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.
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.
Ohio-bred indie folk outfit Oliver Hazard swooped through Kansas City last night, lighting up the stage at recordBar — quite literally, with their backdrop and Edison bulbs. The trio brought their melodic magic to a captivated crowd.
To note, it was an audience of mostly Gen Z, carrying Nikon point-and-shoot cameras to capture their memories in a wholesome, “old-fashioned” way. It was a delightful way to spend an otherwise uncomfortably warm Wednesday evening, as the band rolled through their catalog and spoke of singing the national anthem at a Royals MLB game. (You know, as one does.)
Catch Oliver Hazard on one of the upcoming tour dates!
Oliver Hazard Tour Dates: Headline dates June 27 – St. Louis, MO – Blueberry Hill Jul 26 – Jul 28, 2024 – Newport Folk Festival* August 2 – Bozeman, MT – Sweet Pea Festival* August 16 – Huber Heights, OH – Rose Music Center^ Aug 17 – Waterville, OH – Oliver Hazard Day*
w/the 502s Sept 3 – Burlington, VT – Higher Ground Sept 5 – Huntington, NY – The Paramount Sept 6 – Portland, ME – Aura Sept 7 – Baltimore, MD – Baltimore Soundstage Sept 8 – Cleveland, OH – House of Blues Sept 10 – Louisville, KY – Mercury Ballroom Sept 14 – Charleston, SC – The Riviera Theater Sept 15 – Charleston, SC – The Riviera Theater Sept 16 – Asheville, NC – The Orange Peel Sept 18 – Athens, GA – 40 Watt Club Sept 19 – Raleigh, NC – The Ritz
Headline dates Oct 16 – Toronto, ON – Horseshoe Tavern Oct 17 – Syracuse, NY – Funk ‘n Waffles Oct 18 – Concord, NH – Sound and Color Festival* Oct 19 – Hamden, CT – Space Ballroom Oct 20 – Cambridge, MA – The Sinclair Oct 22 – Philadelphia, PA – World Cafe Live Oct 23 – Brooklyn, NY – Music Hall of Williamsburg Oct 24 – Washington, DC – Union Stage Oct 26 – Lexington, KY – The Burl
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.
“Is it just me or is it everybody sitting outside with their house on fire?” The Greeting Committee asks in their latest single “Cyclical,” released just days before their new album “Everyone’s Gone and I Know I’m The Cause”. The song doesn’t just dip its toes into difficult waters – it dives in headfirst, delivering a poignant and introspective look at the complexities of family dynamics and personal healing.
Frontwoman Addie Sartino’s ethereal vocals float over a deceptively gentle musical landscape, creating stark contrast with the song’s weighty themes and mirroring the often quiet, internal struggle of dealing with family issues, often kept hidden, simmering beneath a calm surface.
The lyrics paint a vivid picture of helplessness in the face of familial destruction, capturing the universal feeling of watching a loved one spiral while feeling powerless to help. Sartino herself describes the song as being about “being stuck in a horrible cycle.” She adds: “It’s me seeing a pattern and doing the brave and hard thing by cutting certain habits or people out of my life. It might suck, but that’s what growing up and healing is.” This candid explanation offers a glimpse into the personal nature of “Cyclical,” but also highlights its universality. Who hasn’t faced the gut-wrenching decision to step back from a loved one for their own well-being?
“Cyclical” showcases The Greeting Committee’s evolution as artists. They continue to move beyond the realms of typical indie rock fare to tackle complex, emotional territories with grace and unflinching honesty.
For listeners who have walked similar paths, “Cyclical” may serve as a cathartic experience – a validation of difficult decisions and complex emotions. For others, it offers a window into the often-overlooked perspective of those who must prioritize their own healing, even at the cost of watching others struggle.
In the end, “Cyclical” is a testimony to the strength it takes to break harmful patterns and the bravery required to choose oneself first. The Greeting Committee has created not just a piece of music, but a companion for those on the difficult journey of healing from family trauma.
Tour Dates: July 9 Atlanta, GA @ The Masquerade Hall July 10 Carrboro, NC @ Cat’s Cradle July 12 Washington, DC @ 9:30 Club July 13 New York, NY @ Bowery Ballroom July 16 Philadelphia, PA @ World Café Live July 17 Boston, MA @ Sinclair July 19 Toronto, ON @ Velvet Underground July 20 Lakewood, OH @ Mahall’s July 21 Columbus, OH @ A&R Music Bar July 23 Minneapolis, MN @ Fine Line July 24 Chicago, IL @ Bottom Lounge July 26 OKC, OK @ Resonant Head July 27 Fort Worth, TX @ Tulips FTW July 28 Austin, TX @ The Mohawk July 30 Phoenix, AZ @ Crescent July 31 San Diego, CA @ Voodoo Room House of Blues Aug 2 Santa Ana, CA @ Constellation Room Aug 3 Los Angeles, CA @ Teragram Ballroom Aug 4 San Francisco, CA @ The Independent Aug 6 Portland, OR @ Aladdin Theater Aug 7 Vancouver, BC @ Biltmore Aug 8 Seattle, WA @ Neumos Aug 10 Salt Lake City, UT @ Soundwell Aug 11 Denver, CO @ Bluebird
After releasing three singles, SoCal-based indie-garage band Willowake has released their debut EP, An Alter Ego. Their previous songs (“Bitterfaced”, “Playground”, and “I See Ghosts”, respectively) showed great promise in the band’s talents as musicians, making me eager to listen to their new release. While An Alter Ego mainly operates in the same direction that Willowake had been going in, it provides enough opportunities to show the range of each member and what they’re capable of. For a band that’s still discovering themselves, the EP is a strong, impressively performed set of songs that suggests exciting things to come from Willowake.
This is the band’s first release after signing with Wiretap Records, and the more professional studio production shows immediately, with each song sounding crisp and clear. Most tracks follow a similar formula to the band’s initial singles: fast-paced, tightly performed garage punk with a killer rhythm section and confident performances. Each member of the band (composed of JR Polanco on vocals/guitar, Gavin Alvarado on bass, and Dax Corcoran on drums) gets an individual moment to show off their musical chops and all of them are great. Alvarado’s bass is usually in the background as texture and atmosphere, but when it’s pushed into the foreground to rumble during “Dog”, it gives the song a darker and suspenseful tone. Corcoran’s drumming is consistently a pulsating highlight, with my favorite parts being the jittery hi-hats on closer “Tim Burton”. Polcano’s guitar playing is always lively and energized, and they’ve grown more self-assured as a vocalist since their debut single.
The one song to really break at all from the band’s established formula is “Not Romantic”, a more mid-tempo, downbeat song about relationship drama. It allows for a melodic sound with nice vocal harmonies and more space to breathe in the audio mix. It’s a type of song I hope the band tries more of in the future, as engaging as their louder punk songs are. Still, considering the strength of An Alter Ego, Willowake is a band I’ll be keeping an eye on.
