cheese variety, house pickled green beans and carrots, house made fruit preserve, and crostini.

Greek Salad—Cucumber, bell pepper, red onion, tomato, kalamata and chickpea on mixed greens with feta and housemade Greek dressing, topped with pink peppercorn and crostini.

The food is meant for social eating, while also being a source of pride. Takashima makes its own sauces, dressings, and preserves, pickles its vegetables, and sources its products locally as much as possible.

Charcuterie elements come from BEAST Craft BBQ, pulled pork from Sugarfire, and beer 100% from local breweries.

The cocktails on the menu support the listening lounge theme, each being named after an influential music artist. For instance, “Bad Moon Rising” is a nod to Creedence Clearwater Revival, “Love & Happiness” is a song by Al Green, “Go for Your Guns” is an Isley Brothers album, and “Alone in Vegas” is a song by Pusha T. Some cocktails are named after contemporary artists, while some are classics. Each one isn’t just a cool name, but it ties into the song and reflects the overall eclectic nature of the lounge.

While being a unique space for fans of food, cocktails, and music, Takashima wants to help drive business to other local spots, especially in the Grove. With great retailers, restaurants, bars, and breweries—including the iconic Urban Chestnut—nearby, there’s plenty to go around.

“The better this neighborhood does, the better St. Louis does,” Dan said. “We emphasize that to our staff. We want them to share their knowledge of the city. We’re in a position here where we’re a little unique, but I want all things in St. Louis to be successful.”

The Eats

Pulled Pork Sliders—Sugarfire

Smokehouse smoked pork on toasted brioche, house-made BBQ sauce with a lil’ kick, crispy onions and creamy house slaw served with house-made pickles and pickled onion.

Listening Room: Album Reviews

Pop’s Most Prolific Princess

returns with another sprawling collection of confessional songs ruminating on life, death, love and loss. Did you know that there’s a tunnel under Ocean Blvd is Lana Del Rey’s ninth album in her 14-year career, and her fourth since 2019’s Norman Fucking Rockwell.

Lana Del Rey

Did you know that there’s a tunnel under Ocean Blvd

Pop’s most prolific princess returns with another sprawling collection of confessional songs ruminating on life, death, love and loss. Did you know that there’s a tunnel under Ocean Blvd is Lana Del Rey’s ninth album in her 14-year career, and her fourth since 2019’s Norman Fucking Rockwell. Since the first moment she stepped on the scene, Del Rey has been a subject of scrutiny from the media and music industry alike, from her looks, to her lyrics, to her live performances (all of which are completely unwarranted).

The road she’s paved for an entire subgenre of female indie artists has been full of roadblocks, bumps and bruises, but she’s stayed true to herself, nonetheless. Clocking in at an hour and 17 minutes and with no songs shorter than three-andhalf minutes, Did you know is easily the most cerebral work in Del Rey’s catalogue. There’s hardly any guitar or drums, most of the songs are piano ballads, and the lyrics have almost no structure. If she was any other artist, this approach simply would not work. But because of her crooning voice and unrelenting earnestness, this record is one of her most remarkable.

From the get-go, we’re brought into a new sonic and thematic landscape in the opening track, “The Grants,” with a gospel chorus singing the song’s refrain. Lana Del Rey has made her career in romanticizing death and romantic devastation, but this time, she’s trading that sentiment for greater consideration of what

happens in the afterlife. Collaborating closely alongside producer-to-thestars Jack Antonoff, it seems Del Rey has found faith in her family, as well as a deeper tie to religion itself. Tangible, geographic references still carry through in this record, most obviously on the album’s title track and lead single, which references the now-closed Jergins Tunnel in Long Beach, Calif. Even still, her tonguein-cheek approach is utilized less in the front half of the album, instead admitting to low self-esteem and loneliness.

“A&W” is the longest song on Did you know at 7 minutes and 13 seconds. It’s an honestly heart-breaking portrait of a woman who oftentimes finds herself giving more love than she’s receiving, succinctly summed up in the chorus, “It’s not about havin’ someone to love me anymore/No, this is the experience of bein’ an American whore.” The second half of the song features a trap-adjacent beat that references a seemingly abusive relationship with a man she also wrote about in her 2014 album, Ultraviolence. “Judah Smith Interlude” immediately follows and offers a stark tone shift: the spoken-word song is an iPhone recording of her pastor delivering a sermon against an almost Reznor-like piano backdrop. Lana Del Rey can be heard chuckling in agreement, and the sermon concludes with “And you’re not gonna like this, but I’m gonna to tell you the truth/I’ve discovered my preaching is mostly about me.”

Did you know also sports the most collaborations since 2017’s Lust for Life. Jon Batiste’s nimble digits are featured on “Candy Necklace” and then takes center stage in “Jon Batiste Interlude,” which vacillates between quiet studio moments and loud interruptions. “Paris, Texas” samples SYML’s song, “Where’s My Love,” throughout which Lana Del Rey paints a lilting lullaby that pays tribute to often-forgotten American towns named for more iconic (and frankly more popular) European cities, as she ruminates on a relationship that no longer

serves her. “Let the Light In” is her latest collaboration with fellow crooner Father John Misty that acts as a vignette of a secret relationship between two singers. “Margaret,” a duet with Bleachers (a.k.a. Jack Antonoff) is probably the most uplifting song on the record; the title refers to Antonoff’s fiancée actress Margaret Qualley, and the song tells their story as a sweet and sappy romcom that I don’t doubt will be their first dance.

The final two songs on Did you know harken back to a more “classic” Lana Del Rey approach, complete with hip-hop trap beats and the DGAF writing audiences and fans love her for. “Peppers” is the final collab of the record and samples rapper Tommy Genesis’ 2015 song, “Angelina.” Del Rey really throws caution to the wind, detailing how she dances naked to the Red Hot Chili Peppers with the windows open and her disregard for when her boyfriend tested positive for COVID, singing, “We’ve been kissing, so whatever he has, I have.” Del Rey has the ability to make all of this sound wildly romantic, aspirational and profound, a skill she’s honed in the course of her 14-year career. “Taco Truck x VB” is a direct hit at the media scrutiny she’s received, particularly in response to her “Lolita” aesthetic and some ruminations on culture she made in 2021 that were taken out of context. Following a spoken outro from Margaret Qualley, the second part of the song is largely a sample of “Venice Bitch” from Norman Fucking Rockwell.

After a philosophical, stream-ofconsciousness study on her life, family and relationship with herself, it could be said that at the end of Did you know, Lana Del Rey declares confidently, “You know what? I am who I am, and I’m happy with that.” The devil has always been in the details with Del Rey’s music, and it’s fun to see her sampling herself now that she has a massive catalogue to call back on. Is this a particularly easy listen? Definitely not. But is the payoff worth it? Absolutely. Did you know is at times meandering and

hard to follow, but it demonstrates that perfection isn’t the goal with art: self-expression is the true motivation behind it all. To be candid, we wouldn’t have half the female artists we revere today, like Billie Eilish, Gracie Abrams, Lizzy McAlpine, or even Phoebe Bridgers and Clairo, without Lana Del Rey, and she knows it. I hope this record has opened a floodgate for her to keep on experimenting and disregard anyone in the media who has the gall to criticize her.

~ Melanie Broussalian

together in 2018, it (as the kids say) rewired my brain chemistry. The collaboration seemed effortless, and the music was beautiful, morose and honest; each of their styles fit perfectly within each other, as though they had been writing music together for years. Since then, each member of the band—who refer to themselves as “the boys”—has been busier than ever, and boygenius seemingly was shelved. Between Bridgers’ blockbuster, Punisher, Dacus’ critically acclaimed Home Movies, and Baker’s gut-wrenching Little Oblivions, hope for more music from the group was fading. Fans like me caught crumbs from little collaborations on each members’ solo records but were always clamoring for more.

Stone that was, in fact, inspired by Nirvana. So, without further ado, let’s dive into the music.

Boygenius The Record

In this dissertation I will…just kidding. Kind of. Readers beware: if you’re looking for an unbiased review of boygenius’—the indie supergroup featuring Phoebe Bridgers, Lucy Dacus and Julien Baker—newest album The Record, this won’t be it. When this trio released their first EP

Fast forward to November 2022 when a passerby posted a video on TikTok of the band seemingly on set in L.A. for a photoshoot emulating Nirvana’s Rolling Stone cover. Chaos in the indie community erupted, all based on a shred of hope that boygenuis was about to make their long-awaited return after nearly five years. (Side note: as of today, that 5-second video has 5.3 million views.) Then in January, their comeback was solidified on Coachella’s lineup, followed by three singles off their firstever full-length LP, aptly titled The Record, and a cover feature in Rolling

The album opens with a harmonic ditty titled “Without You Without Them” that, to me, harkens back to the blessed union of Trio, a.k.a. Dolly Parton, Emmylou Harris and Linda Ronstadt. The lyric “I want you to hear my story/And be a part of it” sets the tone for an earnest, confessional album made in a collective of unconditional trust. Right away, we’re thrown into something more raucous with “$20,” the first of the three songs that were released in January. All of them collectively— “$20,” “Emily I’m Sorry” and “True Blue”—showcase Baker, Bridgers and Dacus at their very best. Baker wails in “$20” with her boys behind her, Bridgers gets extremely personal in “Emily I’m Sorry” and Dacus does what she does best with a visceral portrait of a complex relationship in “True Blue.” Kristen Stewart directed a tryptic of music videos for each song tying each together seamlessly into a short film; it’s a worthwhile watch and celebration of these three queer songwriters.

“Cool About It” is a sneaky standout on The Record, with some of the most gut-wrenching lyrics on the album. The main hook of the song pays tribute to Simon and Garfunkel’s

“The Boxer,” and Paul Simon is listed as a writer on the song (dads, you can put your pitchforks away). In particular, the line, “Once I took your medication to know what it’s like/Now I have to act like I can’t read your mind” is delivered by Bridgers with an almost ambivalent matter-of-factness that punches at the core. The midpoint of the album soars with “Not Strong Enough,” which was dropped prior to the album’s release and is one of my personal favorites. Each member lifts one another up with every verse in this song, culminating in a chanting bridge: “Always an angel, never a God.” Dacus really lets it rip in the final post-chorus with some of the strongest vocals she’s delivered to date, consequently sending goosebumps down my spine on every listen.

“Revolution 0” and “Leonard Cohen” both make the exact impact they’re meant to, yet again highlighting the combined power of (arguably) the three best singer-songwriters in the music industry. “Revolution 0” is a melancholy lullaby for sufferers of existential dread that feels like a continuation of Bridgers’ Punisher, with some sonic likeness to “Moon Song” on that album. Thankfully, “Leonard Cohen” is a humorous antidote about a road trip gone awry when the driver insists on playing Leonard Cohen in the car. The lyric,

“Leonard Cohen once said, ‘There’s a crack in everything, that’s how the light gets in/’And I am not an old man having an existential crisis/At a Buddhist monastery writing horny poetry/But I agree” is easily a top five on The Record. If you’ve seen any of the press interviews boygenius has done to promote the album, or even just follow them on Instagram, their penchant for dark humor is one of the strongest threads in their friendship, so it’s fun to see it materialize in song.

The song with the biggest payoff is easily “Satanist,” a harder, rockforward song led by Baker that challenges all notions of organized society. Baker opens her verse with “Will you be a satanist with me,” Bridgers comes in with “Will you be an anarchist with me,” and Dacus rounds the song out with “Will you be a nihilist with me,” all of which are choices characteristic of each. The breakdown around the threeminute mark creates an uneasy, yet delicious, tension where all three voices combine to beckon you to the dark side. On “We’re in Love,” Dacus takes the reigns and, in her classic conversational songwriting, breaks listeners’ hearts when describing the end of a relationship.

If I absolutely had to choose a least favorite song, it would probably be “Anti-Curse,” but even then, that’s

like comparing mid-priced caviar with the expensive stuff. At the end of the day, it’s still caviar. The Record concludes with “Letter To An Old Poet,” which starts out as a Bridgersled song about an emotionally exhausting breakup. The three-part harmonies culminate in a sonic and lyrical callback to “Me and My Dog,” off the original boygenius EP. Here, they swap “I wanna be emaciated” for “I wanna be happy,” which elicited a gasp from me on the first listen. The song continues along the path of “Me and My Dog” with the line, “I’ll go up to the top of our building/ And remember my dog when I see the full moon,” which references Bridgers’ fan-beloved dog, Max, who passed away in between projects. It’s a perfect, yet devastating, end to an album only these three songwriters could create.

It truly cannot be overstated how significant it is that boygenius has created such a mind-blowing work out of love, friendship and honesty. So often, we hear of great music that’s made in spite of the band’s volatile relationships, from Fleetwood Mac, to Crosby, Stills & Nash, and many in their wake. Baker, Bridgers and Dacus prove that spaces in this industry can be created based on collaboration, rather than competition.

Even more so, boygenius is a beacon of feminism and queerness within the indie-music space, which frankly, has been largely dominated by hetero white guys for the past 30+ years. Each member of this band is made better by one another, making their riffs stronger and heightening their shared emotions. For a collection of what could be considered “sad songs,” there’s no denying the underlying joy felt throughout The Record. If anything, it speaks as a document of boygenius’ love story with each other, rather than with anyone else. Anyway, thanks for coming to my TED talk.

~ Melanie Broussalian

Paramore. Photo: Zachary Gray

Paramore This Is Why

Confession: I have not listened to a Paramore record before this one. Obviously, I’ve heard “Ain’t it Fun,” “Still Into You,” and “Misery Business” from the radio and various TikTok trends, but I can’t say I’ve sat down and listened to any of their five previous albums. Their sixth, however, I felt compelled to listen to. Needless to say, I’m glad I did: This is Why is a clear sign that an almost 20-year band is able to not only remind us of their signature sound but transcend it to make something fresh.

Paramore shows their musical chops and diversity throughout. The title track starts with some groovy “Superfly”-esque bass riffs that transition into a Talking Heads-like chorus. Reverb coats the guitars in satin, especially in “Liar.” These currents of alluring guitar riffs have a smoothness that resembles something off of Radiohead’s In Rainbows. The pre-choruses are often moments in which the album almost spins off the rails in the best way, with zany vocal performances or psychedelic synths. The back half of the album, with “Crave” as a perfect example, often starts with sunny major seventh chords that feel like sitting on the beach enjoying a beer with friends. There is a poignant playfulness throughout the album in the vocals and melodies, with lead vocalist Hayley Williams’ fun shouts and talk-singing.

Despite the new sounds, Paramore still shows their punk energy and vibrancy on “The News,” a fun rebellious track that is admittedly a bit on

the nose (“Rhetorical, deplorable, historical, and all along, we called it normal.” What a unique take!).

The record also oozes cleverness with its track placement and lyrics. “Big Man Little Dignity,” similar to “Dreams” by Fleetwood Mac, feels like a bath at the end of a long day with a dash of female empowerment. “You First,” a biting song with the lyric “Everyone is a bad guy and there’s no way to know who’s the worst” is ironically placed right after. Many songs start with amazing lyrical hooks; the first line of the album is: “If you have an opinion maybe you should shove it.” “You First” begins with “Living well is not my kind of revenge.” It keeps you engaged and wanting to listen to more.

That is the main flaw with this record: I only wish it were longer. At 36 minutes, it is their shortest record since their debut, which is a bit disappointing given their last album was released almost seven years ago. The record feels like a visit to the candy store when you were 6: you get just a little taste and it’s over much too soon.

Perhaps that is the essence of Paramore itself, a word whose homophone (paramour) means “secret lover.” Their average album length is 43 minutes long, a

Caroline Polachek Desire, I Want to Turn Into You

I have never had writer’s block quite like this when reviewing an album. I have spent weeks sitting on my thoughts, trying to marinate my mind with the record and its use of sound. It’s so familiar, until it isn’t. There are clear references to music past but it is also not like anything I have heard before. Desire, I Want to Turn Into You is a lovely contradiction, a world of beauty and dissonance, inviting and rejecting the listener from the imperfectly perfect island that is Caroline Polachek.

The record is a Pandora’s box; once you open it, it unleashes something you can’t turn away from. Polachek’s vocals in the opener act like a siren’s call, attracting the listener to her bizarre otherworldly island. (Note: after receiving this insight, I learned that much of her work is inspired

Photo: Aidan Zamiri

She communicates this implicitly in her work.) Immediately, there is a shift as she speaks in a monotone, robotic way, “welcome to my island… hope you like me, you ain’t leaving.” It’s a mix of beautiful and off-putting that I have not experienced since an Imogen Heap album.

In that, the record has plenty of inspiration: It has the catchiness of a Tegan and Sara record, with “Bunny is a Rider” sounding like it could have been a sister song to Drake’s “One Dance.” Moreover, it has the vocal prowess and electronic experimentation of Imogen Heap with the groove and autotune usage of Cher.

Though you can tell the impact of previous musicians, there are also moments of a clear separate musical identity. “Hopedrunk Everasking” not only sounds like an Enya track, but has a literal smoke detector going off during the first verse. There is a church bell motif that seamlessly ties together “Fly to You” and “Blood and Butter.” “Sunset,” one of my favorite tracks this year, utilizes an ubercatchy, Ennio Moricone-esque guitar part that is straight out of Legend of Zelda (see “Gerudo Valley”). Musical ideas introduced in the second track are revisited in the second-to-last. There is a clear and present expertise that radiates throughout the album.

As the record fades out, you are left wondering what exactly you just listened to. It begs multiple listens, not because the album is too short (it is, in fact, the perfect length), but because it is rich in content. In that respect, I would encourage diving into Polachek’s mind further; read or watch some interviews, go though track by track analyzing the lyrics.

There is so much to this album that I cannot put in a brief review. With that, though the year is still young, this record is a clear contender for album of the year.

~ Liam Owen

M83

Desire, I Want to Turn Into You

M83”s ninth studio album, Fantasy, is a beautiful conundrum.

The album is filled to the brim with rich, sweeping synths and deliberate, thought-provoking imagery. Listening to this record is almost like watching a movie play out, the hero’s journey unraveling as we travel from song to song. Each new track feels like one piece of a giant, meticulously planned film score. You can’t help but be swept away as the band guides you through the narrative.

Songs “Water Deep” and “Oceans Niagara” set the scene for the grand storytelling spectacle, almost acting as the backdrop for the rest of the album to build upon. The combination of tunes “Us And The Rest” and “Earth To Sea” set our protagonists in motion, leading them out into the unknown drama of “Radar, Far, Gone.” The swift movement of later songs like “Fantasy” and “Laura” give our characters the strength they need to eventually face their fears in the dramatic setting of “Kool Nuit.” After their epic showdown, the group can finally return home to a familiar sound found in “Sunny Boy Part 2”—though you sense a change has come across the crew, evident in the outro song, “Dismemberment Bureau.”

As I listened through Fantasy again and again, I slowly began asking myself a question: “What is this really all about?”

The deeper I dove into the record, the question came up more and more. “What story is M83 trying to tell?” Clearly there had to be some

inspiration for the plot, some narrative that could be found by traversing the depths of Google or watching hourlong interviews with the band. Everything I had been presented felt so calculated, so vivid.

To my absolute surprise, there was nothing. No story. No plot. Not even an overarching theme that could explain the entire narrative I had witnessed while listening through the album. In fact, M83 had specifically made the record by jamming out in a room full of musicians, assembling those jams into songs, and collecting them into one work. The whole story I had created was just that, a story I had made up myself.

This realization completely floored me. Fantasy is such a lush and vibrant piece of artwork, yet at the end of the day, it’s pretty much a blank canvas for the listener to fill.

With Fantasy, M83 continues to cement themselves as explorers in the way we experience music. There are very few, if any, other artists working today that can create the building blocks of a story, place it in front of you, and let YOU piece it together. This band fucking Inceptioned me! That’s crazy!

So, if you find yourself in need of a little creative inspiration this week, do yourself a favor: grab your headphones, throw on this record, and build your own Fantasy with the help of M83.

~ Alex Bakken Gorillaz Cracker Island

Gorillaz’s work has always been hit or miss for me. Some tracks are among

the grooviest, wackiest, and most experimental I’ve ever had the pleasure of listening to. Some tracks are a bit too daring, alienating me from wanting to listen to it again. For better and for worse, Cracker Island does not express either of these dualities: it is one of the most homogeneous collections of songs in Gorillaz’s career.

The title track is one of the best on the album. It’s irresistibly catchy due to the interplay between 2-D and Thundercat’s vocals with a tinge of the bizarre reflected in the droning atonal bass. I still cannot decide if the Stevie Nicks feature on “Oil” sounds good to my ears (“the truth” wasn’t the only thing autotuned on this album).

The third track, “Tired Influencer” harps on a topic that, itself, is tired: “It’s a cracked screen world” the song starts as random Siri interjections appear throughout. Insert technological

panic and calls to look up from your phone here.

Though I am happy they are still putting out music, it seems like Gorillaz themselves are tired influencers at this point. There is no wow factor or much variety here. Most of the songs on the album have a Soma-like quality to them: it’s easy to space out inside these disco lounge grooves, to be “falling into the bass and drums,” but it is as engaging as mindlessly scrolling on TikTok. The record sounds like Daft Punk’s Discovery if every song sounded like a poppier “Digital Love.”

That isn’t to say there aren’t any standout tracks. “New Gold” is a fun and bouncy track featuring Tame Impala that’s 6/4 time signature adds a bit of spice to the listening experience. (Some have criticized Bootie Brown’s rap verses in this. I think it is impressive he can rap in

6/4 time without it sounding painfully awkward.) Bad Bunny’s feature on “Tormenta” breaks up the monotony as well. Who knew Gorillaz would have a song in Spanish!

You may have noticed a pattern in the songs I take away from the record: all of them have a feature that makes it more interesting than the tracks without them. It seems like the record needed more time in the oven, especially given that it is abnormally brief at 37 minutes long, their shortest to date. I wanted to feel more emotions listening to this, even if a song was so wacky it turned me off. At least that would have been memorable. Instead, as I look at the track list, I have trouble remembering what most of the songs even sound like because they all blend together. “Nothing more to say.”

~ Liam Owen

Looking Ahead

Jason Isbell and the 400 Unit: Weathervanes

Local Natives: Time Will Wait For No One

Killer Mike: Michael

Albert Hammond Jr.: Melodies On Hiatus

Queens of the Stone Age: In Times New Roman

Lukas Nelson & Promise of the Real: Sticks and Stones July 14, 2023

Photo: Sean Rider

(Opposite page) Mobley stole the show as opener for Magic Giant at Off Broadway back in March (This page, above L-R) A candid moment with Samia; Gavin Rossdale and Bush sold out the Pageant back in late February; (Below) The New Pornographers celebrate their 20-year anniversary touring in support of their new album, Continue As Guest at a packed Sheldon Concert Hall in late April.

Photo: Sean Rider

Photo: Cory Weaver

Photo: Cory Weaver

The legendary Roots crew from Philly stopped down to Northwest Arkansas to perform at the Momentary, Bentonville’s contemporary art space and outdoor music venue, on April 29.

An iconic hip-hop gem, the Roots long ago earned a well-deserved spot within the genre that is celebrating its 50th anniversary this year. The group’s MC, Tariq “Black Thought” Trotter, is, plain and simple, a poet on stage.

While he and drummer Ahmir “Questlove” Thompson may be the founders and the most well-known of the group, the Roots are so much more. The rest of the crew is made up of a talented ensemble of horns, guitars, bass, keys and DJ.

Roots shows have been known to provide a diverse mix of cover songs and originals, and this was one of those shows. The covers spanned time and genres. “I Got My Mind Made Up” (Instant Funk), “Jungle Boogie” (Kool & the Gang), “Soul Makossa” (Manu Dibango), “Think Twice” (Erykah Badu), “Looking at the Front Door” (Main Source), “Stakes Is High” (De La Soul) and “Immigrant Song” (Led Zeppelin) were just some of the covers performed.

The originals ran the scope of the past couple decades of the Roots’ catalog and included “The Pros,” “Proceed,” “What They Do,” “The Next Movement,” “Clones,” “Web,” “Phrentrow,” “Here I Come,” “Dynamite,” “You Got Me” and “The Seed 2.0.”

The Roots Bring ‘The Hot Hot Music’ to Bentonville

Photos: Cory Weaver

The Grammy Award-winning New Zealander Kimbra played to a packed Delmar Hall in late February. Her unique ability to single-handedly take over the stage with mixing pop, R&B, jazz and rock elements is nothing less than awe-inspiring.

Photo: Cory Weaver