In the mood for a bit of soul mixed into your next favorite pop-driven track? Junior Mesa has done just that, setting a relaxing mood with his high-pitched vocals that counter the bitterness in the lyrics. The track itself speaks of putting up walls when a relationship cannot pan out the way you’d imagined and are highly relatable.
The video is highly entertaining. Basked in gorgeous colors, watch Junior dance through the pain with a masked stranger. The video itself seems to be trying to distract from the internal struggle of the protagonist, using humor and the arts to its advantage. Check it out below, and make sure to “like” it over on Youtube.
If Madilyn Mei’s music has always felt like a handwritten diary entry passed across a high school lunch table, her latest single, “What’s Going On?!”, might be the doodle-covered cover. Released May 16, this track finds Mei deepening her indie-folk bedroom pop roots while leaning into more experimental territory, complete with alien metaphors and a healthy dose of existential dread.
Produced and mixed by Scrawny and mastered by Joe Hutchinson, “What’s Going On?!” captures the disorienting experience of trying to “fit in” when you feel like you were dropped onto Earth from another planet. The track opens with an eerie, circus-like intro and transitions into a whimsical, layered soundscape that blends plucky acoustic strings with jittery synth textures. Mei’s voice, delicate yet resolute, delivers lines packed with metaphor, self-deprecating humor, and quietly devastating insight. Lyrically, the track dances on the edge of absurdity and melancholy, a balancing act Mei pulls off with signature flair. It’s the kind of track that makes you laugh, cry, and spiral into a late-night identity crisis, all within three minutes. It’s a story of trying to belong when you feel unrecognizable to yourself and others, a meditation on loneliness that’s somehow comforting in its honesty.
The music video, streaming now on YouTube, takes the song’s surreal undertones to new heights. In it, Mei appears as a claymation alien, amplifying the song’s themes of disconnection with a dose of off-kilter whimsy, with some circus aesthetics lurking not far behind. Her current website and Instagram bio, complete with a circus tent emoji, only add to the intrigue. Could this be the first clue of a larger, thematically cohesive project on the horizon? If so, we’re buckling in.
If you’re new to Madilyn Mei, you might recognize her from viral tracks like “The Milk Carton”, “Partner in Crime”, or “Blue Haired Boy”, all beloved for their vivid storytelling and genre-defying charm. The Arizona-based 22-year-old singer-songwriter has been quietly redefining what bedroom pop can be. Known for her poetic wordplay, genre-blending arrangements, and storytelling flair, Mei has released a debut album, three EPs, and a steady stream of singles, all written and recorded from her bedroom. Her work is intimate yet imaginative, weaving together deeply personal themes with a touch of magic that feels just left of reality.
And now, she’s taking that world on the road. Mei is slated to open for AJR and others on tour this July. It’s a major step forward that speaks to her growing influence and genre-crossing appeal.
TOUR DATES: 7/20 Mountain View, CA Shoreline Amphitheatre 7/22 Salt Lake City, UT Utah First Credit Union Amphitheatre 7/24 Denver, CO Fiddler’s Green Amphitheatre 7/26 St. Louis, MO Hollywood Casino Amphitheatre 7/27 Tinley Park, IL Credit Union 1 Amphitheatre 7/29 Clarkston, MI Pine Knob Music Theatre 7/31 Noblesville, IN Ruoff Music Center 8/6 Camden, NJ Freedom Mortgage Pavilion 8/8 Wantagh, NY Jones Beach Amphitheatre 8/9 Mansfield, MA Xfinity Center 10/4 Los Angeles, CA Hollywood Bowl
“What’s Going On?!” isn’t just a catchy new track. It’s a question, a cry, and a cosmic shrug all in one. It’s for the alienated and the awkward, the overthinkers and the dreamers, and anyone who’s ever left a party wondering if they said too much or not enough. Stream “What’s Going On?!” now on Spotify, Apple Music, Amazon Music, YouTube, Pandora, and wherever else you soundtrack your identity crises. If this is just the opening act of her circus-themed era, we’re bracing ourselves for a wild, wondrous ride.
In 2024, Kansas City welcomed over thirty talented artists and performers to compete on Second Chance Stage, a television show that serves to give people a second shot at some of their biggest dreams. From a grocery store clerk who can belt out opera songs, to a special education teacher who sings to uplift those around him, to a flight attendant whose dreams of stand up comedy will never be dashed, the stages at the historic Music Hall and Arrest Bank Theater at The Midland were absolutely lit up – physically and emotionally – with every performance. I was lucky enough to be hired as an associate producer on the project, along with the my twin sister. It was here that we fell in love with a select few performers that we just couldn’t get enough of.
One of those outstanding entertainers? A comedian by the name of Xazmin Garza. During the entire two weeks of filming, we found ourselves drawn to her energy. From her live sets to the content she shares with such vulnerability, it’s clear that Xazmin has lived a thousand different lives. And bits of her story are so deeply relatable, that the humor she finds in life – dark at times – is undeniable. She is a captivating artist, and I’m just sorry I didn’t know about her sooner.
And when you sit down to watch Second Chance Stage – we will just assume you haven’t, but that you will immediately and then suggest it to all of your friends – you will understand why. When a comedy set has everyone cheering, and the comedian’s story leaves not a dry eye in the house, you know there’s magic in the air. When she tells you, specifically, “My biggest influences are Chris Rock and all female athletes,” then you know you’ve met someone with that extra sparkle.
And that’s exactly what she told us when she sat down to answer a few questions with us.
Upfront, Xazmin Garza will tell you who she is and how proud she is of herself and her family, an ownership we need more of onstage. An unrelenting appreciation for what we have when we have it. Some of her jokes will center on feeling “other” in many different types of scenarios – from growing up in Utah, to living on the east coast, to finding a church she can really vibe with – and they’re endlessly relatable. “I grew up in Utah. I’m not white or Mormon so I never felt at home there,” she explains, understandably. “I couldn’t wait to leave and be around more racially diverse people. But yeah, being from a place where I was called the ‘n’ word as a child (wtf?!) definitely shaped who I am today. I’ll probably always be healing in some way from that, whether I realize it or not.”
While she heals from experiences like growing up in Utah and moving from New York City and feeling like she lost momentum on her comedy career, she seems to have hit a groove in recent months. And her fanbase is benefitting. Her jokes are solid, her delivery is confident, and her moves feel purposeful.
But it wasn’t always exactly this smooth. She got started in comedy in her late thirties, which is almost unheard of for female entertainers, and played to many audiences across the east coast in cities like Boston and New York. Thank goodness society has gotten a kick in the ass and is beginning to appreciate different perspectives in comedy now, because Xazmin always found purpose in bringing others joy.
I could always bring my loved ones to tears with laughter. The more defining moment [when I realized I wanted to pursue comedy] was when I realized doing that was the best feeling in the world to me. I was at a wedding where I was someone’s plus one. I was cracking up all my date’s friends and I could tell it was upsetting my date. I could’ve gotten quiet from there, and just sat and looked pretty, but I chose to keep upsetting him.
I’m sure she’s found herself involved in many defining moments since, especially as she pursued comedy in New York City. “Moving to New York to make it as a comedian was scary,” she admits. “I knew it was going to be lonely and hard but I believed in my skills enough to do it anyway. It felt amazing to have something worth doing that for.”
In all honesty, I haven’t seen near enough of her material to understand how much she has evolved. But I do know that she went through the wringer as a female comic. Because of that, she has so much respect for other female comedians, and a really strong stance on how to maintain self-respect that most people could learn from. “When I was starting out, a local headliner told all the female comics not to fuck the guy comics,” she tells us. “I totally disagree with that. I just wish female comics wouldn’t fuck guys—comics or not—who don’t think they’re funny. If a woman is serious about comedy, she shouldn’t do that to herself or her art.”
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Xazmin recently moved to Arizona to be a source of full-time support for her mother, whose dementia diagnosis has provided a different set of experiences to fuel her growing comedy career. When Xazmin talks about her mother – whether she is posting a video to social media in vulnerability or mentioning her during a set – you can see deep appreciation and warmth wash over her. “My mom’s dementia caused her to lose some of her inhibitions,” she explains. “She laughs loud as hell now—like her kids do. When I hear her cracking up laughing—especially when I caused it—I feel so happy. Yes, because she’s having a good time but to hear her that free and taking up space gives me so much pride as her caregiver.”
Xazmin isn’t just getting support through her family unit back in Arizona, her day job fully backs her comedic aspirations. They posted about their star copywriter on their social media accounts when her episodes of Second Chance Stage were airing. “My day job has been supportive of my comedy aspirations from day one. I’m very fortunate in that regard. They encourage me and truly want to see me win. Plus, there’s no one in the world I would hide this from. ‘I’m dope and I do dope things!'”
Now, to get to Second Chance Stage, which was filmed in the springtime of 2024. Every contestant from a warm weather state was losing their minds while we suffered through freezing temperatures during that time. One of the perks, Xazmin, admits, was the food. “I liked the barbecue in Kansas City,” she remembers.
I, personally, think this warrants another trip to our city to rank the best barbecue, but we can table that for now.
After we wrapped, the contestants and crew had to wait eight months before the first shows aired. This type of wait time is not as common, but reality television often has a lot more footage to sort through and compile. This particular show, like many on-stage competitions, incorporated both live performance and documentary-style footage, a crew of dozens, and a lot of good energy. Xazmin had no problem keeping the experience tucked away, though. Confidently and hilariously, she admitted, “I’m a great secret keeper. Especially when I sign 42 pages of legal documents promising to keep a secret!”
Xazmin’s experience as a contestant was reason enough for her to keep the secret close to the vest. “The experience [on Second Chance Stage] was the time of my life. We got the star treatment, I got validation from the judges and audience, and I went home with restored hope for the future of my career.” This was such a golden takeaway for everyone in the cast, crew, and audience. The performers all left with advice to further their careers, nuggets of inspiration, and having inspired theaters full of dreamers, me included.
When asked directly how she handled staying grounded and calm during her stay in Kansas City, Xazmin admitted that her mother had a lot more to do with it than any distance would have indicated. In honesty and hilariously, she admitted, “I stayed grounded because my mom was calling me while I was in my hotel room, telling me my dad doesn’t take care of her as well as me.”
See what I mean? Humor. Grace.
While those words of affirmation may have kept her going during her two weeks in Kansas City, what about the things that get her amped up on a regular basis? “On my drive to the club, I listen to music that hypes me up. ‘Queen Bitch’ by Lil Kim and ‘X Gon Give It to Ya’ by DMX. Once I’m in the green room, I just try to be in good spirits before I go up so I can genuinely bring positive energy to the stage. I avoid people and energy that piss me off or make me self-conscious.” In other words, she’s living the life we all strive for.
If she had one piece of advice for someone beginning their career later in life, it would be this: “I would tell someone starting comedy later in life to use their life experience to their advantage. They have stories to tell and a point of view to share. I’d also tell them that if they don’t want to learn how to edit videos to not start doing comedy.”
The following is a quote straight from the lips of the angel Xazmin Garza herself, perhaps a bit of advice for anyone who chooses to pursue her – professionally, personally, or otherwise – for any reason in the future.
Oysters and dirty martinis always put me in celebration mode. It is time to party when I’m having those.
Keep up with Xazmin on Instagram, where she posts all upcoming shows and comedy updates.
Last night, the Philadelphia Eagles won The Big Game.
While there was so much about the game that gave me goosebumps, electrified, and, honestly, inspired, the most exciting part for me – and for many – was the halftime show. For fear of being too petty (re: my issues with the Chiefs organization being too financially and outwardly supportive of the color orange, their players and families openly supporting the current regime, Butker, Swift, etc.), I’m going to spare you most of my thoughts.
But not about the halftime show. I’ll spare you nothing there.
The halftime show was remarkable from the first lines out of Samuel L. Jackson’s mouth – aka the only Uncle Sam I’ll ever listen to – all the way through the impactful GAME OVER finale. If you were allowed to watch and listen closely in your party environment, you probably noticed a bit more.
To begin, there wasn’t a single white performer on that field and I was living for it. It’s Black History Month, and our joke of a government is trying to erase that. This was a massive, immediate message to many people – one, in particular, who was actually there in person instead of doing their jobs correctly to protect our country from a coup.
The stage performance was just over 13 minutes of spectacular set design and art, beginning with video game audio and squares lit up like tic-tac-toe. (I have seen references to Squid Games, a show I will not watch. I’m sorry.) Samuel L. Jackson is lit up in the middle square to introduce Kendrick, who starts on top of a 1987 GNX wearing red, white, and blue, decidedly. The car is the namesake of his surprise sixth studio album, which was released last November. He’s also kneeling, with a single spotlight on him, completely alone. This, alone, was a statement to the orange one in who led people in tearing down those who protested during NFL games not so many years ago. The short song Lamar begins with appeared on teasers for the album and there are lines from it that immediately pulled at fans when the album came out, but isn’t an official track on any current releases.
In the first big choreographed moment, the lights strobe, a good amount of dancers in red square up and sync up, and Kendrick says, loudly, “The revolution’s about to be televised. You picked the right time but the wrong guy.” This line is a direct reference to a satirical poem released in 1970 by Gil Scott-Heron, which reads, “The revolution will not be televised.” This piece is a response to the spoken-word art “When the Revolution Comes” by The Last Poets, and mentions famous figures and cultural linchpins that serve as a smokescreen for the actual revolutionaries.
Kendrick reciting these words with the American colors around him, was an obvious poke at several people in attendance. It was also the first time I screamed out of excitement.
He pivots fast into “Squabble Up,” dancers in red, white, and blue sweatsuits surrounding him in various formations. After lining up, they start to step and it is a powerful moment of rhythm and control. Which is when Samuel L. Jackson steps back in and says, “No, no, no, no, no! Too loud! Too reckless! Too ghetto! Mr. Lamar, do you really know how to play the game? Then tighten up!”
And that beautiful man is a smokescreen for the watching audience. Because as he is screaming the same shit conservative media uses against people of color to delegitimize their art and their lives, the dancers are forming an American flag on the steps. And now the camera is back on Kendrick, in the center of that flag.
And so begins “Humble.” The crowd is roaring at this point, while these incredible male athletes/dancers engage in sharp movements that would be hailed as 11/10 at a cheerleading competition. Their precision was admirable, poetry in motion. This is when I started noticing some dancers had their faces covered, some had their heads wrapped.** Some you could see fully, and others had dyed their hair to match their outfits. I can only imagine that this type of scene is what scared some viewers into saying the halftime show was “scary” and “militaristic.”
That’s ok, but it was by design. The performance was meant to make us question things, created as a living protest, and isn’t threatening to the viewing public at all. So you might have to sit in that discomfort for a while.
He quickly launches into “DNA,” which famously challenges a deplorably racist Fox anchor’s comments about hip-hop being damaging to black people. He runs across the field to dance in front of varying dancer formations, then gives us some “Euphoria” and slows down for a rendition of “Man at the Garden” with a slew of dancers seemingly hanging out by a lamp post behind him.
“Peekaboo” begins after another appearance by Samuel, who – in keeping with the gaming theme – tells the scorekeeper that Lamar only has one life. Kendrick and his dancers are now inside one of the X’s on the field, looking like a Nintendo controller. He rotates thorough the “X,” bouncing around and making for a really interactive time with the television audience.
Then, Kendrick pauses and asks a group of female dancers, “I wanna perform they favorite song but you know they love to sue.” The introductory instrumentals to THAT SONG begin, and the crowd goes WILD. But he’s teasing us, and you can hear Samuel yell, “You’ve lost your damn mind!” while Kendrick slows everything down.
Smooth R&B starts, and he rolls right into a sultry version of “Luther” featuring the indelible SZA. Our girl first appears sitting down casually, decided out fully in a gorgeous red that perfectly matches her hair and goes well with Kendrick’s mostly-blue getup. This slower tempo moment allows them to really connect with each other on stage. It also gives the pair the momentum they need to launch into the Black Panther anthem “All the Stars.” SZA was A-plus, no notes. What a powerful, beautiful presence to have joined him on stage, a moment that got us extra amped for their upcoming tour.
Samuel L. Jackson comes back in with similar commentary as before, noting that “nice and calm” is “what America wants.” The humor and the magic in these moments cannot be spoken about enough, he was making fun of us to our faces and I truly couldn’t get enough of it. He was about to wrap it up all “politically correct” when Kendrick decided it was time.
“Not Like Us” was incredible, an aerial shot catching more sharp, beautiful moments from the dancers. The freestyle coupled with very impactful choreographed moves made it such a celebration of community and diversity at the same time. No one had to sing to make a deliberate, profound statement.
But he did. And when Kendrick did, he looked right down the barrel of the camera as he said, “Say, Drake, I hear you like them young.” The pettiness was palpable, but it was also powerful. Especially when you take into account all of the hushed rumors that have swirled about Drake and his preferences and behavior over the years. While some might take Lamar’s diss tracks as pure petty for the sake of being that way, he’s using his platform to call out unacceptable behavior that has (for some reason) been normalized. He’s calling things out, and he’s doing it strategically.
If you want to fight me about the fact that there are no current official allegations against Drake, I would like to say one thing. The cameras panned the stage pretty quickly, but you caught it as well. The GOAT Serena Williams was c-walking on stage. They showed her twice, living in her joy and dancing her ass off. Which most people would think nothing of until you realize two facts.
One, that this incredible talent was policed for celebrating at the Olympics in 2012 with the same c-walk or “Crip Walk” dance. The media and fans ripped into how the champion celebrated, which was no better or worse than anyone else. Now, she gets to do the same walk on the most televised event, and she gets to do it with ferocity.
Two, that Serena was romantically linked with Drake from 2010-2016. Having her dance during this diss track about him is an extra dig for her, but it’s also a statement. If you weren’t fascinated by the entire stadium singing “a minor,” the fact that Lamar was wearing a lowercase “a” chain – literally “a minor” -, or the flags that some dancers were flying with kids on them, then I need you to know it all happened and it’s all connected. Serena’s participation seems to be a co-sign that the claims in the song aren’t just claims.
Which should worry you, if you weren’t already aware – and nervous – of Drake’s shifty behavior.
For those who didn’t recognize all of the Easter eggs, Lamar worked with a team to build out a gaming controller set, dancing within different buttons. By the end, he was rapping, “turn the tv off, turn the tv off,” smiled into the camera, and then the lights went down on the floor and the lights in the seats spelled GAME OVER.
**I do want to recognize that during the telecast, one of the dancers bravely waved Sudanese and Gazan flags. Having some of the dancers wear face and head wraps helped to make this possible. It allowed for people to make their own statements showing as much or as little of their bodies as possible.
CBS Mornings took the helm celebrating the performance. “Everything he did had power, had purpose,” exclaimed Vlad Duthiers. But while they took time to discuss America’s reaction and the controversy around it all, they didn’t mention the live genocide protest or several very important Easter eggs. For the most part, even for as liberal as their cast is, you could see how the media is being asked to speak about the performance overall.
If you take that halftime show and couple it with the incredible pre-show performances by musical legends Lady Gaga and Jon Batiste – and “America The Beautiful” performed by Lauren Daigle and Trombone Shorty – the game was a full win all around. Those involved were pumping diversity into the mix, bringing us not just a variety of people of all different backgrounds and affiliations, but celebrating it. Plus, multiple genres were represented with a noticeable majority black performers.
For the record…
I love that the first black female coach in the NFL, Autumn Lockwood, took home a championship victory.
Two people got booed and I’m not mad at it.
The HAIM sisters passively existing everywhere makes me laugh a lot.
I’m overjoyed for SZA’s mom, specifically.
Paul Rudd looked like he wanted to melt into the floor of embarrassment, that poor man.
Jon Hamm lost his voice before the game, which makes him the real winner.
I’d like Bradley Cooper’s food truck to make a pit stop here.
Who doesn’t love “Weird Al” Yankovic? Seriously, it’s impossible. The Grammy award-winning comedy/parody musician has brought joy to the hearts of millions for five decades and continues to be a singular presence in music. Al has spent a decade-long hiatus from new releases, with his last being 2014’s smash hit album Mandatory Fun. Though this hasn’t stopped him from touring and working on new projects unrelated to music, such as 2022’s parody biopic Weird: The Al Yankovic Story. However, he’s finally made a return to recording with his new single and animated music video, “Polkamania!” The track continues a long-time trend for him, as almost all of his studio albums have contained a medley of then-popular songs covered in the style of overly jaunty polka music.
Let’s face it: you should already know if this is something you’ll enjoy. “Weird Al” Yankovic is so iconic and beloved to where you’ll likely be on board before even knowing what the song is. And “Polkamania!” is as gleefully silly as “Weird Al” has ever been, showing that he’ll always stay true to goofiness and idiocy no matter what. The songs chosen to cover were big hits from the past ten years. These include: “Bad Guy” by Billie Eilish, “Hello” by Adele, “Flowers” by Miley Cyrus, “We Don’t Talk About Bruno” by Lin-Manuel Miranda from Disney’s Encanto, “Vampire” by Olivia Rodrigo, “Old Town Road” by Lil Nas X, “Despacito” by Luis Fonsi & Daddy Yankee, “Shape of You” by Ed Sheeran, “Uptown Funk” by Mark Ronson ft. Bruno Mars, “WAP” by Cardi B ft. Megan Thee Stallion, “thank u, next” by Ariana Grande, and “Shake It Off” by Taylor Swift. Phew!
The track is continuously jaunty and upbeat polka music, featuring Al’s signature accordion playing as well as a brass section for authenticity. It should appeal to fans of the songs covered or just fans of Yankovic in general. “Polkamania!” had its release coupled with an accompanying music video, which is completely worth watching too. It features several animators styling each part of the medley and has just enough sight gags and quirky humor to be a total delight. The animation is super dazzling, ranging broadly in style from 2D animation, CG, puppetry, stop-motion, and work I don’t even know how to describe.
All in all, this is an entirely satisfying comeback for “Weird Al” Yankovic, even if this is just a one-off single and not leading into a new album. Any amount of silliness from him is needed at any time or place, and he remains a massive icon in both the worlds of comedy and music.
Cowboys everywhere. Boots, hats, shirts, jewelry, all in the loudest colors (and rhinestones) imaginable. Walking into Music Hall of Williamsburg for CMAT’s sold-out performance was like watching the campiest fashion runway from the first row.
Hailing from Dunboyne, Ireland, Ciara Mary-Alice Thompson, also known by the acronym CMAT, jokingly asserts that she is “an international pop sensation,” a “very big celebrity,” and a “global pop star.” However, with two successful LPs, sold-out shows in both Europe and America and a very…cheeky (https://www.instagram.com/p/C4BkcaPMtZH/?img_index=1) nomination for the Brit Awards, she’s not far from the truth.
With her wild fashion sense, it was no wonder the audience took a cue. That’s the thing about a CMAT show; her fans, multiplying by the minute, are wholly devoted to her. Whatever CMAT does, her fans follow.
Prior to her set, Sheena Easton’s “Morning Train (Nine to Five)” blared over the speakers as a spotlight swept the stage. CMAT noted that this song helped inspire her latest LP, 2023’s CrazyMad, for Me. Inviting her fans into her world is something CMAT effortlessly does, an open book with communal pages. It’s this rapportthat undergirds her fanbase and connects them not only to CMAT but to each other.
After the song ended, the cheers began as the band, followed by CMAT, entered the stage. Beginning with “California,” the first song on CrazyMad, for Me, the venue erupted.
A CMAT show is more than a concert; it’s instead a circus, a musical merry-go-round of infectious spectacle. CMAT herself is a born performer, a live wire sheathed of its skin, dramatically writhing around the steps and crawling all over the stage. Her voice astounds, hitting every note both high and low, never once faltering. She adds her sense of humor as well, often striking theatrical poses and holding them until the audience thunderously applauds.
CMAT effortlessly worked the eager crowd, peering into the audience and checking out everyone’s clothing choices. She was especially enthused by a shamrock crop top worn by one of the male audience members in honor of her country. She made sure to note a fuzzy pink cowboy hat, and, of course, the Irish flag some attendees brought. It was striking to see how attentive she was to her fans, an attentiveness that they in turn gave back.
Judging by how cohesive the set was, one might have thought CMAT was a band as opposed to a singular artist. Each member brings their own personality to the table, most notably Colm Conlon, CMAT’s keyboardist. He joined her on vocals and silly, synchronized dancing. Conlon added so much fun and breathed even more life into the performance, which was, prior to his entrance, unthinkable.
CMAT puts all of herself into a performance. She gives every bit of energy she has. During one of the best parts, she performed a hit song off her first record, If My Wife New I’d Be Dead. “I Wanna Be a Cowboy, Baby” is the song that inspired most of the fans’ sartorial choices. CMAT requested that everyone in the venue do the two-step, issuing a mock warning that she’d stop the song if she spotted an audience member not dancing along.
No one in the New York City area would likely be caught dead if found engaging in such an act. But in Williamsburg, where weirdness abounds, the crowd enthusiastically obliged her, cowboy boot heels clicking rhythmically across the floor.
Saving one of the best for last, “Stay for Something,” CMAT instructed the audience to get as close to each other as possible. Everyone took their cue and immediately piled in as she reminded them to get their cameras out towards the end. Aided by a smaller venue, a massive contrast to her usual gigs in Europe, CMAT crowdsurfed to fans’ delight. Sailing on their hands, lifted up for all to see, was a dream. High-kicking off the stage, the night sadly ended.
CMAT is a star, a person who values oddness and fun, yet makes serious (though at times funny) music about life’s ups and downs, all the hope, joy, and despair. Her music has something for everyone, spanning country, rock, and pop.
A note from the writer/photographer: That night, CMAT became one of my favorite artists. I went into the show not knowing who she was. I left with unbridled bliss and exhilaration and was tasked with a self-imposed mission to see her the next night at the Bowery Ballroom. Unfortunately, I came down with Bronchitis and regrettably missed it. I eagerly await CMAT’s return to America, and I hope everyone reading this does, too! You don’t want to miss out on her, I assure you.
While SXSW 2024 was too fast and too wild for many of us, Montreal-based duo DVTR – expertly comprised of Demi Lume and Jean-Cimon Tellier – kept us guessing during their fun takeover. Always ones to engage an audience, we deeply enjoy their humor and urge you to go see them live. For now, do everything you can to learn everything you can about them. We were lucky enough to have Tellier answer a few post-fest questions for us, below.
You always have such fun takeover topics planned. What made you choose your approach this year, and ultimately sharing free things you acquired?
We love free stuff and there’s a lot of free stuff usually at SXSW so you know, we didn’t have to think a lot. At first, we wanted to film ourselves doing an escape room thing downtown but it was too expensive. Then we wanted to do like an alligator tour thing but it was too expensive. So we chose the free stuff.
What was the BEST free thing you got during your stay in Austin?
All the free shows everywhere all the time, we mean, that’s better than free Coca Cola.
You encountered Nobro during your takeover. What was that experience like?
Meeting Nobro was not that big of a deal because we see them all the time in Montreal. An ok experience overall.
[laughing] Well, it was exciting for viewers! What a thrill, to be part of such a creative community! What was the best food you ate at SXSW?
So we tried to go to Franklin’s BBQ one morning but holy shit we had to wait 4 hours outside. So we went to Micklethwait BBQ, waited 0 minutes, and had the best meat ever. Much better plan.
Any highlight moments from your showcases?
We don’t remember anything. It all went too fast, too late, too much booze and whatnot, so we were too fucked up most of time. So no highlights, no.
Well, our highlight was absolutely your takeover. (Sorry, it’s the truth!) What else is coming up for you?
We’re going to the UK and France in a couple of weeks for a tour. Can’t wait to see if they’re more troublemaking people than peeps in Texas. We love troublemaking gents.
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Keep up with charming duo DVTR here. (And check out their archived takeovers and reels on our Instagram!)
Demetri Martin released a new Netflix special on Tuesday, the first of two to be released on the streamer this year. Before it had been out for 24 hours, I watched it twice.
For those who knew me 10-15 years ago, this hardly comes as a shock. My family enjoyed his comedy when I was is teenager. I believe we were eating Ben & Jerry’s pints for dinner and watching Demetri when guys from a neighboring school came over and asked us (the twins) to homecoming. (My parents were cool and once in a while, we got to eat ice cream for dinner. What of it?) It’s no surprise that lines of his dry comedy are what we both chose as our senior quotes in the yearbook. My sister even surprised me one year with tickets to his show for our birthday.
I didn’t realize until now how much I was missing Demetri’s unique brand of comedy. Sure, I have always followed him on social media, but he’s not one of those comedians who lives on his page either. He has built a seemingly quiet life with his wife and two children in California, releasing books, acting, writing, producing, and doing voiceover work between comedy gigs. Yes, we got a well-formed special every few years (2004, 2007, 2012, 2015, 2018), but we have been left to clips, quirky one-liners, and small peeks into his personality since the last special – Demetri Martin: The Overthinker – released in 2018.
So when Demetri Martin: Demetri Deconstructed popped up on my television, I waited mere hours to enjoy it with my parents. And then I went upstairs and watched it again.
First of all, the effort he puts into his intros is actually admirable. If you’re wondering about his use of black and white in his latest special, it’s explained before he even takes the stage. He uses his voiceover talents to help the audience identify his thought process, recognize – and relate to – his idiosyncracies, and make layered jokes. It seems to allow him a structured vulnerability, the affinity for “off-handed” comments that are planned, but well-timed comedically.
Demetri’s choice to incorporate drawing and other forms of art he enjoys in his set is – and has always been – bar none. Sure, iconic comedians have brought additional talents to the stage. (Acts like Bo Burnham, TIm Minchin, and others enjoy singing during their comedy acts. I’ll be watching Steven Martin’s doc soon, and have always admired his picking talents.) Demetri has always drawn representations of his jokes. His method includes charts, graphs, and tables, not-so-subtle reminders that his comedy is very unique.
I have to admit, I didn’t see subpar ventriloquy as the new trick in Demetri’s toolbelt I would enjoy. His spot-on impersonation of a demon from hell – and I have to specify that it is not the devil – was impactful because of its silliness and relatability.
Demetri is also known for using music in impactful moments. It is common knowledge/widely thought that he would play guitar and other musical elements throughout his sets so that executives at Comedy Central and elsewhere couldn’t edit his material to their liking for public airing. In this way, he kept more of his artistic integrity on jokes that were always widely family-friendly. Now, the threat of artistic integrity might not exist as much for Martin. But he does incorporate fun jazz beats throughout his set, giving impact to the punchlines and guiding the audience into a more relaxed and intimate-feeling environment.
While I don’t want to give away any big pieces of his set, I will say that this special commands your full attention. Jokes about Bitcoin, tic tac toe (brilliant, in case anyone is wondering), crowd work, self-deprecation, industrial strength scented trash bags, logistics, and well-known phrases can be expected. Lighting is artfully used to enhance his dramatic readings of hilarious, “mysterious” thoughts. And he accomplishes all of this while looking like – and having the energy of – someone much younger than himself.
If you love curious, intricate, silly humor that you can quote around (most of) your family, Demetri Deconstructed will accomplish this for you. Check it out on Netflix now.
If you’ve stumbled upon Liz Miele‘s latest comedy masterpiece on Netflix and are expecting a horror podcast to come to life, you might be reaching from – or into – the wrong genre. As horrific as some of her personal anecdotes are to people, I’m sure, Miele finds so much humor in her everyday life that she is able to make even a laundry mishap sound edgy and crucial to a set.
In a 2012 interview with Miele, I asked her what up-and-coming comedians she was most excited about. She rattled off a list of people she worked with. This list included Carmen Lynch, Nate Bargatze, Dan Soder, Rory Scovel, Ryan Conner, Jordan Carlos, Jermaine Fowler, Kelly MacFarland, and Myq Kaplan. Before many of them hit their true stride, she was cheering them on. I’m ready to watch each of them, in turn, champion her new special, as she has stayed so true to herself in her brand of comedy, yet exponentially elevated with each new comedy routine and standup taping.
What I love about a comedian so well-versed in their craft is how they can easily weave their inspiration into their work. Liz has effortlessly given space to her parents and their shared profession, her siblings and their mutual impact on each other’s lives, and all of the people and beings that are meaningful to her at this stage in her life.
Just when you think there is an established rhythm of jokes about her family dynamic interwoven with insightful commentary and the occasional birth order trope, Miele returns to cat-heavy storytelling. While this could otherwise drastically affect the momentum of a standup comedian’s set, it actually just re-confirms her status as a cat person. (Which I did note in my 2012 interview with: “Fair warning: She has a thing for cats.”) It’s a reminder – hilariously placed – of the single-mindedness most animal “parents” suffer from at times, and pulls in a demographic (animal lovers, cat people) that can relate to this stage work.
But the genius in the “cat work” is that she uses stories about her cats to propel her singledom (and willingness to date, change, etc.) into the forefront of the conversation. This expertly ties back to her modern dating jokes earlier in the set.
If you hang on through the credits – well earned, as they are – you will see the results of Miele’s intricate storytelling, a true testament to her authenticity. “I wrote an 11-minute joke about this whole process.”
Invested, talented, and deeply funny. Those are my takeaways on Miele’s character at this stage, with the release of Murder Sheets. Check it out now on Youtube.
