In a stirring testament to the power of ancestry and self-discovery, New York indie-folk luminaries Bandits on the Run unveil their most emotionally charged single to date, “You Are Not A Ghost.” This haunting anthem explores generational trauma, mental health struggles, and the quest for self-acceptance, marking a profound departure from their typically whimsical style.
At the heart of this profoundly moving piece is Regina Strayhorn’s raw dialogue with her past. The song serves as a spiritual bridge to her great-grandfather, Isaac Strayhorn, whose voice was violently silenced in 1940s North Carolina. “He was known as the town poet,” Regina reveals, her words tinged with both sorrow and pride. “I like to think that Isaac occasionally whispers lines he didn’t get to write in his own time into my ear.”
His gentle whisper crescendos into a powerful roar in “You Are Not A Ghost,” a song that doesn’t shy away from the darkness of depression and self-doubt but ultimately emerges as a beacon of hope and self-affirmation. Strayhorn lays bare her inner struggles, describing the song as “a wrestling match between feelings of deep sadness, tendencies toward self-abandonment, limiting patterns, deep self-love, and the awareness that to live freely in the here and now is my birthright and gift to enjoy.”
The raw emotion pulsates through every note, every lyric. When Strayhorn sings, “You are not a ghost / You’re blood and poetry,” it’s more than just a line – it’s a mantra, a lifeline thrown to anyone who has ever felt invisible or voiceless. Bandmates Sydney Torin Shepherd and Adrian Blake Enscoe add their own emotional layers, making the song both intimately personal and universally relatable.
In a particularly poignant verse, Strayhorn channels her great-grandfather’s voice:
“Isaac in the forties Was thrown into a pond Cement tied to his feet I feel him in my hands He asks me to be free To stop the spinning wheel Be big enough to feel Be big enough to feel”
These lines don’t just tell a story; they resurrect a silenced voice and paint a haunting picture of past injustices, their impact echoing through generations.
As the song builds to its cathartic conclusion, listeners are left with a profound sense of connection – to their own histories, to their present selves, and to the unlimited potential of their futures. “You Are Not A Ghost” is a spiritual experience, a reminder that we are all, in Strayhorn’s words, “blood and poetry,” alive with the power to rewrite our stories.
The tears in Regina’s eyes as she performs in their NPR Tiny Desk Contest entry serve as a poignant reminder of the real, lived experiences behind the lyrics. They bridge the gap between performer and audience, inviting listeners to share in the cathartic release of long-held emotions. This honest display of vulnerability not only highlights the band’s authentic approach to their craft, but also emphasizes the healing power of music, both for the artists and for their audiences.
In creating this deeply personal yet universally resonant piece, Bandits on the Run have not only pushed their artistic boundaries but have also offered listeners a musical lifeline – a reminder that even in our darkest moments, we are vibrant, we are alive, and we are decidedly not ghosts yet.
Nashville-based singer and songwriter Meg Elsier has released her new album spittake and it is no joke! Recently making her debut in 2023, spittake is an album she describes as an ‘introduction to herself’ as an up-and-coming indie-rock artist. The album consists of 11 songs and was made in collaboration with Ryan McFadden, a fellow Nashville-based producer. A fun fact is that most of the titles are uncapitalized with no spaces to stay true to their original demo names!
Elsier’s haunting voice is a wonderful contrast to the electric guitar and drums that build up her sordid lyrics. If her sickeningly sweet melodies don’t make you feel melancholy, then her messages will. Most of her songs are a self-reflection of her poor thoughts and actions, usually with a partner in mind.
My personal favorite of the album is “forlyleinsanfransico”. In this song, Elsier rambles on about how she is the perfect fit for a guy (or girl) and vice versa. However, Elsier admits that she is only human and has flaws that may affect their potential relationship. My favorite verse is:
I’d be your good girl But I do bad things And I talk dirty But I keep the house clean And I’d be funny But you’d be funnier And I don’t mind it I like second seat
My take on the whole song is that Elsier’s self-hatred and selfishness is preventing her from committing to a healthy relationship. As a sad girl myself, her lyrics are very relatable!
A handful of her songs are accompanied by music videos, all viewable on Youtube. In her last song “LA”, she is depicted as a white angel on an empty black stage. Other angels identical to her appear and a confrontation ensues. The song is a musing of her life if she ever moved from Nashville to LA. Elsier acknowledges that she wouldn’t trust the lack of cold weather, the high living costs, or how emotionally distant the LA people are. According to her, the harshest reality to accept would be that there are many artists just like her, implying she would lose her authenticity and ultimately herself if she ever moved to LA.
spittake can be listened to on all streaming platforms. You can also follow Elsier on social media. As for the rest of the year, Elsier is touring in her hometown Nashville Tennessee, and all along the East Coast– in Ontario & Montreal as well.
Mike Campbell is a classic rock veteran who’s never really gotten his due, at least in the eyes of the public. His musical track record is all over the map, as a founding member of the legendary Tom Petty & The Heartbreakers and a collaborator of other household names like Stevie Nicks, Bob Dylan, and Don Henley. This sort of throwback retro-rock sound pervades all throughout Vagabonds, Virgins, & Misfits, the third album of Campbell and his band, The Dirty Knobs. The band, composed of former Heartbreakers/Don Henley collaborators Steve Ferrone (drums), Chris Holt (guitar), and Lance Morrison (bass), began as a side project in 2000 for Campbell but became a full-time project from the dissolution of The Heartbreakers following Petty’s death. This is their third album after 2020’s Wreckless Abandon and 2022’s External Combustion.
Vagabonds, Virgins, & Misfits is musically defined by many of the same textures that defined the Heartbreakers’ sound: blues, rootsy country, and occasionally some hard-edged rock & roll. The album’s vintage vibes never attempt to reinvent the wheel, but that’s missing the point. Mike Campbell & The Dirty Knobs’ appeal is hearing a band of energized veteran musicians play the music they love without a care in the world, and it’s why the album succeeds on its own merits. Even if part of one’s affection towards the band may come from their own nostalgia towards the Heartbreakers and classic rock in general, it’s still a well-crafted piece of retro rock with consistently killer performances.
The best songs on the album are the ones where the band is firing on all cylinders, such as the loose and fast-paced rock-n-rollers “Shake These Blues”, “So Alive”, and “Don’t Wait Up”. They each have an irresistible groove with amazing guitar playing, and the band’s chemistry and individual talents all get to appear. Many tracks also feature a sound closer to the heartland rock played in the Heartbreakers, such as “Angel of Mercy” and “Innocent Man” and succeed as feel-good breezy songs that still have grit and muscle in their tone. I was even digging some 60s-inspired country songs that intermittently appeared, such as “Hell or High Water” and “My Old Friends”. Both provide enough changes in instrumentation (through a string section, harmonica, horns, and Americana staple steel pedal guitar) to work just as well as the more conventional rock songs. While Campbell’s age can show in some of his singing, it’s always off-put by the love and enthusiasm always shown for his work. The vocals are also helped by guest stars on the album, such as contemporary country star Chris Stapleton, fellow heartbreaker Benmont Tench, and Gen-X/boomer music maestros like Graham Nash and Lucinda Williams.
Again, some of the album can depend on your own feelings for classic rock and you may be more inclined just to relisten to Full Moon Fever instead. But even as an act that prides itself on older musicians and styles, Vagabonds, Virgins, & Misfits is an effortlessly enjoyable ride that’s built on a strong love for rock music.
As someone who’s been studying up in the DMV (shout-out George Mason!), I’ve been slightly aware of MasVusi, an active drag performer in the area. She’s certainly a remarkable figure in both her performances and trans activism, and when I heard she was releasing an EP, I knew it would be something truly interesting. Despite pride month having come and gone, it’s still critical to shed light on new releases by queer artists absolutely worth your time, and MasVusi’s debut EP i hope you like it and is a shining example of such.
The EP has been in the works for two years, with MasVusi describing it as a “true story of love, loss, and a coming of age where queer young people must choose between their own safety or the presence of their loved ones.” The songs are implied to be autobiographical in some ways, which makes the release more intriguing given it’s already quite confessional and honest, even without the prior context. The music of the EP contrasts the moodiness of the lyrics by mainly being an eclectic blend of several eras of dance music (likely also chosen because the genre is a staple in queer/drag culture). Musically, I spotted influences from flashy 70s disco (“Chaser ‘69”), early 80s synthpop/Italo-disco (“(the) Night Shift”), and modern EDM (“t4t”) throughout the record. Though that’s assuming those aesthetic/stylistic references were intentional and I’m not just being a massive nerd, anyway.
Immediately, the opener and lead single “Closet Blues” caught my attention with a thumping dance beat and a squelchy, groovy bass line. It’s a fun opener, and the lyrics set up the themes of late-night romance (and eventual heartbreak) in a way that still complements the funk. My favorite song from the EP was definitely “(the) Night Shift”, which really impressed me with its production. It has these dreamy and lush 80s-inspired synths, and the whole track just sounds gorgeous. I absolutely must point out MasVusi’s vocal performance because while I think the opener’s mixing could bury her voice, she really comes alive in this song specifically. She has great vocal range, and her voice can have a glammy dramatic quality that really soars during the more emotional, longing moments of the record.
The next song and second single “Chaser ‘69” (featuring fellow DMV-drag artist Queenie Iman Glamazon) continues in this throwback direction by incorporating synthesized strings and a four-on-the-floor beat. It’s intentionally campy to achieve the vintage 70s disco flavor the song is going for, which is reminiscent of Donna Summer or ABBA, and again succeeds because of the vocals and production. After that comes the most vulnerable song on the record, “Momma, I”. Interspersed throughout the track is a recording of the inside of a DC metro station, which makes the lyrics and entire EP seem more real and personal. This is because the audio juxtaposes against MasVusi singing earnestly at her most desolate and bleak, with the music styled in a jazzy piano ballad to match the tone. The lyrics of the middle three songs are the most downbeat, focusing on yearning, financial hardships, and loneliness, respectively.
Fortunately, the EP ends on a positive note with “t4t”, a fast-paced contemporary rave song. I believe the lyrics show MasVusi found her own happiness with the local drag/club scene she’s currently involved in, a sentiment that wraps up the EP nicely. As a debut release, i hope you like it (which, yes, I did) is bold and revealing while still being quite danceable and engaging, and it shows that MasVusi is a performer with something to say.
It’s Bootsy, baby! If you don’t know who Bootsy Collins is, you absolutely need to get the funk out of this site and do your research. (Actually, stay to read the review, then do some listening.) Funk legend, bass player extraordinaire, fashion icon, and outrageous personality Bootsy Collins has just released a new single, the title track of his upcoming 23rd LP, Album of the Year #1 Funkateer. As you can tell, I’m a huge fan of Bootsy’s work, from his time in the Parliament-Funkadelic collective during the 70s, his solo career, and his contributions to The J.B.’s, the backing band of funk godfather James Brown. Yet despite his six-decade-long career, he’s still collaborated with newer artists inspired by his work, such as Silk Sonic (Bruno Mars and Anderson .Paak), Childish Gambino, and Kali Uchis.
Admittedly, I had some reservations about going into the new single. Many legacy artists, when releasing a new project, get cold feet about their current abilities and try too hard to update their sound. Whether it’s through auto-tune or trying too hard to capture a more modern style out of their comfort zone, there are lots of pitfalls that many older musicians willingly jump into when recording new material. Thankfully, I could rest assured as soon as the song started, as it led into a funk jam worthy of anything from the genre’s golden age. Musically, it fit right into the same sort of P-Funk bangers that made albums like Mothership Connection so tight.
All great funk depends on the band’s chemistry in keeping the groove and rhythm going. Obviously, Bootsy would know this as a genre pioneer, and the new single totally exemplifies this idea. The bass playing is squelchy and wobbly in a way that keeps the music bouncing, and the horn section is killer throughout. Admittedly, the production can have a bit too much of a pop-music sheen to it, and it prevents the synthesizers from getting freaky in a way that Parliament’s synth solos did, but it’s only a mere nitpick. I’m glad that Bootsy himself doesn’t sound too overproduced, with some minor polishes to his voice. His infectious personality still gets to shine through. However, he takes a backseat to let the backing vocalists and musicians shine, and the song is all the better for it. I especially liked guest vocalist Myra Washington, with her voice and personality bringing up memories of classic female funk vocalists like Betty Davis or Chaka Khan.
If you have the slightest bit of a taste for classic funk, this single is a total no-brainer. Bootsy Collins shows that, even at 72, he can still bring down the house with a funky jam like “Album of the Year #1 Funkateer”. Even if the upcoming LP isn’t our “album of the year”, he remains one of the most legendary funkateers. Album of the Year #1 Funkateer is out Oct. 25 via Bootzilla Records/Equity Distribution.
I’ll always jump at the chance to review music in my local area, so getting to write about DC-based indie band Pretty Bitter was super exciting. The band, (composed of vocalist Mel Bleker, bassist Miri Tyler, keyboardist Zack Be, guitarist Chris Smith, and drum-ist Jason Hayes) formed during the late 2010s and have released two albums, 2019’s Patchwork and 2022’s Hinges, with a third currently being scheduled for some time later this year. Their sound is self-described as “queer alternative emo dream pop-ish”, which is probably a fair way of putting it. Listening to some of their previous songs gave the impression that the band has eclectic tastes and doesn’t want their sound to be pigeonholed, especially considering the immense talents each member has. It seems inspired by a plethora of alt-rock sounds, namely dense pedal/feedback-heavy psychedelia (or shoegaze, if you’re annoying) with occasionally some distorted garage-rock guitars or danceable drumming and bass playing. For a band that’s still young, I appreciate their desire to keep listeners on their toes by having a decent range of playing styles.
Their newest single from February, the grimly titled “Roadkill”, is a great showcase of each member’s abilities and chemistry with each other as they make the track into a total gem. The vocals are bursting with confidence and enthusiasm, even when they’re occasionally buried by layers of guitar and synthesizer effects. Speaking of, the band continues to mix and match styles by incorporating some bubbly new wave-y synths that really pop, and keep the song fresh. The aggressive, relentless energy provided by the guitar, bass (wonderfully gritty during the bridge) and especially the drumming, which never seems to slow down for even a second. It complements the angst and frustration present in the songwriting, with lyrics that are personal and confessional like a lot of Pretty Bitter’s other work. Yet it’s still fresh and inventive through the band’s abilities and their commitment to not fully repeating themselves.
I’m glad I could write about Pretty Bitter, as the band is absolutely a shining star in DC’s growing local music scene. They have potential and musical expertise in spades, and seeing their further growth and evolution will be a joy to witness.
