On a mid-summer night at the beginning August of 2022, The Goo Goo Dolls took the stage to an (almost) sold-out crowd at Starlight Theatre in Kansas City, Missouri. A show that had been postponed from a previously scheduled date, there was heightened energy around the event.
The Goo Goo Dolls riveted the audience with a 23-song setlist. They brought the heat starting with the first lines of opener “Yeah, I Like You,” an effervescent track from this year’s self-reflective Chaos in Bloom. Along with their new work, they played the audience through a multitude of hits and favorites. “Slide,” “Here Is Gone,” “Black Balloon,” and “Lucky Star” were all performed within the first ten songs. And there was no room for slowing down there.
Bassist/vocalist Robby Takac brought his quintessential “ball of fun” energy to the stage all night long–this time around, notably wearing shoes, which isn’t necessarily his MO–dazzling the crowd with some deep-cut tracks in moments you can only classify as magic. As many post-pandemic shows have gone along to prove, The Goo Goo Dolls’ influence spans generations, as people of all ages and demographics came out to enjoy the show despite the blistering midwest heat. (I wore a neck fan I borrowed from my parents, and have no shame around that fact.)
As someone who has had the honor of seeing this storied band perform live multiple times during their time in the limelight, I can firmly say that their performance felt different this time around. Though there were kaleidoscope lighting features and the same level of excitement coming from the band members as in previous shows, there was an extra layer of sheer joy emanating from the stage. You could sense Johnny Rzeznik’s (guitarist, vocalist) weightlessness as he beamed at the audience, appreciating the moment much more, perhaps, than anyone could have pre-pandemic.
If you stayed through to the end, you had the benefit of singing along to “Name,” “Broadway,” “Iris,” and more, and may have even had the privilege of singing along to a beautiful, showstopping cover of Petty‘s “Runnin’ Down a Dream.” It felt like glitter was falling over the crowd if you took the chance to gaze up at the starry night sky at that moment.
Until you remembered that, with the end of the show comes the end of the beautiful distraction. And you’re actually outside. Sweating from every pore. And the band is gone.
But–if you’re one of the lucky few–the black balloons that were passed around the audience might not be gone. (And we treasure a show souvenir.)
On Friday, March 18th, we had the honor of meeting up with Tulsa, Oklahoma-based genre-defying outfit Cliffdiver before their official SXSW showcase at Cheer Up Charlie’s. The band was stoked to meet us, and had a less conventional – but no less interesting and fun – idea for portraits. As you will witness, we had them pose by the porta-potties on the patio at Cheer Up Charlie’s before heading down the street to take a variety of other fun and meaningful portraits.
Get to know the lively personalities of bandmembers Joey Duffy and Briana Wright (lead vocalists), Matt Ehler and Gilbert Erickson (guitarists/vocalists), Tyler Rogers (bassist), Dony Nickles (saxophonist), and Eliot Cooper (drummer) through photos, below!
We hate to admit that Enjoyable Listens led in the ranks of the most “enjoyable” set at SXSW 2022, but they – ahem, HE – totally did. While the Oxford-based act normally performs as a duo, brainchild Luke Duffett appeared solo this time around, as his bass guitarist partner-in-crime was stuck overseas for WORK. (Something he mentioned multiple times during his set.)
In all honesty, we almost didn’t stay for the set. We had the privilege of covering an array of international artists over the course of the week, and when a slightly sunburnt man in a suit with a bolo tie and slicked-back hair was sound-checking, I prematurely judged him and suggested we leave the Registrant’s Lounge. Luckily, our dear friend Whiteclaw (sorry – they sponsored the fest and I was already a few deep) kept us glued to the spot when Duffett took the stage.
While their Facebook page boasts that they are “a bloodstained fur coat floating on the undulating beat of street talk,” we were absolutely delighted by the theatrics employed by Duffett on that fated Saturday afternoon. He introduced the act, pushed a button on the soundboard, and walked off the stage to make a grand entrance. And this was only after he verbally commanded the attention of everyone in the area three separate times.
A type of Baroque-pop, the music took on an experimental vibe at times. This man was absolutely the manifestation of if one of our best friends from high school had a child with Rick Astley. In all honesty, the vocals and blazer were the only traces of Astley. (After sending a video to Erin’s husband, we received word that we weren’t the only two who had this exact thought.) His vocal range was unexpected and alluring, while the lyrics were poignant, funny, and utilized an expanse of vocabulary. (One of the best ways to pinpoint a favorable lyricist, if we do say so ourselves.) At times, he would do more of a spoken word situation over the music, which we found later to be a common thread in the recorded versions of the tracks. He would also interrupt his own songs to talk to the audience. He even warned us about “spontaneous clapping” and “crowd surfing” he predicted for later in the show — all of this to a still rather small crowd.
But as his set went on, the crowd grew. And the smiles multiplied. And his dance moves got even more outlandish. He jumped off the stage, lunged at attendees, and performed for the (non-operating) camera, all the while maintaining this artistic persona that we all grew to love over the course of his set.
If you get the chance to see this act live, run… do not walk. I promise it will change your life.
Athens-based indie rock outfit Monsoon – expertly comprised of Sienna Chandler and Joey Kegel – has proven its propensity for balancing delicate harmonies with hard-hitting lines. The duo’s dynamic is energetic, edgy, and self-aware in a way that we haven’t exactly experienced before. And their new album Ghost Party is more evidence of all of that.
The first track “Walking Legs” seems to get you on your feet in just that way, starting out slow and careful and building into a cacophony of epic sound. “Third Voice” brings in more pop elements, an introspective track about change and hope at its core. The title track delves into the brokenness Chandler felt during a particularly dark time, ending with Haunted Mansion-esque energy. (If you can’t quite relate even now, having lived during an insufferable pandemic, then kudos.)
The meandering nature of “Don’t Move” is almost a palate cleanser sound-wise, though the lyrics seem to question preconceived notions in a less-than-subliminal way. “O Brother” continues with morbid metaphors, while the one-minute-long “Dark Colossus” discusses a unique love, laced with the same darkness as its predecessors.
The soundscape of “Submission” feels like it hopped right out of an indie film like 500 Days of Summer, while “Nightshop” has more of an underground, pop-punk sound to it. Ninth track “Red Blood” keeps that punk spirit alive, at times akin to the haunting chant of “red rum, red rum” from that quintessential horror flick we all know and love. The composition sounds more like a spell being cast, but that doesn’t vary much from many of the tracks on this release.
While “Pig Pen” is not about our favorite Peanuts character, it does introduce whirring guitar parts that make us want to headbang all day. The album rounds everything out perfectly with the eleventh track “Beetlebee,” which starts with a whisper and ends with an absolute bang. In fact, the song feels much like the progression of the album as a whole. We’re particularly fond of it, and can’t wait to see the live performance.
Walking Legs
Third Voice
Ghost Party
Don’t Move
O Brother
Dark Colossus
Submission
Nightshop
Red Blood
Pig Pen
Beetlebee
Get your first listen to Ghost Party on February 18th.
Comprised of vocalist/guitarist Matt Connelly and bassist Will O Connor, Wilmah aims to make listeners think while simultaneously creating grooves to make them move. Blending blunt introspection in their approach to songwriting with some humor and multi-genre fusion, the band’s alt-pop sound attempts to make sense of life’s intricacies while retaining some uplifting vibes. Using the opportunity from the pandemic in creating new music, Wilmah returns with a growth in their sound that fully represents themselves as individuals. In succession to the romance and nostalgia based “Television ” and politically charged “Welcome to America”, their new single “Wait Until Tomorrow” aims to reach the psyche and spirits of their audience.
The track immediately hits with a burst of upbeat mix of acoustic and electric guitar licks with the rhythmic punch of 80s new wave-esque drums. The production of this song can automatically get one to think it is a breezy feel-good anthem, while the lyrics seem to tell a different story. As heard in the passionate hook “If you’re gonna break my heart, can it just wait until tomorrow”, Wilmah makes a plea to push off negativity for the time being to revel in temporary happiness. The juxtaposition of the single’s sonic bubbliness with its therapeutic subject matter makes for an interesting anthem that can comfort listeners while not sugarcoating their true feelings.
“Wait Until Tomorrow” drops on November 19th and check out Wilmah’s preceding singles.
This past year has disrupted how I understand the concept of time within our society.
Staying inside for weeks felt like months, and primarily interacting with my peers via Zoom merely emphasized the ever-increasing feelings of physical alienation I was experiencing. However, in retrospect, I wish I had done more during this dark period the world was and continues to endure. Everything has made me realize how no matter what’s going on outside, life doesn’t last forever, and we have to enjoy the time we have while we still have it.
English indie heroes The Wombats illustrate this realization with the fourth single off their upcoming five studio album Fix Yourself, Not The World titled “Everything I Love Is Going To Die.” The harmonious guitars and punchy drums are captivating from the start, backing the lyrics sung by frontman Matthew “Murph” Murphy that focus on how everyone needs to acknowledge and appreciate how beautiful their lives are in the moment before they are simply memories lost to time.
When explaining the song, Murphy described the song as being “about the impermanence of life and the beauty of each passing second.”
“The key line for me is ‘Icarus Was My Best Friend, So I’m Gonna Make Him Proud In The End,’ which I guess is a playful take on living life to its fullest even though the consequences of that might be dire,” he said. “Certainly not a call to Nihilism, however, but perhaps a call to being present and the joy that can be found in appreciating each moment we find ourselves in.”
All in all, the song is another jangly, electro-pop anthem from the band that won’t stop giving. Their new album Fix Yourself, Not The World comes out January 7, 2022, and you can pre-order it here. Less than two weeks later, they plan on starting their worldwide tour in support of the album in North America before heading overseas to Europe and the UK later in April and May. All dates are below.
North American Dates: January 20 – 9:30 Club, Washington, DC January 22 – The Fillmore, Philadelphia, PA January 25 – Terminal 5, New York, NY January 26 – House of Blues, Boston, MA January 28 – Corona, Montreal, QB January 31 – St. Andrew’s, Detroit, MI February 1 – Newport, Columbus, OH February 3 – Park West, Chicago, IL February 4 – The Fillmore, Minneapolis, MN February 5 – The Truman, Kansas City, MO February 7 – Cannery, Nashville, TN February 8 – Buckhead, Atlanta, GA February 10 – House of Blues, Houston, TX February 11 – Emo’s, Austin, TX February 12 – House of Blues, Dallas, TX February 14 – Ogden, Denver, CO February 15 – Union, Salt Lake City, UT February 17 – Showbox Market, Seattle, WA SOLD OUT February 18 – Venue Nightclub, Vancouver, BC SOLD OUT February 19 – Revolution Hall, Portland, OR February 21 – The Regency, San Francisco, CA February 22 – The Observatory, Santa Ana, CA February 25 – The Wiltern, Los Angeles, CA
European/UK Tour Dates:
April 14 – First Direct Arena, Leeds April 15 – The O2, London April 16 – Motorpoint Arena, Cardiff April 18 – Barrowland Ballroom, Glasgow April 22 – Mountford Hall, Liverpool April 23 – Mountford Hall, Liverpool April 29 – La Machine Du Moulin Rouge, Paris (France) May 1 – Carlswerk Victoria, Cologne (Germany) May 2 – Übel & Gefährlich, Hamburg (Germany) May 4 – Slaktkyrkan, Stockholm (Sweden) May 5 – Rockefeller Music Hall, Oslo (Norway) May 6 – DR Koncerthuset, Copenhagen (Denmark) May 7 – Huxley’s Neue Welt, Berlin (Germany) May 9 – Gasometer, Vienna (Austria) May 10 – Backstage Werk, Munich (Germany) May 12 – Estragon, Bologna (Italy) May 13 – Fabrique, Milan (Italy) May 14 – Komplex 457, Zurich (Switzerland) May 16 – De Roma, Antwerp (Belgium) May 17 – Paradiso, Amsterdam (Netherlands) May 18 – De Oosterpoort, Groningen (Netherlands) May 19 – TivoliVredenburg, Utrecht (Netherlands) May 26 – Open Air Theatre, Scarborough
Minneapolis-based rock band Hurrah a Bolt of Light returns with their new video for AN/ANIMAL 3, the single from their upcoming visual album AN/ANIMAL. With a style described as “pop music for sad people”, Hurrah blends rock, prog, ambient, and other genres to create a dense concept album in line as a return to form after the sugary polish of their last album. In a 16-minute music video spanning four tracks within segments, the album brings a cinematic experience combining atmospheric visuals with cryptic lyrics and a murky vibe. AN/ANIMAL 3 represents the darkest portion of the album’s narrative.
The track combines a visceral clash of garage-rock-inspired guitars with instrumental breaks reminiscent of progressive rock, spawning a beautiful yet eerie sound enhanced by its content centered on despair and death. The music video reflects its macabre vibe, featuring a man kidnapped and attempting to escape his captor, ultimately facing brutal consequences. The cinematography is a perfect complement to the song’s horror-esque tone with a sense of surrealism as the video’s events occur in a loop. Admits the artist of the track:
“An/Animal 3” is the third piece of the four part puzzle that is AN/ANIMAL. For this point in the story, I wanted to create a song that was frantic, frenetic, confrontational and wild. Key changes and mood shifts run amok, land, and then veer off elsewhere. The video mirrors those vibes as well and shows both the protagonist and antagonist in various states of distress and agitation that conclude with their violent meeting. The visuals only scratch the surface of what the story as a whole might mean. It’s a bit unclear on purpose.
I wrote the music and recorded nearly all the instruments for this song and AN/ANIMAL in general. Except for the drums and some keyboards because I am not that good at drums and some keyboards. This part of the movie was particularly difficult to film and execute because I had to a) be in my underwear for the majority of the film and b) be chased outside in late fall wearing said underwear. It was very cold.
Check out the premiere of the new video below and stay tuned for AN/ANIMAL, which is slated to drop in January 2022.
Under the moniker Tummyache, producer/artist Soren Bryce blends the spirit of 1980s indie rock with 1990s alternative to forge a DIY rock sound. Fresh off a relocation from the USA to London, Bryce follows up a series of indie projects with her upcoming album Soak. In succession to the project’s first single “D.I.Y”, she dropped the video for the album’s self-titled track on October 22nd.
As a companion to the track’s turbulent nature with its juxtaposition between drowsy vocals and adrenaline-fueled guitars, the music video shows a sense of the artist’s aimlessness morphing into restlessness. The visuals of Bryce wandering against the backdrop of a dreary neighborhood alternates with frantic dancing and strobe lights within the confines of her home, which would reflect the disruption of moving to a new place during the uncertainty of the pandemic. Bryce explains:
“Soak was inspired by newfound neurotic and tedious habits that formed during the isolation of the pandemic, while adjusting to being in a new country. A new kind of forced domesticity caused me to avoid reality and I wasn’t able to fall back on my usual escapism methods. I learned a lot about myself”.
“Soak” is out now on all platforms and check out the music video below! Be on the lookout for Bryce’s eponymous album as Tummyache, releasing imminently.
With her Subject to Change album due out any minute (OK, ok. It’s actually slated for November 12th. You have to wait a minute here.), Katelyn Tarver has just released an earworm of a track with her new single “Hurt Like That”. We’re big fans of the release, as its sound is contrasted by a vengeful message.
Soft, expertly controlled vocals dance ethereally over a guitar riff, deceptively sweet. Drums layer in at the 43-second mark, as we experience even more of a mid-90s vibe to the composition. The vengeful attitude of a woman scorned by a narcissistic ex-lover presents itself, and the listener finds themselves gently – but swiftly – moved to empathy. After all, how many times have we, too, survived broken hearts, lowered expectations, and empty promises? How many times have we wanted to make the person who broke our hearts feel the same shitty way we felt around them? In some ways, this track is an anthem for the broken-hearted.
Tarver’s recent, heartache-induced releases do make us wonder: Who would abandon anyone with such an angelic voice? (That last line is of particular interest if you need help understanding how absolutely fantastic Tarver’s vocal control is.)
Aside from revving up for a full-length release, Tarver will be joining JOHNNYSWIM on their spring 2022 tour. Check KatelynTarver.com for dates.
