On May 1st, well-known Los Angeles Broadcast Music Journalist Nic Harcourt made a very special induction into the Guitar Center RockWalk. The Guitar Center in Hollywood hosted the special private event honoring four-time Grammy® Award Winner Gary Clark Jr. After the ceremony, he performed for the first time since his genre-bending full-length JPEG RAW dropped.
RockWalk is held to honor musicians who have fostered impactful growth in rock, blues, and R&B music. The induction included a handprint ceremony amidst other legendary prints and proof of artists like Queen, Carlos Santana, Marvin Gaye, Stevie Wonder, and others. This was the first time in 6 years that the RockWalk ceremony happened, with the last inductee being 2018’s Sheila E. As big fans of Gary Clark Jr. – whose work has similar energy to legendary musicians like Dean Martin, The Temptations, and otherwise – we were ecstatic to find out about the revival of this event.
“We are thrilled to welcome Gary Clark Jr. into the esteemed ranks of Guitar Center’s RockWalk inductees,” enthused Guitar Center CEO Gabe Dalporto. “His extraordinary talent and contributions to music make him a perfect fit for this honor. Gary’s induction is a testament to his incredible impact on the world of music, and we were pleased to celebrate his achievements at this year’s ceremony. His handprints are a prestigious addition to Guitar Center’s RockWalk, alongside the legends who have shaped the industry.”
I am honored to be the latest inductee into Guitar Center’s RockWalk. This recognition holds immense significance for me, as it not only reflects my unwavering dedication and love for music but also acknowledges the respect and admiration of my peers and fellow musicians, who I also equally love and admire.
SXSW is finally upon us, and the digital experience is absolutely wild. Montreal-based 7-piece rock collective TEKE::TEKE is set to perform at the M for Montreal/Brooklyn Vegan showcase on Thursday, March 18th between 7 and 8 pm CST. We got a quick chat in with guitarist Serge Nakauchi Pelletier ahead of their SXSW Digital performance, which curiously involved talking about hygiene standards around aliens.
What was the first song or album that you remember hearing, and does that work of art have any influence on how you approach your music today?
The first music I remember hearing was the first album by The Kinks, Ennio Morricone’s ‘The Good, the bad and the ugly’, and Nakajima Miyuki’s ‘Aishite Iru To Ittekure’ from my parents collection. That right there has everything to do with what I’m doing today with TEKE::TEKE and how I do it. It didn’t occur to me until just recently, but it makes a whole lot of sense. I owe everything that I’m doing now to my parents and the early moments of music we’ve had together.
What was the first thing you did this morning? Woke up to the sound of Ryuichi Sakamoto’s theme for the film ‘The Revenant.’
What is your morning ritual like? Some stretching, green tea, and some reading in the bathroom.
If you could perform three of your songs live for our audience right now, what would they be? They would be the exact three songs we performed for the SXSW event we took part in : those are ‘Kala Kala’, ‘Barbara’ and ‘Meikyu’. I feel they really capture the essence and energy of the band.
Clearly nothing compares to a live, in-person show, but these livestreams have fed the energy a lot of audiophiles and fans throughout the pandemic. What have you loved about performing digitally? Three things come to mind : 1- Playing with the band 2- Seeing other people (technicians, camera crew, etc.) 3- The thought of making a difference in the lives of people watching.
Any thoughts on the digital SXSW experience this year? I can only speak for myself and the experience of the event TEKE::TEKE took part in, which was extremely well-organized and fun. The whole set-up and visuals were cool and should look good online!
What is your routine like on performance days? Just making sure that my mind isn’t too clogged with stuff, that I’m hydrated enough, I’ll do some stretching, some exercises, focus on my breathing, maybe a little warm-up on the guitar, and with the band we always do a little rallying cry that goes ‘TEKE TEKE YEAH!!!’.
What is one thing that you think is underrated? Rant about it. Non-automatic stuff, haha… or things that demand manual work. For example, I just recently bought a coffee grinder (for my occasional cup of decaf coffee). I could’ve gotten one of those electric/plastic grinders but I chose to go for an all-metal and manual grinder, the one with a handle that you need to turn over and over. I figured: when in my life do I get to do something like this?… this kind of motion, as the fresh smell of coffee grain being crushed to powder rises to my nose. Just because the technology’s there doesn’t mean you have to do it that way. Give me handles, buttons, things to pull, to push! Haha… manual work, please!
If you could order carryout from any place within 10 minutes of your home right now, where would you go tonight? What would you have there? Within 10 minutes, I would order and pick up from that Indian restaurant right on the corner of the street and have their delicious vegetarian thali. If I dared walk 20 minutes more though, I’d definitely go to this place called ‘Fleurs et Cadeaux’ here in Montreal’s Chinatown, my new favorite Japanese joint.
Aliens. The government admitted their existence and alluded to involvement, but we kind of skated past it during the pandemic. Do you think they’re enemies, or would you gladly accept an abduction to hang out with them? I know this is actually true and I’m waiting to sit with them and chat. As long as they have their masks on.
There are so many amazing places to go when you want to get inspired. Where are you headed to next? Can’t really go anywhere right now can we?… However, I’ll say this: personally my ‘place’ for inspiration has more to do with where I am in my mind than where I am physically. That has been a blessing during this pandemic as the inspiration juices just kept flowing.
What has been your favorite way to stay grounded during the pandemic? I consider myself among the very lucky ones whose lives have not been affected by the pandemic in a major way. Yes, shows were canceled, some contracts were postponed, but all in all, I’ve been able to keep the same lifestyle as before, if not even a little better so, with more time on my hands and less stress. To stay grounded (whether during a pandemic or not), I need to stay creative and keep a certain diversity in what I do. Exercise is a must, for both mind and body as they are indubitably linked. Feed my curiosity, stay aware and open, learn things, get good sleep and think of others.
Anything else you’d like to add? Check out our music videos for the songs ‘Meikyu’ and ‘Yoru Ni’ on YouTube and watch for our upcoming album ‘Shirushi’ out on May 7th with Kill Rock Stars.
Hang in there, we’ll see you live somewhere real soon! Peace!
In an era of computer-made, beat-driven music, Grand Canyon is the antithesis of modern pop music. However, by focusing on musicianship and timeless songwriting, and drawing on the inspiration of the classic sounds and arrangements of the 70s, it is the kind of pop music that will be wafting through the canyons for a long time. Here, guitarist Joe Guese shines looks back on a rock legend that inspired his career, as well as countless others.
My journey with Tom Petty began like many others did, with a road trip.
It was the summer of ’92. I was 10, and my family was taking our annual road trip. California was that year’s destination. I had just recently purchased, or more likely my parents purchased, Into the Great Wide Open. We set off on our journey for the west coast. Little did I know then, it would be a road trip for the rest of my life. I put Into the Great Wide Open on my discman, letting it be my soundtrack through the endless canyons and expansive horizons of the west. The music always seemed to have a vision of hopefulness, positivity, and pure rock ‘n’ roll. I picked up the guitar two years later and never looked back.
He provided the soundtrack for my youth. I’ll never forget my first Petty concert at Red Rocks, the soundtrack to high school parties, hearing “Room at the Top” the day Columbine happened, and his music present at many other seminal events in my life. Tom Petty led to some of the best and longest lasting friendships I’ve ever had. Fast forward to the winter of 2002, I had just finished up a rehearsal with my college band who was trying out a new bass player. That bass player was Ethan Mentzer. We decided to make the long walk back from the rehearsal space to the Berklee dorms. On that fateful walk, we discussed our love of Petty, girls, anything rock ‘n’ roll, and more Petty. We would go on to become lifelong friends and start a band that would tour the world. He taught us everything: cool guitars, cool amps, great songs, how to record, and most importantly the attitude and feeling of rock ‘n’ roll music. He was the embodiment of “cool”.
Petty has led me down some pretty strange and wonderful roads. I had the pleasure of playing “Running Down a Dream” with three members of the Heartbreakers and two great friends Jamie Arentzen and Matt Pynn (the Elmbreakers) a couple years ago at a Grammy party. That road also led me to Casey Shea who would also become a lifelong friend. Our mutual admiration of Tom Petty pushed us to start Grand Canyon in our mid 30s. Talk about running down a dream!
So cheers to that summer of ’92 in the back of a suburban, where I’m at now in Los Angeles, wherever that road may lead, to all the bad girls, and those boys who play that rock n roll.
From the heart of Nashville, Grammy-nominated bluegrass band Sister Sadie returns with their fourth studio album, All Will Be Well. A sweeping, genre-blurring body of work that reaffirms their place not only as instrumental powerhouses but as storytellers rooted deeply in resilience, community, and emotional truth.
Out now via Mountain Home Music Company, All Will Be Well arrives on the heels of a triumphant award season for the group. With co-founder Deanie Richardson earning Fiddle Player of the Year and guitarist Jaelee Roberts taking home Female Vocalist of the Year at the 2024 International Bluegrass Music Association awards. The band itself, which formed in 2012 after a one-off performance at Nashville’s Station Inn, has long defied the limits of genre and gender in bluegrass, having been crowned IBMA’s Entertainer of the Year in 2020 and Vocal Group of the Year for three consecutive years prior.
What makes All Will Be Well especially poignant is its emotional and stylistic breadth. From the first notes of “Winnebago” to the soulful closer “Can’t Let Go of Your Love”, Sister Sadie pulls from a palette that fuses 90s country nostalgia with classic bluegrass instrumentation. Guitarist and vocalist Dani Flowers, who co-wrote over half the album, describes it best: “From the studio to the stage, the songs from this record have brought us back to life and connected us to each other in brand new ways.”
One of the most arresting tracks, “Let the Circle Be Broken”, tackles generational trauma and domestic abuse with raw honesty. It’s an exorcism wrapped in harmony, somber and unrelenting, yet ultimately redemptive. This willingness to marry vulnerability with musical precision is Sister Sadie’s signature, and it’s on full display throughout the album.
The band also invited a stellar lineup of collaborators to join the journey. Steve Earle lends harmony on “I Wish It Would Rain”, while legends like Russ Pahl (pedal steel), Catherine Marx (keys), and Dave Racine (drums) elevate the record’s sonic landscape. With these contributions and performances from musicians like Seth Taylor and Mary Meyer, each track is layered with texture, intention, and deep musical kinship.
Standouts like “Make Me Stay or Make Me Go” and “The Devil Don’t Care” offer blistering instrumentation and bold vocal performances. “Orphan Train” and “Prodigal Daughter” lean into narrative balladry, while “This Is Me (You’re Not Talking To)” feels like a line in the sand. Through it all, the band’s vocal chemistry remains unshakable, each harmony feeling earned and essential.
It is a damn good record. But more than that, it’s a generous one. The kind that opens its arms to long-time fans and newcomers alike. Whether you come for the bluegrass chops, the country soul, or the stories that settle in your bones, All Will Be Well is a celebration of Sister Sadie’s evolution. Because in their world, harmony isn’t just a sound. It’s a promise.
Nashville-based artist Sam Varga released his new single “Minute Man” on July 4th. Varga is an rock/alt-country artist and has one full-length album he released in 2024 titled Shadow Work. His music is a unique combination of the distinct sound of country with some clear alternative and emo influences. Some of his songs lean more acoustic and it’s just his voice and the guitar, and others have that more alt-pop sound.
“Minute Man” has a modern country sound, and is a relatively simple production. There are a few minutes where it’s just the guitar playing, which switches up the main beat of the song. But Varga’s style makes this song different from any other country song, as the alternative elements are just as present here. Sam Varga’s vocals feel much more in line with an alternative style than the traditional country singer. The vocals don’t have the high pitch that is often present in emo music, but the tone is much brighter than country usually is. The drums are also more reminiscent of the alternative genre, which manages to give this song a complex sound with the simple production.
The single is also political in a way that’s fitting for our current world, a distinction from Varga’s other work. Different cultural references are sprinkled throughout the song, which catches the listener’s attention. It’s less of a specific political message than it is an observation of just how broken our world and society is right now. The song also mostly references different ways that the world is ending or “broken,” like the threat of nuclear war and the polar ice caps melting.
But the main “story” of the song is about falling in love with this apocalyptic background. It’s an interesting contrast between this love and the very current threat of the world ending. The lyrics “two kids kissing under bleachers in the fallout” are immediately followed by “heard you say we’re gonna die young anyway.” It’s dark, but the takeaway isn’t totally depressing. The title comes into play here, as the lyrics “I just need a minute, man” end off the chorus. “Minute Man” is interested in how screwed up our current political world is, but it isn’t a totally nihilistic song.
Paris Jackson – yes, Michael Jackson’s daughter Paris Jackson – is opening for Incubus right now, and is an absolute must-see. Walking out onto the stage at Starlight Theatre in Kansas City, Missouri on a sweltering Tuesday night in July, she seemed to almost float. Barefoot, and with a flowy outfit befitting a fairy – or, dare I say it, Stevie Nicks – she wasted no time picking up the guitar and belting her heart out through an impressive twenty minute set as the sun set.
Setlist Maker Happiest Day of My Life Zombies in Love Gaslight (with Mike Einziger) The Colour Blue My Buckling Knees
Her simple goodbye to the crowd? She stood up, and said, “I’m Paris Jackson, and I’m from Los Angeles, California.”
A handful of favorites below. More featured on our Instagram.
If you’ve ever been to Montreal, you might remember the water. To fly over the city is to look at a maze of tiny tributaries and substantial streams – the water sleepwalking beside bustling streets to St. Lawrence river. Montrealer Matthew Azrieli captures this movement in his new song “I Thought I Saw You the Other Day.”
With a voice like a country road, Azrieli sings of a broken bond with an old friend or lover. The track runs for just over a minute and thirty seconds, but feels longer. In the brief time he has you, Azrieli wraps you in warm guitar and thoughtful lyrics, gently leading you along each turn of phrase. It’s a simple tune, but “I Thought I Saw You the Other Day” is the kind of song that leaves its door open for revisiting again and again. It wants you to sit with it and it wants to stay with you.
“I Thought I Saw You the Other Day” holds itself with certainty – capturing its sentiment with confidence. The memories revisited in it are reminiscent of the water, steady as it drifts away. Azrieli doesn’t mourn this, but rather accepts it. “I’m not quite sure if it was you, but even if it were there’s not a lot I would say,” he admits. The track is one of bereavement without grief.
The instrumental of the tune dances easily with the lyrics. Nothing but a guitar weaves around the words. This simplicity gives the track its charm. It also creates a stronger sense of intimacy with the listener. At times, you have the sense Azrieli is talking to himself. Others, it seems he’s reaching to hold your hand.
On both this record and his others, Azrieli feels like an old friend. The wit and vulnerability of his lyrics resemble that of Bob Dylan or Nick Drake. Perhaps this parallel to the cherished folk tunes of the ‘70s is what makes Azrieli appear so familiar. Listening to him croon through his buried thoughts makes being alone your own thoughts more bearable. Clearly, his songs are best suited for long drives and longer nights.
As you listen to “I Thought I Saw You the Other Day,” think of the waters of Montreal, the same waters Azrieli grew up singing to. There, you can see the memories drifting away, without resentment or pain, but simply with the inevitable passing of time. There, you, too, may see someone you used to know.
I lay comforted by the sounds of a meandering country ditty, imbibing the questions being posed lyrically. How did you become the stranger you sought to escape? How will you escape the ghosts coming for you? The upbeat twang of Will Rainier’s guitar contrasts his dark lyrics which resemble a poem by Poe, in new single “Dance With the Dead”.
Expands Rainier: “I like the sadness in country music—it’s just raw emotional music to me—but I don’t want to recreate anything to the letter. I want the music to be my style, and I like unexpected instruments, like the trumpet, and I like blending styles. I don’t think about any of this when I write—I just let the music come out.”
While the video is, admittedly, reminiscent of a middle school iMovie project, it would be the best one in the class. Filmed across beautiful landscapes in Olympia, Bow, and Lopez Island, Washington, and Bend, Oregon by Jen Garrett, Will Rainier, and Chad Yenney, the video itself was created by Will. The beauty chosen and recorded by Rainier ropes you in to an almost fantastical existence. You can sense the intended darkness behind the song without acquiring it, a true feat.
“Dance with the Dead” is a mixed bag, and Will Rainier is extremely talented. On his new album Smoke ‘em If You Got ‘em, which is available in full soon, he plays most of the instruments, creating his own band from raw talent. He will undoubtedly fuel you with more of his funky bar goer stories and genre breaking combinations.
Susannah Joffe’s newest EP, Cult Leader, is full of Americana inspired pop ballads and represents the lengths that love and heartbreak brings us to. Susannah Joffe is a singer-songwriter originally from Austin, Texas. She has had recent success on social media, particularly with the song, “Die Your Daughter”, which was on her last EP, Your Mother’s Name. But, Joffe has taken a new look on life on Cult Leader, and it’s full of spite, lovelust, heartbreak, and reflection.
The EP’s title track, “Cult Leader”, sets up the theme as Joffe plays spacey pop with a dark country twang. Joffe’s airy vocals sing about americana ideals and tropes while she professes her love-hatred for an ex-lover and his new flame.
As she sings about her confidence in her superiority, a deep jealousy underlies within her words and sets up a complex narrative of love and the inability to move on. Joffe’s vocals are the shining star of this track as her voice ebbs and flows throughout the verses and chorus (reminiscent of Lana Del Rey), and the instrumentals take the backseat to fully allow Joffe to have her moment.
“Antler Queen” keeps up the spaciness that is a mainstay throughout the EP, moving further away from country influence. It’s a bittersweet romance ballad that explores unrequited love and yet again the struggle to move on. The chorus is infectious with a driving drum beat and Joffe’s love proclamations such as, “I’ll shoot you up, Get high on reluctant love.”
The instrumentals on “Antler Queen” are extremely chill with sweet guitars and a stable percussion section to pick up the chorus. As she concludes the song, she reinforces her love’s bittersweetness as she says, “I pledge my heart to you my antler queen.”
“You’d Kill Me If You Could” is a stripped back ballad that sonically serves as a break in the EP’s sound and leans into a 90’s sound. Joffe has given up the loud emotions present in the previous two tracks, and has become sorrowful and reflective. The heartbreaking lyrics portray a harmful relationship and her dealing with the emotional aftermath.
The echoey vocals, acoustic guitars and stripped back percussion, make the song feel like it could’ve been written 30 years ago. Bright synths work with Joffe in the bridge, as she repeats, “Like mother, like daughter.” The phrase is almost a mantra, increasing in intensity the more Joffe says it, and deepens the song’s meaning when you consider the cycle of abuse and what people pass down with them.
“Shit Out Of Luck” is a hazy heartbroken ballad that speaks to unfulfillment and unresolved promises. It is threatening, vengeful and passionate, as she sings, “I’ve got passion and I’ve got a gun.” Electric guitars squeal in the background and Joffe employs a strong percussion section yet again. Joffe’s vocals are the shining star on this track as she uses layered harmonizations to sing words of spite and biblical musings.
“Sofia Coppola” went mildly viral on social media and is a bright lesbian pop power ballad. The song is flirty and full of lust and unabashed attraction. The prechorus is infectious and feels almost like a nursery rhyme, which leads into the double infectious chorus in which she professes, “Idolize you, My Sofia Coppola.”
The bridge is wonderfully layered and Joffe’s vocal capability is put right on display in this track. “Sofia Coppola” is a gorgeous listening experience and uses a blend of strings, synths and percussion, which culminates into a twinkly and magical song about bright eyed love and attraction.
Joffe leans into another consistent trope present on the EP as she writes about a love-hate relationship in “Call Me Pretty.” It’s a complicated dynamic of wanting to both be devalued but cherished as she sings, “I’m your dog and nothing more.” It’s a casual relationship gone wrong, as she invests more than her lover. Her breathy vocals in contrast to the heavy electric guitars build power and tension in the song. The guitars aid Joffe in relaying the final rendition of the chorus and concludes the heartbreakingly honest and self deprecating track.
The EP finishes off strong with the final two tracks, “Stillborns and Six Lane Highways” and “Horses Can’t Outrun Me.” “Stillborns” discusses biblical conflict and terror, as she speaks directly to the people that peddle hate singing, “Heaven hates you” repeatedly. The melodic guitars backing instrumentals are stunning as the beat uplifts the depressive nature of the song. Her echoey and hazy vocals blend amazingly and the rich instrumentals coupled with the lyrics behind create a complex and enjoyable listening experience.
“Horses Can’t Outrun Me” is an excellent end to the EP and is a highlight of the tracklist. Joffe’s bright vocals begin the song as she sings the chorus. A deep electronic bass beat is introduced as she sings of feeling freed of a suffocating relationship and environment. She strips it down and speaks in the pre chorus and then dives into her airy vocals once again.
There is a deep, radical sense of freedom as the lightness of her vocals and the bright guitars, keys and drum beats feed into the energy of the song. As Joffe sings, “Heaven’s where you can’t reach” she ties all of the themes on the EP into one reflecting upon freedom, religious ideation, relationship issues, love, and heartbreak. We are allowed the opportunity to watch Joffe grieve, grow, and change, as we watch her learn and reflect upon her experiences and heartbreak.
It’s an exciting high to leave off on and leaves us wondering what will Joffe take on next in her musical journey? Cult Leader asks a lot and leaves behind very little, as Joffe proves her vocal and musical capabilities and has created a piece of work that is sonically and narratively consistent and clean.
