If you’ve been looking for a new track with light as a feather vocals cascading over stunning – yet simplistic – guitar and piano, then Emily Frembgen‘s bittersweet new “He Held Onto Me” will be just up your alley. Truly a blues song at its core, Emily has recognized its topic as something highly relatable.
“He Held Onto Me” is obviously about some kind of relationship ending. I remember writing it really quickly as I was rushing out the door, it was a feeling that I urgently needed to express. I’m real proud of this one & Hugh Pool and Brian Mitchell’s evocative instrumental touches are so perfect here. I’d say it’s a good way to close a breakup album, wouldn’t you?
A song that almost relies on the silence between the notes for impact, “He Held Onto Me” is a sweet whisper of a song that will bring back feelings from loves past, if you choose to let it. Experience it for the first time below!
Bo Armstrong was just as captivated as the rest of us when he viewed the Billie Eilish documentary earlier this year. So much so, that he chose to cover “When the Party’s Over,” an already devastatingly beautiful and heartbreaking song. His version of the song takes a more delicate hold than even Eilish’s, building slowly with the introduction of each new instrument. The sadness is palpable in his vocals, as he reflects on the subject matter and its devastating impact.
I lost someone else to suicide a few years prior, and my response was somewhat similar —it’s just hard to feel anything but helpless. But after watching the movie —and hearing those first few notes of “when the party’s over” over and over again in my head —I had the idea to record a version of the song and use it as a tool to help me raise money for organizations that are working to promote mental health awareness and prevent suicide. It felt like it could be a way for me to not do nothing.
We are going to be sitting in the corner with our goosebumps, surrounded by his gorgeous voice.
The world very largely feels like it’s falling apart at this time. During moments of darkness, we search for the light. We crave creativity. We rely on authenticity. And – while it can often feel overwhelming to seek the good – artists are ready to provide us hope, beauty, and escape. This feels especially true with the captivating glam rock project Tony & The Kiki, which just released the lead single and music video for their upcoming EP. Fronted by the talented and charismatic Anthony Alfaro, Tony & The Kiki truly captures your attention with a vibrant individuality and keeps you going with a message of inclusivity.
“Extra Express” is an anthem for the ages. With an energy that can get anyone up on their feet, the track boasts fantastic, wide-ranging vocals, and enough edge to really breathe new life into your day. The video is entrancing, depicting Alfaro with a backdrop of bright, flashy colors and images as a call to authenticity oozes from every facet of production. We’re big fans of the fashion, big fans of the energy, and insanely fond of this video.
We were lucky enough to ask Alfaro a few questions during release week.
Do you think where you’re from has any bearing on how you create?
Oh absolutely! Queens, New York is unlike anywhere else in the world. A stone’s throw from my childhood home is the most diverse section of THE PLANET. The most varied collection of cultures, races, languages, ethnicities, and nationalities in one single area. I pride myself on being an eclectic artist. While yes, rock and roll is my mother tongue I draw inspiration from all genres, mediums, and cultures, and I’d like to think that comes through in the work. My mom is a real-life disco queen and salsera and my dad is an incredible DJ who would mix Grandmaster Flash with Zeppelin back before mashups like that were en vogue. This kind of variety and culture clash is in my blood, my voice, and therefore my artistry.
I’m so glad you’re bringing flare back to rock. Big look, big voice, big vibes. What has been your favorite part of the journey creating this EP?
Ay Gracias, mami! Yeah I think the second we abandoned the crippling responsibility of being “cool” things really started to crystalize and get exciting for all of us. We’re an honest to goddess pack of weirdos and mystics…and instead of trying to be trendy and sexy for the masses we’re leaning into our queer, diverse, funky energy. Frankly, that’s been deeply liberating and joyous. LONG LIVE THE FREAKS! And F*** BEING COOL! Cool is boring and sterile… the absolute antithesis of what rock n’ roll is. Ain’t nobody got time for that no more!
What was it like recording at the storied Dreamland? Did you draw inspiration from Woodstock at all, or were you pretty sure of the direction it was all going in beforehand?
Well …we were on a tight and ambitious schedule so we had to arrive ready to slay the house down boots, mamá. On the other hand, Woodstock and that good chill hippie energy has always been a source of inspiration for us… the peace & love & vibes of it all. So I’d say we had a clear plan of attack but left some room for the delicious brand of magic that is so abundant up at Dreamland. Using their varied, vintage instruments (toy piano, guiro, Moog Synth etc.) and their mystical acoustics as yummy layers to add into our cauldron. Once we got the crux of what we needed we definitely got to play around and experiment. It was unlike anything I’ve ever experienced as an artist. A true playground. Or in our case …a witch’s potion lab (cackles in Spanglish)
The message in the song “Extra Express” is so important, and it is such an anthemic blessing right now. Was there a moment that triggered you into writing it specifically?
Thank you for saying that, mi amor, we think so too! A specific moment? No, mama. Our whole gay lives led up to the creation of this song. People like myself and my bandmates Max Vernon and Rodney Bush have been out here and queer for years and feel a great sense of responsibility for the legendary children that have and will come after us. They need something to listen to and be like “oh, yeah…that’s mine, that’s for me” This song is for them first and foremost.
The music video for “Extra Express” is like a kaleidoscope. Where did the vision come from?
The Extra Express has always been like a psychedelic, queer, rock n’ roll cousin of The Magic School Bus and in this case I’m Miss Frizzle (LOL) and the listeners are my class of students. We wanted to evoke the vibes of Dorothy landing in OZ or Alice plopping down into Wonderland. We set out to create a portal into the land of THE KIKI, with all of its vibrant queer magic and electric, colorful vibes. An invitation and a welcoming.
What a FANTASTIC reference, especially for millennials. (I am SO pleased!) What do you hope fans glean from your music, in general?
I want our fans to be invigorated and vibrationally lifted by our music. We want to provide an antidote to all the heaviness that can come with living life in the 2020s… a warm sparkling hug; a fabulous coven, welcome to anyone who needs a good Kiki. Er’body is welcome here, mi vida… we are raising the vibes and getting asses shaking! Come thru!
Do you have anything else to share with your new bevy of fans?
Yes! I’d like to say “Hola Mi Kiki, Welcome… we see you, we’re here for you, we honor you, and we love you… f*** the haters and do you bb! Life is meant to be LIVED! Fasten your seatbelt cause it’s time for lift off… the new age is now! Vamos!”
Also follow us on IG and TikTok @tonyandthekiki and subscribe to our YouTube Channel for more funky glam rock brujería heading your way. xo
Video Credits: Wardrobe by Max Vernon, David Quinn, Anthony Alfaro Makeup by Max Vernon Hair by Anthony Alfaro Choreography by Anthony Alfaro Song Credits: Track Produced by Max Vernon Track Mixed by Lloyd Kikoler Track Mastered by Ryan Smith of Sterling Sound
If you thought that new music hit a plateau this summer while you were taking some time off and really trying to find a self-healing routine… I’m sorry, but you’re wrong. Gritty, raw, beautiful music has continued to be created and released at a clip we almost can’t keep up with. So check back all August long to hear our favorite new releases of August, and be sure to “like,” “follow,” and “add” your favorites!
Talented pop-tinted duo Flora Cash recently announced the upcoming release of their album, our generation, in late October of this year. Along with that announcement comes the premiere of their latest single, a haunting track titled “We Use to Laugh/9 to 9”.
The pair is privy to the overarchingly sad effect the song has on people. After all, this single has a bit of a melancholic subject matter to it, outlining the heartbreak that Shpresa has experienced. “That moment you realize everything you thought you knew about somebody was a lie. Sadly, it’s a feeling a lot of us have experienced. In many ways this song describes a sober, honest reflection on a relationship defined by narcissism and manipulation.”
Reflecting back on memories within an unhealthy relationship can be a difficult thing to do, however much easier when you find people who can relate and survive their own memories alongside you. Check out the new single below.
In 2020, we all experienced a new circle of hell. In 2021, we are learning to live with that new “normal,” but we don’t have to sacrifice great art to do that. In fact, our creative endeavors are getting more exaggerated, more incredible, especially if the music video releases of August are any indication. With new videos from Seether, Shakka, Southern Avenue, Amiyelle, Neal Francis, and more, this soundtrack is absolutely going to hold a few defining 2021 tracks for you.
Peep our collection below, and check back throughout August and beyond for more additions from this month in 2021!
Anna Hamilton was the newcomer most hadn’t been acquainted with, winning a contest to open for Dermot Kennedy as a local act. A Kansas native and one of 12 children in her family, Anna’s music dripped with bits of nostalgia and hopeful thoughts for the future. It was also an insanely beautiful experience, her sweet-as-honey vocals accompanied only by a guitar. It was mesmerizing.
By her third song, we caught a glimpse at specificity in a track about a boy that left her for a city – “Me For Barcelona.” The song had never been played in front of a live audience before and is not currently available, but is open for preorder via her link in bio at clever Instagram handle @a.ham.sandwich. Her fourth trach was about leaving Kansas to pursue her singing career in Tennessee, something so many artists struggle with. She has clearly found a safe haven and inspirational options in her relocation, as her last track – “Self Help” – was realized so early on. Of the track, she admitted that it was about taking care of yourself before allowing others to benefit from you. “You need to be 100% before your cup overflows and they can receive it.”
Bishop Briggs emerged, energetic as ever and donning a leather jacket on a pretty balmy night in the midwest. It was shed quickly, to reveal skeleton-printed fingerless gloves and delicate tattoos dancing across both forearms. The first time this town got acquainted with Bishop, she had barely edged into the world of tattoos. Now, you find yourself mesmerized by them as she jumps across the stage with every robust, belted line.
An artist that truly allows you to feel the songs with her, Bishop has cultivated a fandom that spans generations, cultures, and ideals. Perhaps the show’s littlest attendant – a young man no older than 10 or 11 – could be found belting out lyrics and clapping in time with his family during the intense track “Hi-Lo (Hollow)”. Her set included “Someone Else,” “Darkside,” and her most recognizable hit, “River”, among others.
August 7, 2021 was my first show back. Back, from where? Who even knows? While the pandemic rages on, I wonder, more often than not, if leaving my house is even worth it. But I’ve been enjoying – and producing – livestreams and digital concert experiences since COVID-19 took SXSW 2020 from us all, and I knew the joy that came from that massively sustained me over the last 17 months.
The first time I saw Dermot Kennedy was in a church off 6th Street in Austin, Texas during SXSW 2018. I chose to spend the evening with a handful of friends from my hometown, wandering into shows and experiencing new acts to write about and photograph for the (still new) site. But something about Kennedy’s vocal delivery – the vulnerability and intensity with which he delivered some of the most emotionally charged lyrics I’d ever heard – made me forget I was trying to compile content for the site at all. A handful of distanced, “between tall guys’ bobbing heads” photos happened, but the music was so compelling that I spent an embarrassing amount of the set with my eyes closed, or staring up at the vaulted ceilings, marveling at the magic that music creates, and the magic from which it is derived.
When SXSW 2020 was canceled, I decided to make the quick, 4-hour jaunt to St. Louis to see Kennedy. Within a couple of days, the tour was indefinitely postponed. COVID-19 set in, and March saw stages around the world shutter. Deafening silence. And while artists tried to keep the spark alive with their multi-dimensional at-home creations, new directions, and interactive experiences, there was just something missing. That spark that live music incites, the way it can make an entire room feel like it’s on fire, hearts dancing in unison. As someone who once took for granted a 2-5 concert per week schedule, I began to feel lost in a sea of digital analysis and curation. I am humbled by the art that has come from our time locked away, but it never had the energy of a live show.
By the time I realized live music was coming back, Kennedy had sold out his St. Louis reschedule. And his Red Rocks performance. I spoke with a friend who was going to work with me on getting tickets in Wisconsin, which would be my saving grace for his tour since Kennedy was no longer appearing on the postponed Bonnaroo lineup (because of touring conflicts). But my sister happening upon a radio tour announcement a couple of weeks before her big move to Los Angeles and a random discussion that occurred a half-hour before tickets went on sale for the Kansas City stop made it all possible. Me – the woman who often feels jaded by the industry, especially for how little people truly rallied for the arts through this dark time -, I allowed myself to finally get excited about an event. I had something to look forward to that I knew could help me heal.
And still, I wondered, could I possibly stand in a crowded venue again? Could I find joy in the music – the one thing that makes me feel like I have my head screwed on straight on a daily basis – amidst a crowd of maybe-vaxxers from the midwest? (That wild, wild midwest that we have come to know as a largely “denying science” crowd.) I spent days before this show panicking about everything. Would there be space to spread out? The show wasn’t entirely sold out, the venue was more intimate, it couldn’t be too insane. Right? Would I melt in my mask? Would my friends be comfortable?
I almost had no words to explain how it all felt. Sure, I annoyed my +1 (Hi, mom!) and a couple of friends (I see you Anjelica and Kevin!) with some fears about everything. But, I was mostly entirely back in my element. As an observer, an enjoyer. I ensured we got pretty good spots to watch the show, over by the rail on the right side next to the stage. Dermot Kennedy’s Kansas City (Missouri) leg of his Better Days tour was officially sold out at the Uptown Theater, however, there was substantial space on the sides of the stage to ensure that we felt comfortable. I did some people watching like I used to. (I’d like to think that people couldn’t handle their liquor because they hadn’t imbibed at that level in a while, but who knows?) And, truly, I spent the majority of the evening belting out lyrics behind my mask, staring up at the shadows dancing on the ceiling, really indulging in the collective atmosphere of it all.
Set List: Lost Power Over Me All My Friends An Evening I Will Not Forget Outgrown The Corner Rome For Island Fires and Family Outnumbered Better Days Moments Passed Glory Giants Encore: After Rain Without Fear
Thank you to Anna Hamilton, Bishop Briggs, and Dermot Kennedy for “an evening I will not forget.” (I know I’m the first one to use that reference, of course.) I can only say that it helped to inflate my sad, darkened, emo heart. So perhaps I’ll Grinch less for a while. 😉
Anna Hamilton and Bishop Briggs thoughts + photos to come.
From the first haunting chords of the intro track “Home” to the last, intimate notes in sixth song “Strange Fruit,” singer-songwriter and producer Naomi Westwater’s beautiful new EP Feelings delivers just that: Feelings with a level of palpability unlike other albums provide. The topic of “Home” is less relatable, as Westwater sings specifically of her personal struggles with endometriosis and its accompanying reproductive issues. And while the second song “Feeling My Feelings” began in the same realm topically, it slowly developed into an anti-violence track. “Reflecting on the song now, I think it is also a haunting mirror to gun and police violence. It’s for those of us who feel our pain and feelings are ignored by others,” she admits.
“Commune” keeps to a slow, danceable clip, while Westwater observes her own spirituality and how it is defined in her life. Her vocals are absolutely magnetic, just like the way she leans into her own spirituality. While “Strange Weather” launches into a discussion on climate change, it does so in a beautiful and poignant way, never straying from the overarchingly soulful power of the collection. Explains Westwater:
This project felt like a storybook, like a complete collection of things that I’ve been meaning to say to the world, things I need to scream out into the void, and things that I need people to hear. These songs were all written at different times: ‘Strange Fruit’ in the 1930s, ‘Americana’ in 2012, and the others in the last few years, but the stories are so relevant to now.
