open mike eagle @ the madrid | kcmo
On May 6th, hip hop artist Open Mike Eagle opened for Future Islands at The Madrid in Kansas City. He set the fun tone for the remainder of the evening. Whitney Young captured some highlights from the set for us.
future islands @ the madrid | kcmo
Future Islands creates synth-pop that helps us to disconnect from reality — and sometimes become more connected to ourselves. Seeing them live is an experience unto itself, and we were lucky enough to check them out last week on their stop through Kansas City, Missouri. The Madrid is a beautiful, historic theater that was the perfect backdrop to this lineup.
jensen mcrae’s “I don’t know how but they found me!” is heartbreaking, validating, and transformative
While I have listened to folk artist Jensen McRae’s sophomore album – which dropped in its entirety on Friday, April 25th – I Don’t Know How But They Found Me! in part a few times at this point, I have yet to sit down with the body of work from beginning to end. The album’s title itself is a Back to the Future quote, perhaps the standalone lighthearted aspect of this sonic adventure.
Here, my unapologetic thoughts as I experienced this heavy, beautiful 11-track masterpiece.
To note, the album was born from a period of time in McRae’s life and is semi-autobiographical. “More than anything, I am grateful to have made this album as a record of my transition into real womanhood,” she explains. “It’s me processing girlhood, with all its attendant naïveté and guilelessness and resistance to change, and emerging as an adult who is capable of forgiveness and transformation and measured optimism.”
The work begins with 2 minute, 48 second track “The Rearranger,” which effortlessly gives voice to the feeling of emptiness in a relationship (or, for some, situationship) that does not make plans. To me, this song is about a relationship that seems to have most everything you want, but feels slightly off.
“I Can Change Him” hit me the hardest on first listen. The song tells a story of a smitten relationship that can only get so far without forward momentum and change. We have all been in a relationship (or several) that presents its issues to work on together and through. The hope in McRae’s voice as the chorus comes in:
Maybe I, maybe I just love him
Maybe I, maybe I just think
All he needs is a little something
Maybe that little something’s me
Maybe I’ll be his exception
And I’ll never be the same
Maybe I, maybe I could change him
Unless he doesn’t want to change
But you can’t expect yourself to be the change someone else needs in their life. They have to be willing to change, which is why the “Unless he doesn’t want to change” is so heartbreaking. It is almost as though, over the duration of the song, the narrator is coming to a slow realization that the only true thing she has change over is herself.
More heartbreak comes in third track “Savannah,” which was released alongside a Rena Johnson directed and produced video. The song – and its accompanying video – questions alternate life outcomes based on boundaries and how you make decisions in your life. You can acknowledge what once was and what could have been while also creating a life of your own design, and this song really drives that truth home.
Fourth track “Daffodils” examines a relationship plagued with substance abuse, the push and pull of the life that supports. From one line to the next, this dichotomy keeps the narrator in this cycle of bad to good on repeat, when everyone deserves better.
Anyone who has ever been a rule follower may identify with the lyrics of “Let Me Be Wrong,” which feels a bit revolutionary and positive when compared to its predecessors. The rasp in McRae’s vocals hits correctly at the end of the verses, as she encourages people to let her learn her own way. This song has Top 40 potential written all over it, something we can all get behind at the level of The Chicks or Shania Twain.
The cadence to this song is absolutely magnetic, as Jensen McRae sings “Novelty” with her velvety vocals. She tells it like it is in this track, fully aware that some people are into the novelty of a person, environment, or otherwise. And, worse off, she has been in this place before. Having any type of relationship with someone who isn’t invested in you as a human being can subdue the entire thrill of dating, and you can feel the ice and indifference as it comes to its conclusion.
“I Don’t Do Drugs” slows things down and simplifies them a bit. Singing of how healing isn’t linear, patterns permeate, and the familiar can be addictive, this is an eye-opening piece of art at just 2 minutes and 19 seconds in length.
After hearing “Tuesday,” I was wondering how Jensen could have possibly survived a one-sided relationship as severe is this — how anyone could. But this song also stirs up feelings in people who have felt unseen in their families, friendships, or romantic partnerships. With such conviction, this ballad is specific, intense, and relatable. Unkempt in some ways, it is tinged with fire from her emotions and the rasp in her vocals.
“Mother Wound” hits pivotal aspects of successful relationships — communication and expectation management (which, to its credit, comes from communication). For an artist who has referenced Biblical text and Jesus in other songs on this record, her ability to “read your cards right” and tap into intuition in other lines throughout this album encourages open-minded spirituality and trust, almost. This song is one of those times.
“Praying For Your Downfall” could be a take down track, as vindictive as I would be given the circumstances. However, the beauty in it is that she reads him for trash in the lyrics. Lines like “keep whistling, boy, I was never your dog” hit with an unrelenting attitude that she has more than earned. She repeats “I don’t need to see you fall down” as she releases her energy from the negativity. The bridge brings us out light as a feather, layered in a way you would almost expect from HAIM.
She ends the album with fan favorite “Massachusetts,” a track that gave her a little bit more momentum with listeners. The immediate reference to Batman hooked me when I saw her perform it on Kimmel (directly after Ben Affleck was a guest), but the idea of affiliating an entire place with a person is what kept my attention. As someone who has had the fortune of living in and traveling to many places, I associate these places with people and memories.
Every young relationship leaves stamps on your heart. Marks on your memory. But that doesn’t mean you have to keep it. You can keep the good, and release yourself from what belittled you and told you that you didn’t meet its expectations. This entire album is both a testament to the pain that so many people go through while they learn themselves and their partners, and a beacon for people who are nostalgic for sweet memories that didn’t necessarily pan out.
I Don’t Know How But They Found Me! is a massive feat of strength… for McRae and all of her collaborators. Listen to it dancing around your room on a rainy day, in an air conditioned metro car on your way to a weekend spot, or with the windows down in the sunshine. It will deliver an exuberance to your nervous system that outweighs the empathic, heavy nature of it all — and validates anything you have been through or are currently experiencing.
a working man | a repetitive statham thriller that falls flat
Jason Statham is back doing what Jason Statham does best: playing a seemingly ordinary man with extraordinary combat skills, an unshakable demeanor, and an uncanny ability to dispatch bad guys with ease. Unfortunately, A Working Man brings nothing new to the table, making it feel like a lesser version of his previous films, particularly The Beekeeper and Wrath of Man.
The biggest problem with this film isn’t just that Statham is on autopilot—it’s that everything around him is, too. The villains are so cartoonishly over-the-top that they never feel like a real threat. Instead of creating tension or danger, they come off as caricatures, making the action feel hollow. A good action film needs a strong antagonist to balance its hero, but here, Statham’s character is never truly challenged.
Another major misstep is how Statham’s character (whose name is so forgettable that I may as well just keep calling him Jason Statham) ascends the ranks of the criminal underworld. The way he maneuvers through their organization is so convoluted and nonsensical that it quickly becomes distracting. A good B-movie thrives on simplicity and tight execution, but this one gets bogged down in unnecessary complications that don’t add up.
Perhaps the most disappointing aspect of A Working Man is that it comes from director David Ayer, who has proven he can deliver gritty, engaging action with films like Fury and last year’s The Beekeeper. Here, though, the script’s glaring holes, uninspired storytelling, and lack of a real challenge for its lead weigh everything down.
While Statham has made a career out of playing the same type of character, this time, it just doesn’t land. There’s a fine line between consistency and stagnation, and A Working Man unfortunately falls on the wrong side of it. For longtime fans of Statham’s brand of action, this might still be a serviceable watch, but for anyone hoping for something fresh or engaging, it’s a letdown.
6/10
Check out Adam’s latest reviews over on TikTok, and follow him on Instagram.
randy ojeda law | sxsw tour diary
Ah, SXSW—the annual pilgrimage where sleep is optional, lines are inevitable (unless you have a fancy badge like me), and discovering your new favorite band is just a wrong turn away. This year, I had the honor of being a Music Mentor, which basically meant I got to skip a bunch of lines and pretend I knew what I was talking about. Between catching insane live sets, running into nerdcore legends, and witnessing a band perform with actual puppets, it was a week of pure, beautiful madness. Here’s my completely unfiltered, sleep-deprived recap.
“Official Speaker.” This also means I had the SXSW equivalent of a Disney Fastpass and could waltz past lines like a VIP.
SXSW TLDR:
- Rock is alive and well
- Hydration is essential
- Nerdcore legends walk among us
- Puppets belong in live music
- My SXSW Fastpass badge was the real MVP
- See you next year, Austin.
About the Author:
Randy Ojeda is an entertainment attorney dedicated to protecting the rights of musicians and creatives.
As the founder of Randy Ojeda Law, he provides legal counsel on contracts, intellectual property, and
business matters, helping artists navigate the complexities of the music industry. A graduate of Loyola
University Chicago School of Law and a member of The Florida Bar, Randy combines his legal
expertise with real-world industry experience. He is also the CEO and Co-Founder of Cigar City
Management, an artist management company, and the host of Cigar City Radio, a podcast featuring
interviews with musicians and industry professionals.
Follow Randy @realrandyojeda
https://www.randyojedalaw.com/
mýa dazzles audience at t-mobile center, sparking joy, nostalgia, and hope
While every other artist on the planet is pulling back on the reigns and really trying to curate a specific image or brand, there are some artists that have owned their creative space for quite some time. People who are so naturally good at what they do and well-versed in who they are that sometimes their artistry is taken for granted. People who have never missed a note or a step on stage, developed an array of great relationships early in their careers and created collaborative opportunities for themselves and their colleagues.
One such performer? The jaw-dropping, intrinsically talented but somehow still infinitely humble Mýa.
I had the unique pleasure of seeing her in concert on February 15th in Kansas City at the R&B Remix Tour at T-Mobile Center. Troop and Hi-Five opened the show, that then welcomed Mýa on stage before rolling into classics and fan favorites from Ginuwine and Jagged Edge.
Mýa took the stage in a red bustier, gorgeous red suede heeled boots that came up above her knees, and coordinating collage-themed hot pants, jacket, and doo-rag. A touch of street style mixed with some classic dance garb allowed her to put her power on full display – both vocally and dance-wise. As someone who was classically trained in dance from childhood, she truly knows how to pull out all the stops when on stage. (I mean, have you SEEN her tap?)
Mya’s set was short and sweet, clocking in at under a half hour. But she left no room for curiosity or contempt while rolling through hits like “Case of the Ex,” “Ghetto Superstar (That Is What You Are)”, “Fallen,” and “My Love Is Like…Wo.” The entire arena was standing when “Lady Marmalade” hit the speakers, and the performer dazzled us with her insane vocal range.
She closed the set teasing us a little bit with the opening music from The Rugrats Movie, “Take Me There.” For those who are not millennials who lived and died by this orange VHS – or pop music on the radio at the time – this song was integral to the 90s in ways I cannot fully explain. And ever since, it has held my childhood like a bit of a time capsule. Rounding out her set with the instrumentals from this song was the right thing to do, as she reminded the crowd who she was and where they could find her.
After her performance, myself and my cohort had the unique ability of going backstage to see Mýa for a few moments. I have to say, Ginuwine performing Prince’s “Purple Rain” as we walked up to speak with her felt like a wild moment — the convergence of three musical greats in one space. And she couldn’t have been a more gracious and wonderful human.
I spoke with the guest services representative who was manning the elevator shortly after my interaction with the R&B great, and she asked me if she could see a photo. I showed her, and she exclaimed, “WOW! She’s just as beautiful as ever! The woman never ages! And her style!”
And she’s right.
When I exclaimed I was ready for a complete Mýa renaissance that evening, I wasn’t kidding. Luckily for us, it looks like she may be gearing up for new music here shortly. Keep up with her here.