If you haven’t heard of Paper Suit, you might be feeling a little left out right now. But the fact of the matter is, Paper Suit is just now being brought into the fold. Launched just last month, the five-artist collective is a collaborative project between internet friends who also happen to be rappers. Together, they blend their styles, intonations, and perspectives to make this a beautiful and fun experience for all.
We sat down to get to know the guys recently, and it inspired an interview series. Tune in to part one below, and let us know what you think of the new project on Instagram!
Petoskey, Michigan bred folk-rock quartet Michigan Rattlers – expertly comprised of Graham Young, Adam Reed, Christian Wilder, and Anthony Audia – is probably showing up close to you sometime soon. They mounted a three-month tour in February, and don’t show any signs of slowing down. We got a few minutes to catch up with lead singer Graham Young ahead of their March 12th show in Kansas City.
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Was there a moment when you realized you wanted to pursue music as more than a hobby?
Graham: I feel like I’ve always kind of been somebody that goes all in. When I was a kid, probably between the ages of 5 and 11, I played hockey and I was going to play in the NHL. It wasn’t just for fun.
Then I got a guitar for my 12th birthday and I’ve seen some live ACDC videos. I needed to get a guitar because that’s what I wanted to do. I needed to be in a band and play a big stage and be a guitar player. So it was kind of like, from the moment I started it was all I wanted to do. And do it seriously.
It really was never a hobby to begin with. I went in full steam ahead.
That’s incredible, to just know in your bones. You found your people pretty quickly too, yeah?
Graham: I grew up in a small town so there weren’t that many kids and people around. Seemed like I got a guitar and Tony – everybody that’s in the band now – we’ve all been playing together in some iteration since we were 12 or 13 years old.
Part of it too, where we grew up the school band program was pretty intense and pretty respected and we were all part of that. Kind of going to school every day and playing music and learning different instruments. Saxophone was my first instrument. All the other guys played percussion. You’d go to the band room every day from 6th grade to 12th grade and play that. Then after school we’d kind of do the rock band thing. Playing music together was always part of what we did.
I’m just happy your region had resources to be hard! That’s amazing. Over the years – and maybe even more recently – how have you noticed your music shift and maybe your approach to it?
Graham: When we first started the band it was really a bunch of songs I had written by myself in my bedroom. It was just me and a guitar. That was kind of where it started, then as personnel expanded and instrumentation expanded, you just kind of are able to do more things. It was kind of a natural evolution in terms of how we create the music, what it sounds like. And there’s a little bit of an audience too. It’s not something you like to think about, but it does certainly factor.
When you think about creating this body of work, I feel like we are far enough down the road a little bit – almost like 10 years – and you can kind of get a bird’s eye view of where we were and where we’re going and kind of take that into consideration.
I did feel more connected to this third album. It is such a journey, is there a particular song on this release you identify with the most or have a story about?
Graham: Good question. I mean, all of them. For us, as a band, I think it’s true that this third album does feel kind of like the first album that we really made in the way that we wanted to make it. We really took our time with it, with the songs. Some of these songs started in Covid, 2020, 2021. It took years to kind of shape them in these different ways.
The title track, “Waving From A Sea,” is pretty important to me. In the past I didn’t do a lot of rewriting. I was kind of just like “This is how it is.” But with “Waving From A Sea,” we were in Burlington, Vermont on tour and had a couple of days off. I was sitting in the Air BNB and had a moment. I had the guitar out and was flipping through some notebooks and just fell upon some lyrics from… I don’t even know how long ago I’d written them. And it was kind of like a verse. And I was like, “Well, this is pretty sweet” and then just started messing around with it. So it was a process of finding these old bits I’d completely forgotten about and working with them. It kind of sparked this new feeling to just take these and run with them. So that was that song.
And “Heaven,” sonically and phonetically, was one of the touchstones for this album. Just the bigger, more filled out sound with the synths and guitars. And the idea of just kind of not living in this weird, nostalgic past and not being in this anxious, uncertain future. Just telling yourself; “You’re living right now and your life is going to be over soon, you’re going to be really pissed that you missed it.” You’re here, in Paris, with a beautiful lady. So let’s live here and not worry about what’s coming next. So that was kind of “Heaven.”
The little spoken outro was something too. We got some gear this time so I was able to do some recording and demos on my own. We had kind of been going in and out of the studio here in Nashville. I was just at home and I felt like there needed to be something at the end. So I was messing around with this weird spoken, half sung thing that I would have been way too embarrassed to do in the studio with everyone else just watching me try this thing. Since I was by myself, I was just having fun. And I was like, “Oh shit, this is actually pretty sweet.” So I was able to take a chance and if it sucked, I was the only one that knew about it. So that was kind of a fun piece of it.
It turned out so well, too! What a lesson in confidence. Speaking of “Heaven,” how did the concept for the video come about, or do you have any stories from set?
Graham: The “Heaven” video was directed by my girlfriend, Ally Bernstein. And then her friend and our friend, Shelby Goldstein who has taken a bunch of photos for us over the years. We were doing things on this album we hadn’t done and we wanted to create this world visually too. We knew “Heaven” was gonna be one of those singles and really it was just kind of Ally and Shelby who came up with the concept of it.
Kind of in tandem, though, we shot “Heaven” and “Gridlock” on the same day in the exact same spot. We didn’t have a ton of money, we shot it in LA and Shelby had some connections. It was a whole crew, it was a real deal production which was really fun. We did the “Heaven” video around 11am and finished at 4pm. And then we reset and did “Gridlock” after that. So they are kind of connected in this way where it’s kind of “Heaven” and then “Gridlock” kind of descends into this dark red, hellish vibe.
[The “Heaven” video] was fun [to make]. It’s easy to have fun when you’re playing, it’s a little strange when you’re lip syncing and dancing around and trying to vibe out in front of the camera with a bunch of people watching.
You are NOT wrong! Michigan Rattlers are stopping thru KC on March 12. Anything you’re looking forward to?
Graham: We’ve been to Kansas City a handful of times. It’s one of those places where it took a couple times to feel like we had kind of broken through in a certain sense. The last time we were there was definitely the best turnout. But yeah, Kansas City was fun. I feel like we always go to Arthur Bryant’s, so done that 2 or 3 times. Everywhere we go we try to find good food and a bookstore or something.
Fantastic! Now, you all started tour already and you’re going through, more or less, the middle of May. How did you prepare yourself for that?
Graham: I feel like I’m still preparing, we’re still figuring it out. We did a lot of rehearsal. Outside rehearsal, you just have to do it live and figure it out. We have been touring for a while, so we kind of know what we’re getting into with these long stretches. It has been a while, we didn’t do much touring last year at all. This is the first time in a while that we have really hit it hard.
You just take it a day at a time and you try to treat it like you’re waking up and doing it at home. Don’t treat it too differently. Find the little things to make yourself comfortable.
Any items you have to have with you on the road?
Graham: Healthyish bars, protein bars, things like that. Can’t snack on Chex Mix all day long. You gotta have a water bottle and some vitamins.
Good! We take care of ourselves! I’m proud of you guys.
Graham: It’s been about a decade. When I was 20, we weren’t as conscientious about being healthy. And we have so much more gear now. Back in the day, it was a couple guitars and a bass. SOundcheck took 15 minutes. Now, it takes almost 2 hours to load in, soundcheck. It’s a little more physically intense than it used to be so you have to prepare yourself and be able to just do it. It’s not just oplkaying the show, you’ve got to be in shape enough to do the other things. Otherwise it’s truly miserable.
If you could be any superhero… or have a specific power, who or what would you choose?
Graham: Umm I’ve always kind of been drawn to Batman. He’s just a regular dude that’s trying his best. I mean, regular, filthy rich guy. He’s just kind of like a weird guy doing his thing.
A superpower? I think being able to hold a book by the covers and absorb everything that’s in the book. Like, all at once. That would be incredible. It would save a lot of time.
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Michigan Rattlers play Encore at the Uptown Theater on March 12. Waving From A Sea is out now. Check out the “Lilacs Bloom” video here.
Brooklyn-based indie pop collective The Davenports – masterminded by multi-instrumentalist Scott Klass and a rotating cast of artists – has been riding high off of critical acclaim over their fifth album, You Could’ve Just Said That, and for good reason. Klass’ mastery of the production process – from concept to recording and mixing – is on full display, as it is the first release charmingly self-recorded at home. This allowed him to really do whatever experimenting and manipulation he wanted to with the tracks, resulting in a powerhouse audio adventure.
Today, The Davenports focus on the release of their official music video for “We Know We Want To.” The song itself? A layered, stripped down-yet-sweet confection for the ears, calling for simplicity and honesty. Explains Klass of the track:
This is essentially a love song, but with a polyamory spin, based on a story I heard. I don’t know how common it is. Two people were part of a friend group that believed strongly in polyamory, and it just stopped working for one-half of that couple. They loved their primary partner and reached a point where sharing was painful and stopped making sense. It was pretty heartbreaking to hear about how they just put up with it for a while, just fighting their truth. It’s a question about the balance between your honesty and your principles in situations where the two might not be aligned.
The refrain: “It’s principle we all have sold / that one-on-one is tired and old / let’s put the party line on hold…and hold each other like we know we want to.”
When it came to the official music video for the piece, Klass knew he wanted to work with Mount Emult, who he has worked with previously. The artist creates gorgeous collage-style stop-motion by hand that “blows everyone away.” And Klass’ praise is not wrong. The video was pieced together so masterfully, there’s a sense of magic, nostalgia – and the simplicity the song is asking of us – to it all.
“I wanted someone great to interpret it their own way,” explained Klass. “This is essentially a love song, and the rush of imagery is, to me, as fitting of the rumination related to heartbreak as it is a visual juxtaposition to the song’s theme.”
You can get your first peek at the video for “We Know We Want To” here, now.
Keep up with The Davenports on Instagram, and pop some of their tunes into your library.
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.
Dick Prall is a sentimental man. The Iowa-based indie rock singer-songwriter has been going by the nickname his mother affectionately knew him by, Dickie, for the last decade as he’s unraveled his genius on the world. His talents have led him in a variety of directions musically over the last few years, but the same heart is at the center of every piece.
Dickie’s latest offering, Head Full of Hiss, is an EP that is equal parts honest and beautiful. The first track “Shakes You” is the piece’s gorgeous new single, and we are absolutely enthralled by it. The almost five-minute song is soft and folksy in its presentation early on. This allows you to be humbled by the man’s incredible vocal range.
At 2 minutes and 40 seconds in, the instrumentation becomes bolder and more drawn out. The song is from an observer’s perspective, identifying strength in another person. Wanting to emulate someone is such a bold form of flattery, but it is also a self-acknowledgment that there is room for improvement. And while the lyrics are a bit vague at times, there is a strength to it all that give this song strength to the ever-present, supportive, affirmative line “No one ever shakes you.” It feels brought to life in this moment, a song cut in two, a journey with a definitive “before” and “after.”
Dickie’s thought-provoking music is heartfelt, layered with emotion and raw talent in a unique and, honestly, addictive way. The new EP feels like the right listen at the right time.
“Shakes You” is now streaming everywhere you listen to music!
If Spiderman is yelling at you and insulting you right before you go on stage, what is your response? Punk rock band The Vandals chose to have a discourse with the front-row troll shortly before their set on Sunday, and then proceeded to show him — and a giant crowd — that they were still entirely as full of vim and vigor as they were when they started in 1980. Epic performance by an incredible band.
Setlist Take It Back Cafe 405 It’s a Fact Urban Struggle Live Fast Diarrhea N.I.M.B.Y. An Idea for a Movie The Legend of Pat Brown People That Are Going to Hell Anarchy Burger I’ve Got an Ape Drape And Now We Dance Oi to the World My Girlfriend’s Dead I Have a Date
The headline says it all. Riot Fest 2024 was an absolute blast, but the Laura Jane Grace and Catbite set on Sunday was a highlight. The two incredible acts teamed up to bring their musical prowess to a crowd that was ready and capable of belting out endless Operation Ivy songs. (Twenty-three, to be exact.)
We grabbed some incredible photos of their mid-day set – during, truly, the most beautiful part of Sunday – below.
Setlist Knowledge Sound System Jaded Take Warning The Crowd Bombshell Unity Bankshot One of These Days Gonna Find You Bad Town Smiling Caution Freeze Up Artifical Life Room Without a Window Big City Missionary Here We Go Again Hoboken Tellin’ in My Ear Healthy Body Officer
laura jane gracelaura jane gracelaura jane gracelaura jane grace
Richmond-bred heavy metal outfit — and our Lords — GWAR took the stage on Sunday to an excitable crowd at Riot Fest 2024. While the rain had died down for the day, people closer to the pit donned ponchos and rain gear. This wasn’t because of the forecast, but because of the GWAR juice that the band is known for, this time in the form of blood immediately raining down at the beginning of their set.
These guys are some serious fun. Highlights below.
