Issue 9

symphonaticmagazine.com

1

founder/ editor in chief/ photographer & designer shana myers

co-designer & photographer brandynn leigh

2

PHOTOGRAPHERS

abby gillardi, abby griffey, amanda jensen, amanda puglisi, anam merchant, brandynn leigh, brian baker, cassie deadmond, chelsea gresh, evgeniya, kait rairden, kelli coyne, kim cisneros, kylee gregg, lauren zaknoun, lindsy carr, lori gutman, maeva valbousquet, meaghan brown, melanie jacknow, mika schmeling, penelope martinez, priten vora, sami wideberg, shana myers. taylor novak, victoria george

WRITERS

branda cavanna, candace carter, caitlyn tanner, josie adnit, lu lu green, maisie king, mike martin, mila hrisimova, sarah kempster, scarlett grant, victoria george

contact us

symphonaticmagazine@gmail.com

follow us

symphonaticmagazine.com

3

4

may two thousand fourteen

26 plain white t’s on the cover

ALBUM REVIEWS 9 manchester orchestra // cope 9 chiodos // devil 9 you me at six // cold night ep 10 lily allen // sheezus 10 mkto // mkto 11 hollywood ending // anywhere 11 phillip phillips // behind the light 12 coldplay // ghost stories 12 the used // imaginary enemy 13 nick santino // blue skies

SHOW REVIEWS 16 nonstop to cairo 18 third eye blind and panic at the disco 20 him & sevendust 22 all time low 26 plain white t’s and a great big world

INTERVIEWS 28 matt montez 32 midnight hour 34 chiodos 38 jeremy lechterman

symphonaticmagazine.com

5

MAY

a l b u m s t o l i s t e n to

6

MAY 06 hunter hayes storyline

MAY 06

MAY 13

lily allen sheezus

the black keys turn blue

MAY 19 coldplay ghost stories

MAY 19 phillip phillips behind the light

symphonaticmagazine.com

7

album r e v i e w s 8

ARTIST: MANCHESTER ORCHESTRA ALBUM: COPE RELEASE DATE: APRIL 1, 2014

Having previously released four albums, Manchester Orchestra is back with their newest release, Cope. This album will definitely get many people talking due to the long wait since 2011’s critically acclaimed Simple Math, and 2009’s well-received I’m Like A Virgin Losing A Child. While straying past the slow tempo of some of their past songs, the album is full of tracks that are unique and just pure rock.

As said by vocalist Andy Hull, the band wanted to make an album that’s “just brutal and pounding you over the head every track,” and Cope is just that. Along with the riffs and distortion comes a sense that the songs seem to blend together, unlike Simple Math’s changes of pace. This is an album that you need to give a few listens to so you can truly understand their message.

The singles “Top Notch” and “Every Stone” are memorable and bound to get stuck in your head with their catchiness and lyrics. The perfect songs to hear and sing along to live. Through “Top Notch” you can hear some elements similar to Brand New, while still drawing inspiration from the bands that led to their name (The Smiths, Joy Division), as well as keeping their own unique sound.

Overall, the album contains songs that are exactly what the band wanted to deliver. Each track has meaningful lyrics, which are found in any Manchester Orchestra song, and there no songs that are unneeded. Cope is worth the wait and distinctly theirs. Manchester Orchestra is turning a new page with a very well done album that’s right for any fan. review by: LINDSY CARR

ARTIST: CHIODOS ALBUM: DEVIL RELEASE DATE: APRIL 1, 2014

Devil is Chiodos’ fourth full length album, the opening track U.G Introduction opens the album curiously. The less-than-a-minute song is a piano being played in a classical style, which for a post-hardcore band like Chiodos seems like it could perhaps disorientate their audience. But nonetheless the album must go on. The rest of the album consists of the typical chiodos sound, that of Owens’ light but distinctive vocals coupled with the dark imagery provided by the instrumentals and the band’s lyrics.

However, this view of the album is disrupted by the song 3AM, which sounds more akin on a pop-punk album. The tempo is fast, along with standard guitar chords and drum beat to accompany it. The starkness of this song on the album brings about questions on how the fans will receive this song. The majority of the album seems to consist of somewhat mediocre post-hardcore, however the song Behvis Bullock turns this belief around. The track consists of a crashing crescendo of song, guitars, and percussion that belongs more on a Suicide Silence album than Chiodos. But still the track gels very well. In conclusion, though the majority of the album seems a bit “been here, done that” there are a few hidden, and interesting gems on the album. review by: SCARLETT GRANT

ARTIST: YOU ME AT SIX ALBUM: COLD NIGHT EP R E L E A S E D A T E : A P R I L 27 , 2 0 1 4

EP.

of;

After the bands huge number one success with their latest album Cavalier Youth, they have decided to release one of the most popular songs from the tour onto a new Cold Night is the prime feature, the song itself highlights the growth of the band.

Franceschi’s vocals humble and soft, with the rest of band delving between a sweet Simple-Minds-esk hook to a the upbeat chorus. With the song of course holding a loving sentiment. Other tracks also include live versions from BBC’s Radio Live Lounge Lived a Lie – the bands first single from the new album, Fresh Start Fever and a cover of the classic Beatles song Come Together. The cover is done exceptionally well, with a very raw vocal touch, and with more sour riffs and chords. The band have managed to give the original a new Rock and Blues vibe.

review by: SARAH KEMPSTER

symphonaticmagazine.com

9

artist: LILY ALLEN album: SHEEZUS release date: MAY 6, 2014

Lily Allen is back with her third album which has sparked a lot of controversy, but it’s a great vessel for Allen to be a spokesperson for women who are exploited through the media, and particularly through the music industry. The albums name itself is homage to Kayne West’s Yeezus, Following the first song named ‘Sheezus’.

She may be using names to make a point, but without the treatment of those women, or their actions, there wouldn’t be a point to make. She clearly exposes her view of the industry- and a lot of other peoples - in the album. But, also stating the very clear point that no one is ‘Sheezus’. We’re all equal. This is done similarly throughout the album with mentions of other artist’s names, but mostly through her last track, and first single from the album ‘Hard Out Here’. Specifically targeting the music industry for their objectification of women and by extension how the media has made females feel they must adhere to certain aesthetics and attitudes.

‘More Than I Can Take’ reveals a more sentimental approach to the difficulties Lily, and all of us face. Especially through, ‘Silver Spoon’ there is a revelation of Allen’s statement of her position through her music, and the assumptions that have been made towards her life.

Through her pop-electro sounds, she manages to instil comedy, anger, and defence. But there are also some feel good, escapism tracks such as ‘Air Balloon’ and ‘Our Time’. Furthermore, there is a love song featured, ‘As Long As I Got You’ not forgetting the positives life can bring in the important things; love and family. With a further inclusion in ‘Close Your Eyes’, which shows how women can feel the passion and intensity of sex the same as males can, and in a way that is more realistic and true.

She further has generalisations of her comments on society through clever, sarcastic tracks such as; ‘URL Badman’, ‘Life For Me’, and ‘Insincerely Yours’. All of which offer listeners to view the perspectives that society has imposed upon the upcoming generations, and those in Allen’s position. The youth of today may differ, but as she makes clear ‘the injustice...it’s never going away’.

It is important to note that she also states ‘if you can’t detect the sarcasm, then you’ve misunderstood.’ Allen is not here to place blame on specific persons necessarily, but she is speaking from the everyday woman, and for both male and female listeners.

That it is hard, and society will tell us to act this way. But we can notice this, and remember to ignore those controls of the media.

We can be in control of ourselves, and be true to who we are.

REVIEW BY: SARAH KEMPSTER

artist: MKTO album: MKTO release date: APRIL1, 2014

The musical duo MKTO are here to make their stamp with this Pop-Techno album. From the start with tracks such as ‘Thank You’, they send messages that they are here to be the role models of the underdogs. With the optimistic beat the boys manage to create a handful of feel good music for those that may beat down, the underdog we all feel we can be. Similar to ‘American Dream’ which supports the somewhat hopeful message, that we must live a life we wish to live.

However tracks that don’t really offer much but clichés and avocations of stereotypical responses to relationships, unfortunately, tracks such as ‘Classic’, ‘God Only Knows’, ‘Heartbreak Holiday’ and ‘Forever Until Tomorrow’. Lacking in depth, but pushing for that catchy hook. They also have a feature track with Ne-Yo ‘Could Be Me’ which follows similar traits, but is coupled with the running theme that one must search for more than value, maybe appreciate something deeper. Their second feature track with Jessica Ashely ‘No More Second Chances’ also follows similar themes.

The same cannot unfortunately be said for ‘Nowhere’ which is a shameful track for all female listeners and males at that also; the albums biggest downfall.

However, ‘Wasted’ is a true attempt at an emotional caption of what love can entail, strengthened by the piano and violin backing. Vocals are also not to be forgotten throughout; Oller offers a great falsetto alongside Kelley’s upbeat rapping.

REVIEW BY: SARAH KEMPSTER

10

artist: HOLLYWOOD ENDING album: ANYWHERE release date: APRIL 25, 2014

After a year and a half, what seems like longer to most fans, Hollywood Ending has released their much-anticipated EP, Anywhere. The EP has a total of six original songs, including their popular single, “Freak Like Me”, as well as one cover.

The band has matured not only in lyrics, but in sound as well. Instead of sticking to their usual pop, Hollywood Ending has ventured into using rock influences on many of their songs. Upon first hearing the album, I was amazed at how much Tyler and Cameron’s voices had matured since Always 18. It’s also a pleasure to finally hear Dan and Chris sing on most of the songs on this EP, they both have wonderful voices and I’m glad they’ve been given a chance to show them off.

The first song on the EP is “Another Round”. This was a perfect choice for the first song on the EP; the upbeat tune gets you excited for more great songs to come. After “Another Round” is “Not Another Song About Love”. Next is “Freak Like Me”, which had been released as a single in January of this year. It’s such a fun and catchy song, you’ll probably find yourself singing the lyrics multiple times throughout your day, trust me, I have. The next three songs on the album are “Good Time Girl”, “Mona”, and “Unbelievable”. Again, it’s great to hear all four of the boys singing on these new songs. In “Unbelievable”, you can hear the boy’s much more mature side. The song has a very 50s sound to it, some fans have compared it to the musical Grease. The last song on the EP is a cover of the song “I’ll Be There For You”, also known to some people as “the friends theme song”. This song is very high energy, and after hearing it live on the Freaks & Geeks Tour, I was happy to find out Hollywood Ending would be releasing a recorded version.

With their new sound, Hollywood Ending has proven that they are no longer “Always 18”. They are maturing, and their music is too. Anywhere is a great album and I suggest you definitely check it out! The boys of Hollywood Ending never fail to impress. review by: MELANIE JACKNOW

artist: PHILLIP PHILLIPS album: BEHIND THE LIGHT release date: APRIL 19, 2014

Phillip Phillips wasted no time releasing new music. Only a year after his platinum selling debut record The World from the Side of the Moon released, Phillip’s sophomore album titled Behind the Light hit iTunes on May 19th. Dare I say that Phillips was truly the last memorable (and successful) champion American Idol ever had. I’ve thoroughly enjoyed watching his career grow in such a short amount of time, having been an avid viewer of the show up until his very season. I voted my little thumbs off for him to win.

Since then, we’ve barely been able to escape his catchy songs in commercials and on the radio, but I’ve yet to hear anyone complain.

Phillip’s sound didn’t change much from one album to the next. The new album immediately starts with a very familiar “Home” sounding guitar melody intro to the song “Searchlight”. My gut tells me the song intentionally pays homage (no pun intended) to his extremely successful first single that we all love to act like we’re sick of. It even has a similar marching band rhythm to back it up during the chorus. Not a bad start.

The album’s first single “Raging Fire” follows, which has already sold over 215,000 digital copies and has received quite a bit of radio airplay.

The only downside to Phillips music, I learned from his first album, is that every song starts to sound the same after a couple tracks. Which is a total bummer for me because I really like him. Unfortunately, Behind The Light is no different. Of course, some songs stick out to me more than others. For example , “Fly” has an absolutely insane guitar solo at the end, and “Unpack Your Heart” has an infectious chorus and a string section that I couldn’t help but nod along to. “FACE” has a very campfire folky attitude to it. There are definitely tracks on the record that have big single potential, “Midnight Sun” being one I could see becoming a success if his label allowed it. It’ll probably take a few more listens before I can start to distinguish each song from the others, but overall, I enjoy the experience of it. If you’re one of those fans that don’t like when an artist changes up their sound too much from one album to the next, this album shouldn’t disappoint you. If you like fast acoustic guitar playing and the gruffness in his voice to the point where you can practically visualize the redness in his face as he sings it, you should be happy with this one.

Phillips will be hitting the road in June to promote the new record with O.A.R. Check his website for tour dates, and consider going if he’s coming to your town! review by: KELLI COYNE

symphonaticmagazine.com

11

ARTIST: COLDPLAY ALBUM: GHOST STORIES RELEASE DATE: MAY 16, 2014

“You’ve Got To Find Yourself Alone In This World” The only word for this album is quiet. Coldplay disregarded their familiar escalating sounds of previous albums for about an hour of soft sobs. Each song just has a way of weaving themselves into each other. Playing through the tracks, we hear an abundance of emotion as we drift from heartache to love to loss to heartache again.

They capture this sense of something just out of reach so brilliantly. Attention to detail is so important with “Ghost Stories.” The distant and almost angelic hymns beyond the instrumentals of “Always In My Head,” and “Another’s Arms” are great examples of that.

They are constant reminders for the singer, Martin, of, or lack there of, this female presence in his words and music. This collectivity of songs is rather soothing, and while it is so easy to take in the movement of these sounds, it doesn’t go down easily. The lyrics can’t help but bring up old feelings or past happenings, accompanied by instrumentals filled with nostalgia. Although a rather melancholy album, it leaves us on a hopeful note of sorts with “O.” The bird’s chirping echoes quietly beyond the insightful words telling us to “fly on.” “Ghost Stories” seems like a let-it-go type of album. All this pain and heartbreak is in the past, so now they are moving on. review by: kait rairden

ARTIST: THE USED ALBUM: IMAGINARY ENEMY RELEASE DATE: APRIL 1, 2014

“Can You Hear Us, Now That You Can Hear Us?”

be

Apparently the band says they took a different approach than usual when they scrapped the original ideas for this album. They decided to write in a way that was completely new them, writing the lyrics, then writing the instrumentals to match the lyrics. This change in strategy was exactly what they needed to really get this album to as great as it is.

Imaginary Enemy is both political and personal. Opening with the song “Revolution” that literally screams for change. Continuing to “A Song to Stifle…” The Used literally screams “No way! No way USA!” confirming their ready for something different.

Repeatedly singing that nothing changes until we do, alongside a crowd-pleasing sound is what these guys do best. The sounds of this entire album are ear-catching. This new strategy did wonders for them, the instrumental do compliment the sound on words of the lyrics perfectly. Imaginary Enemy offers up an explosion of emotions with so much fire behind them. This is an album about revolution, singing that what we been taught is only “Make Believe” but we can change things. “We are not Generation Throwaway.” We can fix things. In “Evolution” lead singer, McCracken, sings a slightly softer song proclaiming that he knows everything changes. He expresses the difficulties of going against the crowd, but everything is different. So how he feels about the world is stronger. Raising these important questions like, what will happen if you don’t follow like a good soldier? The song that titled the album then brings to light that we fight an enemy we don’t even know. The number one theme of this album is conflict. There is external conflict between empowered and the underpowered. There are internal conflicts between what we were taught and what we now believe. Also, fighting the enemy and not even knowing our enemy. The largest conflict we hear progresses over the course of the entire album. The need for change. We have to change things, to how do we change, to we are we fighting, to can we even create change? In “Force Without Violence” McCracken makes the proclamation that “nothing will change if we stay the same.” Finally, “Overdose” announces “give love to get love.” Bringing back the repeated resolution of love.

REVIEW BY: KAIT RAIRDEN

12

ARTIST: NICK SANTINO ALBUM: BLUE SKIES RELEASE DATE: MAY 27, 2014

‘Bad Taste’ the beginning track swings the vibe straight into a running theme of life.

Finding yourself, but remembering home. Containing a great electric slow hook, and an insanely catchy chorus that hones in on the universal thought that love is all you need, but how hard it is to find it.

‘Can’t Say I Miss You’ Just like most of his music, it’s completely honest, catchy and with a lovely country twist. Carrying the theme of not hiding in the past, there’s bigger things out there, not lusting over an old flame. In similar respects, ‘Jackson Browne’ is beautiful. Not because of the love sentiment, because those clichés have all been done, and some work, but this track (in keeping with the trend) remembers the past, but doesn’t miss them. It’s the pain of remembering, and trying to forget once more, and how hard that can truly be. There is also, ‘Have a Little Faith in Me’ which is extremely mellow, with a different soulful sound than the other tracks, also asking for a little hope in love.

‘Gone Like Yesterday’ recorded in a live tracking, talks of everything that the past held, a great nostalgic track. One suitable for those feeling a bit lost and alone, the backing vocals will help echo the communal feeling of growing up, and getting out.

‘Keep on Going’ Nick has revealed that they taped an envelope to a trash can, with him hitting it with a brush to get the snare drum sound in this song. And the kick drum was a floor tom wrapped in a blanket and hit with a mallet. The experimental playing pays off with a folk tune, that loses you in the essence of the song, aimlessly loving and just letting yourself ‘let’s just give in, and pretend one more time is enough...we’re already lost so we might as well keep on going.’ Which can speak volumes for life in general; just keep going with what can make you happy.

‘Back to Where I’m From’ this was apparently an old track Santino had for a while, and I’m sure glad he’s decided to finally share it. The song encapsulates the estranged nature of simply living, and not knowing how to do it, but trying anyway.

‘It Is What It Is’ has accompanied harmonies by Maria Sais de Sicilia which works well for a nice country duet. The highlight has to be the magic of Rhett Price playing the fiddle, a wonderful solo followed by a wonderful breakdown by Santino.

‘Long Way Home’ is a great track that is emphasising how music these days does not always offer much sentiment, especially those that can be featured within the charts.

‘Mood Ring Eyes’ through recording, Santino also revealed that they limited the recording by running ‘the vocal mic through a guitar distortion pedal, delay and reverb pedals and printed the effects so [they] couldn’t go back and clean them up later.’ Hence the echo of Nick’s speaking voice on particular tracks, including this one. The raw sound allows for real music, but also real talent, because his vocals do not falter, and the guitar and drumming are sensational.

‘She Don’t Miss Me’ was another song that was written some years ago, with more experimental recording and therefore a live track the whole way through. Allowing so, again we hear the warming vocals through sincere lyrics. The mood is very reminiscent of old country songs, with a musty sound. But it all works extremely well to convey the strength of emotion within the song.

Santino clearly worked extremely hard on the album, with different recording methods truly echoing his talents. He also commented on this, ‘I mess up at a few parts but that’s the whole point of doing it live. We got to learn to embrace our imperfections. This song is exactly that and I think it was a cool way to close out the record. I hope you agree!’ yes, we do Nick.

And also for providing fans with real music, that can mean a whole lot to us. Well done.

REVIEW BY: SARAH KEMPSTER

symphonaticmagazine.com

13

staff picks top 5: ALBUMS

b y : Hannah Liming

14

a r t i s t : Marianas Trench a l b u m : Masterpiece Theatre

a r t i s t : Relient K a l b u m : Collapsible Lung

a r t i s t : All Time Low a l b u m : Don t Panic: It s Longer Now

a r t i s t : Paradise Fears a l b u m : Battle Scars Acoustic

a r t i s t : Jack s Mannequin a l b u m : Everything In Transit

symphonaticmagazine.com

15

SHOW REVIEWS review and photos by: kait rairden

nonstop to cairo

16

Revolution Bar & Music Hall was packed with this sold out concert, opening with Jungle Gypsy and closing with Badfish, a Sublime tribute band. All the bands were fantastic, but I got the amazing opportunity to see Nonstop To Cairo up close. Although the whole band has been together for about five years, some of these guys have been at this for over ten. This Long Island based band has such a unique sound, a little bit of everything or something in between, because their sound is hard to categorize. Talking with lead vocalist, August Harris, I found out that’s exactly where they want to be. These members put a lot of themselves into the band. “The music industry is not what it seems. You think that it’s all bands getting drunk and playing; but here I am sober as a bird trying to make sure everything gets done and goes right.” And they were successful, keeping the crowd’s attention as they blew up the stage. Honestly the best part about going to see them, is how much fun they have on stage. They are constantly dancing and interacting with the crowd. These amazingly talented guys are definitely ones to look out for. Nonstop To Cairo knows it won’t be long until they take over. This summer, they will be working in the studio on their upcoming LP. Don’t miss the chance to see Nonstop To Cairo performing live with Matisyahu at Beerfields Music Festival at Pennysaver Amphitheater in Selden, NY.

symphonaticmagazine.com

17

T H I R D EYE B L I N D

&

18

Two hours before the show at the University of West GA on April 3rd, college students along with people from the community began to line up in excitement for the anticipated show featuring Panic! At The Disco and Third Eye Blind. As the people waited outside. the college radio station played some fans favorites and even encouraged those around to sing along as loudly as possible for the bands to hear.

Panic! At The Disco played a strong set, mixing fan favorites with hits from their newer albums and even covering Any Way You Want It by Journey and and Fight For Your Right by Beastie Boys. Throughout the set, the band even joked about breaking the music venue known as The Tabernacle in Atlanta previously this year and.

Keeping the energy consistently high, Brendon Urie busted some dance moves managing to do a backflip off of the drumset platform to end the set.

Still abuzz from the wonderful performance given by Panic! At The Disco, the audience was captivated the moment Third Eye Blind took the stage. Lead singer Stephan Jenkins joked that the venue was “kinda cozy for a gym” while riding the hype of the first few songs in the set. The band gave a strong performance requesting to have the show feel as intimate and fun as possible. Toward the end of the set, the band took a moment to thank their fans and tell them that a new album is set to be recorded within the next few months. Finishing with “Semi Charmed Life”, the band gave the encore that left the audience excited in anticipation for their new music.

review by: hannah liming

symphonaticmagazine.com

19

HIM & SEVENDUST

review and photos by: brian baker

If you’ve never seen Sevendust live, you owe it to yourself to do so. Especially the new acoustic album launch tour. A fantastic lineup of new and old songs and best of all, it was just the band and the crowd...no opening acts, no distractions and a long, memorable performance. Absolutely fantastic.

20

symphonaticmagazine.com

21

22

review by: mika schmeling photos by: chelsea gresh and mika schmeling

ALL TIME LOW

People lined up around the House of Blues Anaheim, waiting for hours to get the best possible spot when All Time Low took the stage. Through the heat of the southern California weather, music lovers from all over the state anticipated the special night the band would have in store for them.

Making every show a special experience, All Time Low offered a variety of extra bundles and extra surprises for the attendees. The night started with a sound check at 4:00, a special treat for up to 50 people. The lucky participators had the chance to go take pictures on stage, hang out with the band, and listen to three extra songs of their choice.

When the rest of the crowd was let into the venue, the energy was uncontainable. The lights went off, the crowd began screaming, and suddenly the popular 1941 tune “I Don’t Want To Set The World On Fire” by the Ink Spots drowned out the crowd. The music played until All Time Low took the stage and kicked off the set with “Do You Want Me (Dead?)” off the 2011 album Dirty Work. Immediately, the crowd started jumping to the beat, singing along with Alex’s vocals. For the lucky crowd, the band endured playing about a twenty-song set list nightly, but the high level energy never ceased.

The band’s most prominent feature during a live set would have to be their crowd interaction, listening to the screaming fans and responding to their crazy actions.

Alex even picked up a pink tutu thrown on stage and put it on Jack, who claimed he “felt like the girl from The Hunger Games.” Taking feedback from the crowd, the band allowed the fans to choose whether they played “Six Feet Under The Stars” or “Stay Awake” off So Wrong, It’s Right.

The enthusiasm in the crowd continued until Alex asked if he could slow things down for a bit, just as he does at

any show when he gets ready to play “Remembering Sunday” and “Therapy.” As the fans swayed to the meaningful lyrics, the aura in the room changed from a chaotic and fun to a slow and empathetic. It was impossible to avoid the moment of connection between Alex and the crowd during the songs.

Yet, little did the fans know they were in for another surprise.

As “Remembering Sunday” reached the female counterpart solo, hit country singer, Cassadee Pope took a mic and walked onto stage.

After the slow break, the band hoped to bring up the energy level again, getting excited and surprising the crowd with four covers of popular songs such as “Teenage Dirtbag” and “My Worst Enemy” with a surprise appearance from Chris #2 from Anti-Flag. With the enthusiasm rising in the crowd again, All Time Low reached the song “Time Bomb.”

Alex introduced the song and asked if he could choose a couple people to come and sing with him on stage. He chose three girls to come accompany the band and help them sing the song, an unforgettable experience for the lucky few.

When the show ended, the crowd cheered for three more songs, so the band came back onstage to sing their last three songs. Although Vic Fuentes wasn’t there to sing his part during “A Love Like War”, the bassist for Pierce the Veil, Jaime Preciado, surprised the crowd by walking on stage during the introduction.

During the whole show, the band never failed to make every day a new experience. The stage presence of all the guys was unforgettable, their energy spreading like wildfires. The night was definitely a show to remember, a night full of energy, enthusiasm, and fun for everyone who attended.

symphonaticmagazine.com

23

24

symphonaticmagazine.com

25

photos and review by: meaghan brown

PLAIN WHITE T‘S

26

Upon arriving at Merrimack College’s spring concert, there was already a line of people waiting to get in even though it was pouring rain. The audience mainly consisted of college students, although there were some kids there with their parents.

A Great Big World A Great Big World are a duo consisting of Ian Axel and Chad Vaccarino, who write or co-write all of their songs. The duo meet at New York University, and in 2012 they began opening up for Ingrid Michaelson, Matthew Morrison, among others.

Their first single was, Say Something, and a month later it was re-released with Christina Aguilera also singing on the track. It can still be heard on constant rotation on the radio, and their full length album, Is There Anybody Out There?, was released in January of 2014.

A Great Big World was the first band to play, and the majority of the audience didn’t know who they were aside from their hit, Say Something. Performing to a college audience is tricky for every band because everyone isn’t necessarily because they are a fan of your music. They did a great job keeping the audience entertained even though they didn’t know the songs.

Ian performed Say Something on his piano halfway through the set and it was evident that everyone knew every word to the song. This was my first time seeing the duo and their touring bad play. I was thoroughly impressed with not only how well the sounded and performed, but how well the kept the audience engaged. My first thought upon seeing them perform was that if Weird Al’s son had a band then, it would be A Great Big World.

And of course, they played their big hit Hey There Delilah. In between the songs numerous fans were chanting for Delilah to be played, so when they did play it it was a big moment for everyone. Everyone in the audience was singing along to it, so much so you could barely hear the band.

After the show, one of the fans told me how much fun she had and how she can’t wait to see them again. The Plain White T’s are going on tour this summer with the Goo Goo Dolls and Daughtry. You can see all the tour dates on Plain White T’s website, http://plainwhitets.com/events, as well as Ticketmaster. All tickets are on sale now, and this is going to be one summer tour that you don’t want to miss!

A GREAT BIG WORLD

A Great Big World is heading out on tour this summer! Check http://agreatbigworld.com/tour for all tour dates and ticket links Plain White T’s The Plain White T’s are a pop-punk band from Chicago, Illinois who are most famous for their mega-hit Hey There Delilah, as well as 1, 2, 3, 4, and Rhythm of Love. They have made appearances on shows such as Greek, and iCarly. They have also had their songs played on shows and movies such as One Tree Hill, 90210, Parenthood, No Strings Attached, and Switched At Birth to name a few.

They have had 6 albums released to date and American Nights is expected to be released this summer. American Nights will include some if not all of the songs off of their recently released EP, Should’ve Gone To Bed. If Should’ve Gone To Bed is any indication of what American Nights is going to sound like, then it will be a must get for this summer.

The fans were anxious of Plain White T’s to perform, so when they started the fans were ecstatic. They played some of their older songs; 1, 2, 3, 4, Boomerang, Our Time Now, Hate (I Really Don’t Like You), as well as a cover of Umbrella. They also played their new songs off of Should’ve Gone To Bed, including Helium and The Giving Tree. The Plain White T’s did a great mix of new and old songs, so that the audience didn’t get bored with material that they weren’t familiar with. In between songs, they talked with the audience instead of talking to them. One girl near the front was wearing a Disney shirt, and they made comments and jokes about the shirt and Disney in general. The Plain White T’s have been around for a while and they know how to keep their fans entertained and having a good time. symphonaticmagazine.com

27

INTERVIEWS

MATT MONTEZ

Hi Matt! Great to have you. For those that don’t know, whats the story? How did the music journey begin?

I’m from Leeds UK, but all my music was created in the land down under. I was living in Melbourne about a year and half ago when I bought my guitar. I had a little bit of a play back home, but could only fumble a few riffs and could play 1 or 2 covers. I learned a couple of covers, but it wasn’t till February 2013 that it really started moving. I bought a campervan and a busking amp and started the musical journey. My first song was written in Port Maquarie. I didn’t know any musical theory, just grabbed the guitar and sat on the beach until I had a song. From then on the creativity just started flowing, I busked everywhere I could and doing it regularly improved my ability exponentially.

I settled in a hippy town called Nimbin surrounded by incredible nature with beautiful mountains, forests and rivers. This was where I wrote and recorded the majority of both my EPs and also when I changed from being a guy who plays a bit of guitar, to a musician. Following the release of my first CD I started playing venues across the region and got booked onto a few festivals. Now I hope to take this momentum back home to the UK. You have recently released your new EP “Sight From Inside”, Congrats! Whats listeners to expect from the new material?

In the new EP I’ve lifted the mood a lot by having some upbeat 28

danceable tracks. I experimented with fingerpicking, strange tunings and percussive guitar. I really wanted to push my vocal range to the max and that mixed in with the dancing vibes. I still write my lyrics from the heart and always want to push a positive message. I called the album ‘Sight From Inside’ after feeling I’ve opened up a 6th sense, which guides me in life. It’s hard to explain but it’s almost a burning or warmth inside and it lets me know things like when I’m in the best mood to write, when I meet important people and where to go next. It seems pretty strange, but after speaking to a few other musicians, artists and writers they feel the same.

Do you feel you have differed since “En Route”?

I feel the new EP has a lot more energy and a much fuller sound. I also feel my guitar ability has improved a lot.

In the last EP ‘En Route’ I explored my softer side, and still kept that feeling with the new track ‘Ocean and Me’. I started going more upbeat when I started playing venues and loving the feeling of people dancing their hearts out to my music. I wanted to write stuff to dance to and make people feel alive.

What is your favourite song from the new EP? Tough call, but I’d have to choose ‘Don’t Need Sleep’. When we were in the studio it was the last track and when we played it back, the guitar riff just blew us away. It makes me nod my

head, stamp my foot and just wanna dance. We used a ribbon mic and it created so much depth in sound. The lyrics capture my everlasting yearning to stay awake and fight the tiredness. I am a total night owl and really come alive under the moonlight.

Since En Route, I was introduced to Nahko Bear and Medicine for the People. I had my ticket to see Xavier and they were supporting him. I found them on youtube, then looked at their tour and realised they were playing with Xavier and I already had a ticket. Ever since the first moment I heard Nahko I have been Who are you musical inspirations? obsessed. The music really is medicine, the lyrics are the shining My favourite singer is Dallas Green of Alexisonfire and now City light and resonate so much with me. I don’t think any band has and Colour. His voice in my ears is divine! I first saw him in 2004 affected me at such a fast rate, I just couldn’t stop listening to and I’ve lost count of how many times I’ve seen him since. His them. No matter what mood I was in I wanted to listen to Nahko, music in city and colour influenced me heavily on En Route. They driving... Nahko, chilling.... Nahko, dancing... Nahko! Watching them have the feeling of being on the edge of disaster, but guided live is powerful they really give it everything. Nahko was the main through the darkness as Dallas comforts you holding your hand influence into my upbeat side on my new EP. Youtube ‘black as with his healing voice. My favourite song is ‘two coins’ it’s an night’ I love the acoustic version. absolute masterpiece. Xavier Rudd is someone who everytime I listen to I fall more and more in love with his music. He has Your songs are very inspiring! How do you find the process of mastered the art of healing soulful music pulling at your heart song writing? strings, then smacking you in face with a powerful foot stompThank you, writing is such a crazy experience for me. It can be er. It takes you on an emotional roller coaster. I saw him play at torturous when your stuck on a track or when you eventually sunset in Byron Bay and when he played ‘Spirit Bird’ I have never give up on one and feel like crap. But then it’s totally worth it for had such a strong emotional feeling to any song. I left that gig in those magic moments when the flow sets in and everything just a state of emotional bliss, full of inspiration. At the end of the gig slots into place perfectly.

I realised the power music has and how it can lift entire comLyrically I always want to speak from the heart and help spread munities, emotionally and spiritually enlightening them. At that my feelings, in the hope it can help someone out there. That’s moment I cemented in my mind, I want to be a musician and what music is about for me, making people feel good. When you give people the happiness I get listening to people like Xavier. have a crowd dancing, singing and smiling to my music I feed off symphonaticmagazine.com

29

their energy and it lifts me as much as I lift them.

I tend to write by just sticking my phone on record and freestyling until I find a piece that resonates with me and feels right. Then I try and understand the mood that brings and build a song around it. Sometimes I pretty much write the whole song in freestyle like the new track ‘Monkey Corner’ I freestyled for 8mins and it all just flowed so well, I hardly changed it. There is also the feeling I talked about before, that when I get it I run to the guitar as that’s when my best work happens. Sometimes I half write something and leave it for a while and come back to it. I think it’s really important to do, so you don’t get stuck trying to fix one song. Many times after giving up and coming back with a fresh mind, you can see clearer where the song should go.

good enough. It’s a real challenge to pull out of, it seems like you yoyo in and out of the darkness. But when you come out the other side and play your heart out or write a great song, nothing compares.

And, just so fans can understand you a bit better. If you had to pick a song that would define you, what would it be?

‘Ocean and Me’ on the new CD. It was a real magic moment when I wrote it. It was 1am, I had to be up early in the morning, my guitar was packed away and in some horrible tuning. I couldn’t be bothered to play, but had this intense fire inside fighting to get out. I thought there’s no time, turned the light off and closed the door. But as it closed I knew I had to give it a shot, I couldn’t ignore the calling. So What are the future hopes for your music?

I went back and wrote the whole song in 2 hours and it Its a scary yet exciting time for me, after building a following was exactly how I wanted it to be. The lyrics and the mood in Australia and now I’m leaving to go home. I’m booked at of this song capture me. I feel these lyrics more than any Beatherder Festival in July back home and can’t wait to other that I wrote: play on my home soil. It’s strange to think I didn’t play when “Let me stand like a lion, I left England, as it’s such a big part of my life now. I hope Let me feel like a king, to carry the momentum and tour the UK and potentially Even if it’s only for some seconds, Europe. I’m hoping to come back to Australia for Dec/Jan I will cherish them.” time and get on to some festivals, mixing it in with a tour into the smaller towns. I would also like to play some more Finally, can fans expect an album anytime soon? festivals next year.

The last cd was more a work in progress. I hope to go home take the recordings and experiment with additional A solo artist can have a lot of weight to carry, Is there any instruments and sounds. I want to take some of the tracks furstations for you as a musician? from both CDs and enrich them to a fuller sound. CombinThe biggest frustration is keeping motivated. It can be ing the best tracks along with some new ones to create a really hard when you have a bad gig or writers block. It great album. makes you lose belief in yourself and feel like you’ll never be

interview by: sarah kempster

30

symphonaticmagazine.com

31

Midnight Hour

interview & photos by: cassie deadmond

For those who are not familiar with Midnight Hour, how would you describe your sound?

In today’s music industry there are so many labels on ‘sub’ genres that we feel it takes away from the sound that we strive for. Simply put, we are a metal band, through and through, ready to come and rock your faces!!!

Congratulations are in order for winning the Battle for Pointfest! This isn’t your first time playing though, so what makes festivals like this so important for local bands?

We take our music seriously, but above all we want to have fun! Festivals are a great opportunity for local bands to push their music to new crowds.

Did you have any other band names before settling with Midnight Hour?

No. What does Midnight Hour mean to you?

This band means everything to us. This is what we get up every day and work for. We devote all of our free time to progressing as a band, and we love every second of it.

Are there any specific song lyrics that mean the most to you?

All of our song lyrics have personal meaning to each of us, but “Slave’s” and “Shake” on our new album really stick out to us the most. They’re both powerful and deep.

What has been one of the most memorable moments at one of your shows?

Winning this last Pointfest battle was amazing. Our crowd was so energetic and it was such a great feeling to have that support.

32

As a band and as indvidiuals, who influences you the most?

Oddly enough, we all have a great love for Furby’s. They are truly our greatest inspiration… for writing angry music.

Midnight Hour covered Lorde’s famous song Royals, tell us about that experience and will you be covering more songs?

As musician’s we felt we could benefit from mixing it up a little and covering a pop song. We had a great time taking such a popular song and giving it our own little twist. As for covering more songs, it’s not in our plan as a band to pursue more covers, but never say never.

What has been your favorite concert you attended and what made it your favorite?

We’ve been to way to many shows as a group to even try to pick one single show. We love them all.

Do you have any songs that you all jam to before a concert?

Not really. Before a show each of us kind of get lost in our own concentration.

What makes Midnight Hour different from other bands?

Midnight Hour is different in that we are a metal band that comes from a country type setting. We don’t let distance or being different from everything we know slow us down. We are here, we’re amped, and we’re ready to show the world who Midnight Hour is and what we stand for.

symphonaticmagazine.com

33

“

.

”

o r e b m e m e r o t u o y t n a Iw k. c a b s i s o d o i h C . g n i th

CHIODOS 34

.

Post-hardcore band Chiodos has had an interesting past few years, most notably filled with drama, conflicting opinions, and several lineup changes. Luckily, the band overcame these challenges and Chiodos has been on a steady rise ever since.

Following the return of Craig Owens and Derrick Frost and the addition of The Fall of Troy’s Thomas Erak, Chiodos now has its most solid lineup to date. The band currently consists of Craig Owens (vocals), Thomas Erak (lead guitar), Bradley Bell (keyboard), Derrick Frost (drums), Pat McManaman (rhythm guitar), and Matt Goddard (bass). Together, the guys have been working hard to make a big comeback in the form of reunion shows, a full run on Warped Tour, a fourth full-length album, and a headlining tour in support of Devil.

First, can you introduce yourself and state what you do in the band?

Thomas: My name is Thomas and I play guitar.

Craig: I’m Craig and I sing.

e n O . g n i h t ne

”

How was Chiodos formed?

Thomas: I didn’t form Chiodos. I was in a band called The Fall of Troy for a very long time. I can tell you a little bit about how I joined Chiodos and what has happened since then, because I think it’s kind of reformed at this point. It’s different from what it used to be. Derrick’s back, Craig’s back, I’m in the band now. I bring a lot to the table as a songwriter as well. So, the way that this came to be is... They did reunion shows, and Jason decided that he didn’t want to continue. I got a phone call one day, and they asked me to come out for some shows. I learned the material in about a week, and went and played some shows. Some shows turned into some tours, some tours turned into a record, and here we sit.

Where do you usually gather inspiration from when you’re writing? What is the usual songwriting process?

Craig: Life. It’s all life. We’re all really just products of our influence. As an artist, I’m constantly searching for inspiration and soaking in whatever is around me.

Thomas: There’s not really a usual songwriting process. The way I like to think of it is there are songs that Craig champions—songs that he comes up with. There are songs that Brad comes up with. There are songs that I come up with. For the songs that I write, I work very closely with Derrick, our drummer, because I also play drums. In my old band, the drummer and I threw ideas back and forth, so I’m used to writing songs like that. Jamming a little bit, creating ideas, going “Okay, that was really fucking cool.

Let’s stop. Let’s go back to that.” We elaborate on ideas, and then other people get involved. Pat writes a lot—even though a lot of people don’t know that—he writes a lot of the heavier stuff. He and I collaborate on that as well.

Devil is the band’s first album with Craig and Derrick since 2007’s Bone Palace Ballet, and it’s also Thomas’ first record with the band. How was the writing and recording process different this time around?

Craig: Everybody was more involved. Everybody got to touch the ball this time around. In the past, there would be just two or three people—three people, usually—who would be really, really aggressive. For this album, everyone chimed in a little bit more.

Thomas: It’s completely different. Myself set aside, I think that they had to learn how to write songs together. Everyone did different stuff in the time between Bone Palace Ballet and Devil.

Craig went and did D.R.U.G.S. Derrick was working a lot, and he didn’t play drums for a long time. The band released Illuminaudio.

I think that with the ‘new’ old lineup, we all had to sit down and figure things out through trial and error. It had to organically figsymphonaticmagazine.com

35

ure itself out, really. It was tough at first, especially for me, coming into the band. I’m not just some guitar player who’s a huge Chiodos fan—not that I’m not a Chiodos fan, because I’ve been one for years. But they’re my friends. I’m not just some dude in the background playing whatever anybody tells me to play. That’s not how I operate. I’m a songwriter too. I think that affected how things worked. We figured it out though.

How did you think fans were going to react to Devil? Have they met your expectations?

Thomas: I’d say that they exceeded my expectations. I didn’t really have an idea about what to expect, because I haven’t been in this band. I’ve just seen this band. I think people have really latched onto certain songs really quickly. Fishlips is our opener and people sing that song louder than a lot of the old songs.

It has a really catchy chorus that Craig came up with, and the whole structure of the song is very conducive to a live setting.

Overall, the response been really, really overwhelmingly positive.

NYC is the last date on the Devil’s Dance Tour. What is the most memorable moment from the past few weeks? What was the most difficult part of the tour?

Craig: Well, the most difficult part of any tour is the sacrifice.

When we’re out for a month and a half, we’re away from our routines, our families, our friends, our loved ones. That’s consistently the hardest aspect of touring. You miss the people you love, and it’s difficult to maintain those relationships when you’re on the road. Every one of these shows was memorable. I would say North Carolina is probably in my top three favorite shows of the tour, because every single person in our crew stage-dove and had fun. It was a great time.

Thomas: The most memorable show was in North Carolina. It was a smaller show, and it had a rowdy, chaotic vibe. Every single person in our crew stage-dove that night. Our tour manager and soundgirl, Jenny, came all the way from the board, up to the stage, and head-walked almost all the way back to the soundboard. She’s pretty tough and gnarly. It was a pleasant surprise for us.

How do you think your sound has developed since the first full length, All’s Well That Ends Well?

Craig: There are no specifics. We all continue to listen to different music. We’re all fans of music, first and foremost. With that comes growth. We’ve grown as artists, musicians, and fans, so I think our sound has grown naturally. There’s no forced anything in this group. The minute you force it in this group is the minute you make something convoluted, and that is very apparent within our collection of genuine work.

Thomas: I think that Chiodos is one of those bands that never wants to do the same thing twice, but it’s also a band that doesn’t want to bastardize and alienate the reasons people fell in love with it in the first place. You’ve got to ride that fine line of doing new things and doing things that are progressive while also maintaining that ‘thing’ that people attach themselves to. With Devil, you can hear a lot of old Chiodos, I think, in songs like “We’re Talking About Practice” and “Sunny Days & Hand Grenades.” I had a big hand in “Expensive Conversations In Cheap Motels” and “Behvis Bullock,” and they’re a lot heavier than anything I think I’ve ever heard Chiodos do.

What can we expect from Chiodos in the near future? Is there anything exciting in the works?

Thomas: More touring. I think we’re gonna shoot some more videos. I don’t know. We’re just gonna keep the grind going.

36

credit for the photos go to:

Alex Reside and Roger Krisby // Alt-J Alex Reside // GROUPLOVE Robert Lechterman // OAR

Post-interview, I had a chance to sit in on the VIP Acoustic session. The guys were funny and humble, and they all seemed to be enjoying themselves despite the fact that they had been doing these acoustic sessions for several weeks now. After the acoustic performance, which consisted of “Under Your Halo,” “A Letter From Janelle,” and “3 AM,” it was time for the meet and greet.

In an effort to make the VIPs more comfortable, Craig offered a wise piece of advice: “Don’t worry about being shy or awkward.

We’re both shy and awkward.”

Later that night, once I got to the photo pit for Chiodos’ set, security said that we would only be shooting for two songs because “it’s going to get wild.” They were right. The energy was off the charts, with fans screaming along to both older and newer songs. The setlist included many fan favorites, such as “Ole Fishlips Is Dead Now,” “There’s No Penguins In Alaska,” and “Baby, You Wouldn’t Last A Minute On The Creek.” Trenton Woodley of Hands Like Houses joined the band on stage for “A Letter From Janelle.” Fans consistently crowd-surfed throughout the whole set, and there was even a wall of death with willing ‘sacrifices.’

Eventually, Craig stood on the crowd, and Bradley and Thomas shortly followed suit. For a perfect ending to a great night, Craig delivered a statement that gave me chills and sent the crowd into an uproar of excitement: “I want you to remember one thing.

One thing.” Pause. “Chiodos is back.”

PHOTOS, INTERVIEW AND STORY BY: LORI GUTMAN

symphonaticmagazine.com

37

: profhiltein g tech lig

interview by: priten vora

Jeremy Lechterman

credit for the photos go to:

Alex Reside and Roger Krisby // Alt-J Alex Reside // GROUPLOVE Robert Lechterman // OAR 38

So first off, thanks a million for doing this interview with us! I know you’re currently very busy with touring so we’re very grateful that you agreed to this. Could you please tell our readers a bit about who you are, what you do, how you got started as a lighting designer and worked your way up to where loop you are now?

No worries, thanks for reaching out! Well, my name is Jeremy Lechterman and I’m an entertainment lighting and production designer who specializes in concerts. I have designed for theater, dance, entertainment, and corporate shows, but concerts have been my bread and butter for the last 3 years.

I started doing theater in middle school, fooling around with lights, colors and electricity; I’m enthralled by the synergy between art and technology. High school saw more of the same, but I began designing for theater and dance regionally.

Being an avid music fan, I quickly shifted my focus to concert lighting.

Carnegie Mellon University was where I received my formal training. I received a BFA in the Theater with Specialization in Lighting from CMU in 2012. At school, I concentrated on concerts. I graduated a semester early from school after being offered a tour with Young the Giant, and have been out touring and designing ever since.

most basic light is the right brush for the canvas.

It’s all about building your pallet, mixing your paints, getting the right shaped brushes, and then diving in.

SM: How did you develop your style, and how do you differentiate yourself and make your lights particularly memorable?

I tend towards a darker, moodier, and punctuated style. My goal is never to detract from the band or their personalities on stage, only to enhance the emotion they are trying to convey and project it outwards on the audience. I never desire for people to come away from the show saying, “the lights were amazing”. The hope is for the phrase to be, “the show was amazing”. That said, some bands prefer to not be in the spotlight and like to fall off into shadow, so my visual contribution to the show becomes that much more important to making the audience feel caught up in the moment.

You’ve done tours with several different bands - do you approach each one completely differently or are there some things that are staples and that you keep the same no matter who you’re lighting for? How do you keep things fresh and interesting for yourself from tour to tour?

Each show is different. Every band has a different sound, a different stage layout, a different image they are trying to portray. I tend

Could you describe the equipment you work towards certain things I find stimulating, like limited with and why you’ve chosen it? front lighting, lots of syncopation, lots of shadow

The “gear” changes with every show and play, etc., but its all relative. I’m grateful most of every design. The style of show and the venues we the bands I work for afford me a lot of creative are playing at often dictate the kinds and quantities freedom. of gear we can bring with us to any given show. It

Touring the same album for over a year can can be as simplistic as a smattering of household get monotonous. I try to change things up every lamps across the stage to a huge video wall and tour, with new lights or new shapes, even if its the hundreds of moving lights. It all depends on what same tunes. I will always be taking notes during the the goal is and what the budget can afford. show about how to improve it, even if it’s the last For instance, the current show I’m on with night of tour. The show is never locked in for me,

GROUPLOVE is a very nostalgic, ‘90s rock it evolves until I can’t keep tweaking it any more, kind of vibe, so there are a bunch of tungsten trying to get it closer to my view of perfection. blinders with scrollers, a big white drape, and intentionally simple cueing to reinforce that vibe. To Out of all the tours you’ve done so far, provide some contrast, Alt-J’s last tour, was quite which one has been the most fun for you? Which modern and sleek, with a lot of LED panels and has been the most challenging? And do you have sharp, geometric patterns, and percussive cueing. any dream artists that you’d like to work with that

I try to get my hands on evolving and new you haven’t already? technology as often as possible, trying to stay

The joy of touring I find is about the people ahead of the curve, but sometimes the simplest around you — your mates on the bus, or the friends

symphonaticmagazine.com

39

you make each day at the venue. That is as much a part of my sanctuary on the road as nailing the right cue and having the crowd go wild. That said, the Alt-J tour in the fall of 2013 was the tour I’ve been most proud of artistically so far. My biggest challenge so far has been designing for OAR, a band with 100+ songs in their catalogue and the propensity to change the set, and even the arrangements mid song. “Punting” as we call it, or making things up on the fly, is not my strongest skill.

When you’re planning a tour, how do you work with the artists to plan the lighting? How much input do they have, and how much comes from you? Describe that process.

Some artists, like Alt-J, give me almost 100% creative freedom. Other artists, like GROUPLOVE, are deeply involved in the design process. Sometimes I get, “We just want it to feel like this, but beyond that, we trust you.” Others I sit with during rehearsals and go through the show cue by cue. Both have their advantages and their challenges. A hands-off artist lets me just go with by gut, which is rewarding. A hands-on artist pushes me to try new / different things that perhaps I would not have instinctively done. Oftentimes a band will provide me with an initial direction or a few kernels of ideas, and then it’s up to me to try to incorporate them and flesh them out into a viable show.

How, if at all, has working with the artists that you’ve worked with changed your taste in music?

I used to be really into the jam band scene.

But since I started touring, most of my tastes have been leaning toward what one might call “indie rock”. Looking at my Spotify playlist, I’d say I’ve become more of a contemporary indie/art rock fan just by circumstance. I need to know other bands in the genre, know who we’re likely to tour with, know who might hire me next, etc. But I still love some deep Dave Matthews cuts, and have a strong love for the dark classics: Pink Floyd, Led Zepplin, The Doors.

As a photographer, I loved that you kept faces well-lit a lot of the time but also had more moody moments to allow for interesting silhouette shots. How much thought if any, do you put into how

40

your lighting will affect photographers?

Unless I’m intentionally lighting the show for camera i.e.: a video shoot or live broadcast, I don’t pay attention to how it will photograph. The camera sees so drastically different than the eye that the show would look quite boring and not dynamic enough if I was lighting for camera. My goal is to light for the live audience. There certainly are moments of “camera ready” contrast in any show, but I don’t think about it consciously when cueing a show.

What are your future plans after you finish up your current tour?

Keep touring? I’m booked up pretty much through the end of the year with my current bands.

Eventually (think 5 years from now) I’m looking to be off the road more and enjoy a home life, but I’ve got a ways to go before I can make that shift.

How can people get in contact with you? www.jeremylechterman.com

Thank you again so much for doing this interview with us!

WORK S I H F O SOME

ALT J

ALT J

ALT J

ALT J

ALT J

GROUPLOVE

OAR

OAR symphonaticmagazine.com

41

42

photo by: meaghan brown

GALLERY HUNTER HAYES

symphonaticmagazine.com

43

44

MANCHESTER ORCHESTRA

photo by: shana myers

symphonaticmagazine.com

45

BALANCE AND COMPOSURE photo by: shana myers

46

symphonaticmagazine.com

47

P H O T O S T A K E N B Y : Cydnee Burden

CAPTURE THE CROWN

CAPTURE T

48

CAPTURE THE CROWN

BLESS THE FALL

HE CROWN

BLESS THE FALL symphonaticmagazine.com

49

DEVOUR

ROCK ON THE RANGE

BUTCHER BABIES

DEVOUR THE DAY THOUSAND F 50

P H O T O S T A K E N B Y : Cassie Deadmond

THE DAY

DAY 1 WE CAME AS ROMANS

OOT KRUTCH symphonaticmagazine.com

51

ROCK ON THE RANGE

FOZZY

WE AS 52

P H O T O S T A K E N B Y : Cassie Deadmond

DAY 2

HUMAN symphonaticmagazine.com

53

ROCK ON THE RANGE

HARLOT

MISS MAY I

54

P H O T O S T A K E N B Y : Cassie Deadmond

DAY 3

symphonaticmagazine.com

55

P H O T O T A K E N B Y : Cassie Deadmond

OF MICE

56

AND MEN

symphonaticmagazine.com

57

P H O T O S T A K E N B Y : Lori Gutman

Bad SUNS

58

symphonaticmagazine.com

59

P H O T O S T A K E N B Y : Lori Gutman

'68

60

symphonaticmagazine.com

61

P H O T O S T A K E N B Y : Lori Gutman

Glass CLOUD

62

symphonaticmagazine.com

63

P H O T O S T A K E N B Y : Lori Gutman

I The MIGHTY

64

symphonaticmagazine.com

65

letlive.

66

P H O T O S T A K E N B Y : Lori Gutman

symphonaticmagazine.com

67

The 1975

P H O T O S T A K E N B Y : Lori Gutman

68

symphonaticmagazine.com

69

P H O T O S T A K E N B Y : Lori Gutman

CHIODOS

70

symphonaticmagazine.com

71

P H O T O S T A K E N B Y : Lori Gutman

Emarosa

72

symphonaticmagazine.com

73

PHOTOS TAKEN BY: LORI GUTMAN

Hands Like HOUS

74

SES

symphonaticmagazine.com

75

P H O T O S T A K E N B Y : Lori Gutman

Our Last NIGHT

76

symphonaticmagazine.com

77

symphonaticmagazine.net

78