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.
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.
As a music nerd, it’s fun to listen to new releases and try to figure out where an artist’s influences come from. However, it takes talent and real musical ambition to not just seem like an admirer of certain inspirations with nothing original to say. Inside Out, the new album from Florida-based singer-songwriter Jason Montero, wears its influences on its sleeve yet keeps things fresh with new ideas. It’s a record clearly worshiping a lot of classic rock but focusing deeply on grooves, shared chemistry between band members, and varied instrumentation to be a consistently enjoyable listen.
Montero, a guitarist and longtime performer in bands local to the Phoenix area (Honey Child, The Limit, The Wood Band), explained that this album specifically resulted from dusting off some late-80s/early-90s songs he never ended up recording. For the studio recording sessions, several old bandmates and friends from his life helped to contribute parts, and everyone’s enthusiasm for the project clearly shines through. Every song sounds like a portion of a fun afternoon jam session, with the backing band getting ample opportunities to contribute, whether it’s for rhythm or simply texture and atmosphere.
The first half of the album surprised me with how danceable and almost funk-driven it was. Songs like “No James Dean”, “Criss Cross”, and lead single “Thorn” all have delightful swinging grooves that’s toe-tapping fun throughout their entire runtime. The emphasis on hand drums and shakers during certain tracks turns what could be simple bar band blues-rock into something more worldly and cultured than expected. Sometimes the songs reminded me of Paul Simon’s Graceland or even Vampire Weekend’s early world music excursions. A song like “Conclusive Illusions” has layers of sounds to it, but each instrument develops tightly together into complex polyrhythms. It’s impressive at the level of musicianship present during certain songs.
The second half of Inside Out is less upbeat, introducing elements of folk and psychedelia. “Marvel at the Rainbow” and closer “Her Majesty’s List” are sweet and earnest, mainly featuring Montero with soft and gentle acoustic guitar playing. Speaking of which, his acoustic and electric guitar work are consistently great, with the latter getting to shine on heavier songs like “Gomorrah” and “Rebecca”. Montero’s vocals, like a lot of classic rock singers, are more about their grit and gruffness than necessarily their technical ability, and they complement the bluesier songs well enough. He also produced the album himself, and the sound of the production fits perfectly. It’s very natural and rural sounding to match the vintage influences and shines during the more acoustic sections of the record.
Inside Out isn’t perfect and may rely too much on classic rock conventions for some, yet that’s part of why it works. Going back to these old songs written decades ago was clearly a nostalgia-driven exercise for Jason Montero, and that passion shines through in every song. If he had rewritten and updated them from the work of a less experienced singer-songwriter, the initial appeal of recording the songs, to begin with, would be lost. As it is, Inside Out is a time capsule of songs that aren’t confined to the decades originally written from.
Another band I’ve seen pop up in my socials a bunch is the band grlztoy of the DMV area, made up of Theo Zamani (lead vocals, guitar) and Molly Izer (drums). Their EP green!, released last June, is an assured and confident debut I think is worth listening to for anyone into indie pop/rock.
For a release that’s only 12 minutes long, grlztoy easily establishes themselves with just six tracks. The opener, the title song, is only a minute long but still establishes a calming, slightly psychedelic mood through the guitars and slightly echoed drums. It’s ultimately just an intro to the EP, but it still feels complete. Each song carries the same vibe established in the intro title track, creating a hazy, colorful, summer night atmosphere.
The next three songs, “spring (untied shoes)”, “say when”, and “wavelength” are all a showcase to both members’ talents. Throughout the album, Theo’s singing is wonderful, clearly inspired by both a lot of 90s and 2010s indie singers, but she still almost equals those obvious influences in her abilities. Her voice is sweet and soft, but is still expressive when it needs to be. She carries a song like “say when” by sounding sweet and romantic in a way that’s earnest and never anything but genuine. Molly’s drumming is also consistently great, giving each song a fun, up-tempo groove. Her style varies neatly from cozy indie rock (“teenage dirtbag”), sort of bluesy (“keychain piano”), to garage power pop (the totally killer “wavelength”).
Admittedly, the band is still very new and occasionally some songs could use more substance (ex. “keychain piano” being clearly a mess-about band jam but still entertaining) or space to breathe. Still, despite having room to grow, green! is a kind of first release that makes you excited to see where the band will go next.
Plastic: The Album by author/musician Scott Guild is hard to approach. It’s a companion piece to Guild’s debut novel of the same name that came out in February and recounts the book’s story. I haven’t read the book, and I’m not one of those nerds that read books for fun (though I am, admittedly, still a huge nerd), so I’m judging the album entirely on its own merits.
While it seemed difficult initially to come at the album with solid reference points as a way of comparison, this sort of lore and mythology filled album isn’t entirely uncommon. Famous experimental pop icons like Kate Bush and Ethel Cain have made albums composed of songs made up of recurring characters, storylines, and extensive backstories that invite more analysis into the lyrics than a usual album. Even more mainstream musicians have done this, such as Taylor Swift on Folklore and Evermore, two of her most acclaimed albums. An album like Plastic can absolutely succeed without prior knowledge of the novel’s storyline and can work simply on the music itself.
For the most part, I’d say it’s an interesting and captivating, albeit not super accessible, listen. Guild is backed by more experimental musicians for support, like Cindertalk (a collaborator of Son Lux and My Brightest Diamond) and Stranger Cat (a collaborator of Sufjan Stevens, another good example of successful concept albums). With a murderers’ row of artsy musicians behind the album, it makes sense the genre is a touch hard to figure out too. Calling it just “art-pop” is simple, but a little too easy. I’d say it’s more of a mix of orchestral chamber music and downtempo electronica, with more focus on vocal performances and wispy atmosphere than rhythm.
When I say Plastic isn’t super accessible, I don’t mean this as a bad thing (I literally listen to Björk in my free time! Did I mention I’m a huge nerd?). I mean that in a sense that it’s better to approach the album not in a traditional sense, but more in the way of theater, opera, or something that demands your fullest attention when experiencing it. Guild mentioned he didn’t set out to make something contemporary and intended something more cinematic, which I think the album succeeds on.
Okay, now the actual music, which is mainly composed of strongly performed and composed ballads. Stranger Cat’s vocals (as the lead character of the novel) really elevate the material, creating a strong emotional quality that’s consistently captivating and brings out the theatricality that the material is going for. Songs like “Boytoy” and “Fiona” excel on the quality of her voice alone, and she provides enough depth to keep you invested in her performance even if you may not understand what’s going on in the story.
The production, as I said, is an interesting mix of electronica and orchestra. Plastic’s atmosphere is built largely around airy electronics that add to the dystopian future setting of the story. It has a dreamlike quality that can occasionally turn eerie, such as the echoey drum machines on “The Absence” that add to the tone and mood. The orchestrations are also sharp, adding to the dramatic elements of songs like “A Doll’s House” and “Worth the Loss”. There’s some interesting textures added in the instrumentation too, such as the glassy percussion on “Lightning” and the driving acoustic guitar on “Until They’re Home”.
As I said, Plastic can be difficult to grasp for a casual music listener, but that’s the intent behind it. It’s a rewarding experience when given serious intent and your best attention when listening to it, and works as a fascinating listen even without knowing the source material.
Check out the playback from Friday’s album release here.
