Dan Levy wrote, directed, and starred in his latest creative endeavor, an incredible feature-length drama (But comedy? And adventure? And love story? And platonic love story?) titled Good Grief. Upon first hearing the idiom used as the title of the film, you can identify the double entendre and understand immediately that this film will envelop you in detail. Written in the aftermath of the losses of both his grandmother and beloved dog, Levy’s investment in the film allows you to witness a perspective both so specific and yet incredibly relatable.
Good Grief brings us Marc (Levy) and Oliver (Luke Evans), a beautiful couple residing in London, together for 15 years and living a life of luxury and cohesion. Within the first few minutes of the film, so much attention is paid to Marc’s perfect life. As he hosts a holiday party in their home, his friends keep commenting on how perfect his life is, how attractive and amazing his husband is, and every other shining detail of his life.
The concept of the film is available in every trailer and description, so I go into this without fear of spoiling this detail. As Marc’s husband Oliver leaves the party for a work trip, his cab is in an accident — within sight of their shared home. The film is about how Marc approaches everything in the wake of Oliver’s death. Dealing with the harsh realities of loss, and struggling with the way grief can possess a person’s mind, body, and soul.
While I headed into my early-morning viewing of this impossibly emotional film with the complete understanding that I would weep, I was surprised to find that I did not – in fact – shed a tear. Perhaps this is because of the impossibly difficult pill to swallow that Levy’s character – Marc – is exposed to a year into his grieving process. As one would, he experiences a bevy of new emotions around his realization.
My brain almost felt like it couldn’t keep up with the conflicting pieces of the plotline. Everyone loves Oliver. You want to love Oliver. But Oliver wasn’t perfect, because no one is perfect. How do you rectify his actions, emotions, and thoughts before he passed, when conversations were not had, apologies were never made, and closure was not experienced?
Some of us haven’t had to deal with reconciling our memories of someone we can no longer have closure with. Some of us have. Either way, this film raises so many questions about how personal coping mechanisms can heal us, and how others can be a crutch at times.
Good Grief explores how other people related to the deceased handled the loss in the year that followed. Thomas (Himesh Patel), for example, is Marc’s ex who still carries a torch for him. His supportive behavior leans adoring throughout the film, and you know there will be conflict around it at some point. (How it resolves, and the feelings you go through while witnessing it, is so much more REAL than I had expected, to be honest.)
Sophie (Ruth Negga) is a very close, old friend of Marc’s – the one who initially set him and Thomas up back in the day – who seems to struggle with identity in the year following Oliver’s death. Though the characters refer to her troubled, “messy” ways multiple times throughout the film, it seems to be reaching its peak in that timeframe.
Scene stealer Imelda (Celia Imrie) pops in and out with lessons of her own as Marc’s financial advisor. Her brash attitude makes her all the more fun to peel back the layers on as the story unfolds. And those of us more familiar with David Bradley as Filch in the Harry Potter series will adore him as Duncan, Oliver’s father, who also makes some incredibly notable remarks in the wake of his passing.
Overall, this is a wildly enjoyable watch. It’s so real. Even without tears, I was a pile of emotions and confusion and thoughts. Good Grief is definitely a conversation starter and a story of redemption — for everyone.
The single “Too Late To Break Your Fall” by John Oates is filled with moments of steady beats, rustic-sounding instruments, and joyous high notes. John Oates sings with a voice that would be perfect to be played at a restaurant where people are looking for a date. His voice is slow and clear at the beginning. The guitar in the background creates a rustic backdrop that feels like a small town in the country.
Oates’ voice becomes high-pitched as he sings, “I guess it is too late to break your fall.” His voice then becomes steady and quick in speed as he sings the next line, “You break your fall again.” This quick change of tone in his voice produces feelings of intense emotion as he sings in a high voice. Like those in a relationship, or when listening to this type of music as you would at a bar, you can have a moment of feeling suddenly happy. As quickly as you feel happy, you feel your emotions rapidly collecting into what is reality. After all, life can at times be bleak, and happy moments do not last forever. Singing in a high-pitched voice is him expressing that happiness must be savored because feeling happy can be very short-lived. Furthermore, singing at a steady cadence for the majority of the beginning of the song reveals that most of the time, he remains mentally stable while in a restaurant or a bar around other people.
The instruments playing in this song flow with blues sounds that dance with the trumpets. Oates’ song sends the message that there are times when joy is felt continuously. But even during good times, there are moments of sadness or when you need silence to process happiness.
Tour Dates July 14 – Boone, NC – The Schaefer Center for the Performing Arts July 26 – Old Saybrook, CT – The Kate July 27 – Old Saybrook, CT – The Kate July 28 – Newport, RI – Newport Folk Festival August 19 – Rifle, Rifle, CO – Ute Theatre September 2 – Nashville, TN – Grand Ole Opry September 6 – Nashville, TN – Country Music Hall of Fame and Museum September 9 – Hopkinton, MA – Hopkinton Center for The Arts September 11 – Decatur, GA – Eddie’s Attic
Have you ever been intoxicated by how in love you are with someone?
Canadian bedroom rocker Ryan Bourne certainly has, as he declares on his latest single “Wasted World.” The new track is one of many from his upcoming album Plant City that Bourne orchestrated with beloved psych-folk singer-songwriter Chad VanGaalen and JUNO Award-winning drummer/producer Chris Dadge.
The melody for “Wasted World” came from a dream, with lyrics playing on the theme of being hopelessly love-sick. “I got this sickness” – all the ecstatic, chaotic, nauseating overwhelm of being “in love”. Groaning synths off the top embody the anticipation of excitement to the point of nausea; bleak lyrics are juxtaposed with thumping toms and power chords because let’s face it, it can also be fun as f*ck.
Watch the video for the song co-directed by Bourne and Rebecca Reid below!
UK-based indie pop/rock band Pale Waves has released their new song “Glasgow”, the second single for their upcoming fourth album, Smitten. It continues the musical trajectory of the lead single “Perfume” by moving away from their previous pop-punk and emo sounds into a lush 80s dream-pop style reminiscent of alternative groups like The Cure, The Cranberries, or even Cocteau Twins. Lyrically, it’s described as a “breakup anthem” and speaks to the feeling of leaving someone because it’s best for both of you. It’s a song that also continues to show the diverse and eclectic talents of the band, composed of multi-instrumentalists Heather Baron-Gracie (vocals, rhythm guitar), Hugo Silvani (lead guitar), Charlie Wood (bass), and Ciara Doran (drummer).
I really mean that, too. “Glasgow” is a beautifully produced pop song that showcases Pale Waves at their most confident, earning comparisons to their obvious influences. Right out of the gate, the song bursts with energy, showcasing anthemic drumming and guitar playing, as well as really gorgeous synth playing. It captures the ethereal psychedelia of 80s dream-pop but still transports the sound into a modern indie-pop context.
“Glasgow” balances a dense and twinkly production while still functioning as an uptempo, pulsating pop-rock song that’s enjoyable throughout. I also have to give credit to lead vocalist Heather Baron-Gracie, as she really soars in the chorus. While some may feel her voice blends into the background, I think her vocals complement the production by becoming an instrument in itself. Her lyrics are also a highlight, being an honest and open look at relationships in a way that lends itself to the emotions of the music while not overtaking it.
The music video, also directed by and starring Baron-Gracie, showcases her as a runaway bride driving through Glasgow fields in a convertible. It’s very cute and visualizes the lyrics’ themes of escaping a relationship for your own freedom. Pale Waves are currently embarking on a headlining tour across the UK, with their new album Smitten coming September 20th.
Up-and-coming rap artist Lexa Gates just released an incredible new single “I Just Can’t Be Alone.” The song, produced by Billy Lemos, is a beautiful blend of self-awareness, embarrassing frustration, and somber acceptance common in unhealthy relationships. Gates, the Queens NYC native, has a long and rich history with music; her mother taught her music theory and composition as a child and eventually used music to get her through tough times as a young adult.
The harmony of this song is what makes it special. Gates’ voice is as deep as Amy Winehouse and blends beautifully over the rhythm and blues melody. The background vocals add tremendously to the jazzy, old-fashioned feel of the song.“I Just Can’t Be Alone” is very relaxing to listen to, especially on a slow morning or romantic evening alone. For lack of a better term, it is finger-snapping good!
The meaning of the song is exactly as the title insinuates– Gates cannot be left alone. She relies on a lover but hates the emotional turmoil of being in a relationship. She can’t make up her mind…does she want him (or her) in her life? But can she even live without him? From the verse:
“I’m so sick of sleeping in, putting you above everything. Let myself down everyday, I just can’t stay away…”
You can clearly tell she feels suffocated by him and is tired of always putting him first. Later in the song she compares her relationship with him to that of a chess game: she will always lose to him and willingly too because of the unspoken power he has over her thoughts and emotions.
The accompanying music video is downright charming. Gates is seen swaying to the music, wind blowing through her hair, and glancing at the camera every so often. Her background visuals and rose-tinted filter reinforce the vintage feel of the song, as Gates is seen sitting on a queen-sized motel bed, laying on a cream-colored sectional couch, and crouching down in a large soaking tub throughout the video. One impressive fact is that this music video is Gates’ single-handed masterpiece: it was directed, produced, edited, and styled all by herself.
In a stirring testament to the power of ancestry and self-discovery, New York indie-folk luminaries Bandits on the Run unveil their most emotionally charged single to date, “You Are Not A Ghost.” This haunting anthem explores generational trauma, mental health struggles, and the quest for self-acceptance, marking a profound departure from their typically whimsical style.
At the heart of this profoundly moving piece is Regina Strayhorn’s raw dialogue with her past. The song serves as a spiritual bridge to her great-grandfather, Isaac Strayhorn, whose voice was violently silenced in 1940s North Carolina. “He was known as the town poet,” Regina reveals, her words tinged with both sorrow and pride. “I like to think that Isaac occasionally whispers lines he didn’t get to write in his own time into my ear.”
His gentle whisper crescendos into a powerful roar in “You Are Not A Ghost,” a song that doesn’t shy away from the darkness of depression and self-doubt but ultimately emerges as a beacon of hope and self-affirmation. Strayhorn lays bare her inner struggles, describing the song as “a wrestling match between feelings of deep sadness, tendencies toward self-abandonment, limiting patterns, deep self-love, and the awareness that to live freely in the here and now is my birthright and gift to enjoy.”
The raw emotion pulsates through every note, every lyric. When Strayhorn sings, “You are not a ghost / You’re blood and poetry,” it’s more than just a line – it’s a mantra, a lifeline thrown to anyone who has ever felt invisible or voiceless. Bandmates Sydney Torin Shepherd and Adrian Blake Enscoe add their own emotional layers, making the song both intimately personal and universally relatable.
In a particularly poignant verse, Strayhorn channels her great-grandfather’s voice:
“Isaac in the forties Was thrown into a pond Cement tied to his feet I feel him in my hands He asks me to be free To stop the spinning wheel Be big enough to feel Be big enough to feel”
These lines don’t just tell a story; they resurrect a silenced voice and paint a haunting picture of past injustices, their impact echoing through generations.
As the song builds to its cathartic conclusion, listeners are left with a profound sense of connection – to their own histories, to their present selves, and to the unlimited potential of their futures. “You Are Not A Ghost” is a spiritual experience, a reminder that we are all, in Strayhorn’s words, “blood and poetry,” alive with the power to rewrite our stories.
The tears in Regina’s eyes as she performs in their NPR Tiny Desk Contest entry serve as a poignant reminder of the real, lived experiences behind the lyrics. They bridge the gap between performer and audience, inviting listeners to share in the cathartic release of long-held emotions. This honest display of vulnerability not only highlights the band’s authentic approach to their craft, but also emphasizes the healing power of music, both for the artists and for their audiences.
In creating this deeply personal yet universally resonant piece, Bandits on the Run have not only pushed their artistic boundaries but have also offered listeners a musical lifeline – a reminder that even in our darkest moments, we are vibrant, we are alive, and we are decidedly not ghosts yet.
“Is it just me or is it everybody sitting outside with their house on fire?” The Greeting Committee asks in their latest single “Cyclical,” released just days before their new album “Everyone’s Gone and I Know I’m The Cause”. The song doesn’t just dip its toes into difficult waters – it dives in headfirst, delivering a poignant and introspective look at the complexities of family dynamics and personal healing.
Frontwoman Addie Sartino’s ethereal vocals float over a deceptively gentle musical landscape, creating stark contrast with the song’s weighty themes and mirroring the often quiet, internal struggle of dealing with family issues, often kept hidden, simmering beneath a calm surface.
The lyrics paint a vivid picture of helplessness in the face of familial destruction, capturing the universal feeling of watching a loved one spiral while feeling powerless to help. Sartino herself describes the song as being about “being stuck in a horrible cycle.” She adds: “It’s me seeing a pattern and doing the brave and hard thing by cutting certain habits or people out of my life. It might suck, but that’s what growing up and healing is.” This candid explanation offers a glimpse into the personal nature of “Cyclical,” but also highlights its universality. Who hasn’t faced the gut-wrenching decision to step back from a loved one for their own well-being?
“Cyclical” showcases The Greeting Committee’s evolution as artists. They continue to move beyond the realms of typical indie rock fare to tackle complex, emotional territories with grace and unflinching honesty.
For listeners who have walked similar paths, “Cyclical” may serve as a cathartic experience – a validation of difficult decisions and complex emotions. For others, it offers a window into the often-overlooked perspective of those who must prioritize their own healing, even at the cost of watching others struggle.
In the end, “Cyclical” is a testimony to the strength it takes to break harmful patterns and the bravery required to choose oneself first. The Greeting Committee has created not just a piece of music, but a companion for those on the difficult journey of healing from family trauma.
Tour Dates: July 9 Atlanta, GA @ The Masquerade Hall July 10 Carrboro, NC @ Cat’s Cradle July 12 Washington, DC @ 9:30 Club July 13 New York, NY @ Bowery Ballroom July 16 Philadelphia, PA @ World Café Live July 17 Boston, MA @ Sinclair July 19 Toronto, ON @ Velvet Underground July 20 Lakewood, OH @ Mahall’s July 21 Columbus, OH @ A&R Music Bar July 23 Minneapolis, MN @ Fine Line July 24 Chicago, IL @ Bottom Lounge July 26 OKC, OK @ Resonant Head July 27 Fort Worth, TX @ Tulips FTW July 28 Austin, TX @ The Mohawk July 30 Phoenix, AZ @ Crescent July 31 San Diego, CA @ Voodoo Room House of Blues Aug 2 Santa Ana, CA @ Constellation Room Aug 3 Los Angeles, CA @ Teragram Ballroom Aug 4 San Francisco, CA @ The Independent Aug 6 Portland, OR @ Aladdin Theater Aug 7 Vancouver, BC @ Biltmore Aug 8 Seattle, WA @ Neumos Aug 10 Salt Lake City, UT @ Soundwell Aug 11 Denver, CO @ Bluebird
For those weary of pop’s increasingly homogenized soundscapes, the Indianapolis duo LITTRELL emerges as a refreshing antidote. Their latest single, “Dirty,” doesn’t just defy genres—it blends them seamlessly, creating a uniquely turbulent and immersive sonic experience.
“Dirty” combines a haunting atmosphere with intense energy, placing LITTRELL among forward-thinking acts like Massive Attack, Portishead, and BANKS. Lindsay Littrell’s vocal performance walks a tightrope between urgency and haunting restraint, perfectly anchored by Garrett Langebartels’ masterful production.
At its core, “Dirty” explores the inherent messiness of intimacy, rejecting idealized notions of love in favor of raw, complex emotions, in spite of their messiness. The song’s thematic complexity is mirrored in its sound, showcasing LITTRELL’s ability to craft a sound that’s both beautiful and haunting.
LITTRELL’s lyrics delve into the discomfort of shallow relationships. The opening lines, “I don’t wanna be your respite from reality / When you go you leave the ashes of your fantasies,” set the stage for a song that craves genuine connections over escapism. The chorus, “They don’t keep me warm / They just pile up on the floor / And leave me feelin’ dirty,” highlights the emptiness left by temporary comforts.
“Dirty” demands active engagement from its listeners, encouraging them to dive deep into its disquieting themes. LITTRELL understands that true catharsis comes from confronting the messiness head-on and finding transformation on the other side.
“Dirty” is one of 2024’s most compelling releases, challenging the polished, PR-driven mainstream with its bold, unfiltered approach. This track serves as a reminder that impactful art leaves a mark and invites listeners to explore deeper emotions.
LITTRELL has crafted a sound that is both beautiful and moody, with dark electronic elements. With lyrics and songwriting that cut through surface-level platitudes to grapple with deeper existential questions around sincerity, truth, and meaning, Lindsay Littrell and Garrett Langebartels have tapped into something truly unique as songwriters and producers. “Dirty” is a captivating single for fans of alternative and electronic music who appreciate lyrical depth and emotional resonance. Dive into the world of LITTRELL and let “Dirty” envelop you in its raw, emotional embrace.
It’s been a known stereotype that artists will use their work to process and channel their own emotions. This could be their heartbreak into paintings, their loneliness into a story, or–with the newest single by singer-songwriter Becca Stevens–the loss of their loved ones into a song. Stevens, a 2x Grammy-nominee, has been quite busy recently with both a role in the cast of the Sufjan Stevens-inspired musical “Illinoise” for the rest of the summer but also with her newest album, the entirely acoustic Maple to Paper, which releases August 30th.
Stevens has described the new album as very personal, and the lead single “Now Feels Bigger than the Past” shows her at her most vulnerable. This is largely due to three major events that shaped the tone of the album: the death of her mother, the birth of her first daughter, and the death of mentor and frequent collaborator David Crosby. The song is immediately upfront about these events; opening with a verse seemingly about artists not being appreciated and loved until they’re gone. It’s a bitter and almost angry way to open the song, but it’s clear that it’s out of Stevens’ love and respect for Crosby. She had played on his last four albums, and her vocals and sound are a dead ringer for other 70s folk singers like Joni Mitchell or Vashti Bunyan.
Stevens recorded all of Maple to Paper live without overdubs, and this single alone adds to the honesty and personal sentiments of her lyrics and vocals. It’s cliched to describe folk music as “authentic” or “intimate” but Stevens’ soft, wistful voice and the intentionally sparse production successfully capture those feelings, and it complements the song’s mournful tone perfectly.
Stevens continues to sing about loss, examining how it’s easier to appreciate someone’s flaws after they’re gone. “Imperfection is beautiful in retrospect… And great big flaws are charming when there’s no one there to correct.” This leads into the final verses where she sings of the grief brought about by her mother’s passing and the sudden disillusionment of now having to provide the same role with her own child.
It’s a heartbreaking song, yet also a masterful and poetic work by a great artist. The music video, directed by Jep Jorba, uses trick photography to show a modern-day Stevens and an older Stevens (achieved through makeup and hair curlers) singing verses to each other as though it were a dining room conversation. It visualizes the themes of Stevens contemplating her own mortality as she grows into the role her mother had, but now only has herself to talk to. “Now Feels Bigger than the Past” is an entirely haunting yet emotionally gripping lead single into Becca Stevens’ upcoming Maple to Paper.
