August 13th was a Saturday night unlike any I have seen in a very long time. Approaching the outside of T-Mobile Center Arena in Kansas City, MO, you would have no idea by the soothing, music-filled area outside the gates that you were entering an almost-sold-out show in a multi-thousand-seat arena. an enigmatic atmosphere. Those in attendance had been waiting to see The Lumineers since the show was announced prior to the pandemic setting in.
The 25-song set included crowd favorites like “Ho Hey,” “Dead Sea,” “Ophelia,” and “Stubborn Love.” Their spin on “You Can’t Always Get What You Want” masterfully blended original track “Leader of the Landslide” into an easily digestible and beautiful new work of art. One of the most notable tracks, however, was their Petty cover “Walls (Circus)”, which was performed with their openers, Gregory Alan Isakov and Daniel Rodriguez.
Much as their name suggests, The Lumineers’ set design left the crowd ensconced in the warm glow of the lights. Their multi-runway stage gave the show a dynamic we have not had the privilege of seeing in the past. While each member of the band is a multi-instrumentalist and talented as all get out, we are more familiar with a stage presence that keeps them all solitary, in a straight line with equal lighting for the audience to enjoy. For this show, we witnessed climbing on pianos, jumping from one part of the stage to the next, and dancing under the most magical disco ball the crowd has ever seen. Add the flurry of confetti mid-show to the mix and you’ve got yourself a kaleidoscope snow globe experience.
Before the pandemic, it truly was all about the music. Now, it seems to be about creating a joyful atmosphere. Sure, the music holds as the firm base and is what gets the audience in the doors. But this band has taken their set design to a level that makes everyone — whether you are in the VIP pit or in the nosebleeds — feel as though they are snuggled with a blanket under starry skies as summer fades.
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.)
Al Olender is a songstress from upstate New York, with a knack for unraveling our biggest fears and emotions in her own words. As recent years have forced her to get to know herself on a deeper level, her music stages itself as borderline therapy for those of us who are muscling through tough times as well. Her first full length–aptly titled Easy Crier–is out now, and we implore you to experience it with your own ears.
“All I Do is Watch TV” has a title we can all get behind after being locked away during a pandemic, but the song itself is so unimaginably magnetic, and such a beautiful way to open this initial full-length of hers. The song itself is about dealing with the loss of a loved one, found in lines like “I read a book on grief, it told me to lay in bed.” Second track “Keith”–named after her older brother, who was lost too soon–is a testament to a life gone awry. Incredibly specific, yet viscerally relatable. She continues in this pattern with the delicate “Liar Liar,” which transports you to these moments and this intense feeling of melancholy.
“Djouliet” picks the pace up a bit, with notably light piano that makes the track, quite honestly, perfect for the summer months. The title track is infinitely relatable, as Olender discusses her experiences as though they are fleeting moments, passing her by on a screen. Her detachment–even during the pleasant memories–is incredibly notable, especially for those who have experienced any level of depression in their lives. And yet, she sings it all with an ethereal disposition, as though it hasn’t affected her at all.
But that is, perhaps, Oldender’s greatest superpower, as revealed throughout all ten tracks of this release. Her beautiful vocals feel untouched by any negativity, a slight release from the chokehold of seriousness that has seemed to enshrine us these past few months especially. And yet the subject matter is so much more complex. “Forget Your Number” is bittersweet and a bit vengeful, and we’re absolutely in love with it. “Neptune Pool” and “Minnesota Waltz” follow suit, employing silence between the notes to encourage a more emotional pull. “The Age” picks the pace up and layers in more instruments alongside boosted optimism. It serves as a quick one-two punch to get your heart rate up, almost blindsiding you with the return to delicacy in the final track “Mean.”
Keep up with Al Olender and her endearing music here.
Full disclosure: my daughter, Meredith, is the creator and Editor in Chief for ImperfectFifth. I have wanted to go to Austin to cover SXSW as a writer since she first went five years ago. I heard stories of all the people she had met, the music she had heard, and the movies she had seen. I was all set to go in 2020, but we all know how that ended. I ‘attended’ virtually last year, but as great as it was to see all the content, we all know it isn’t the same.
This year, though, I finally got to attend SXSW!
Once we found out that Meredith and Erin Zimmerman (also my daughter) got their press and photo badges to cover the festival, I got a link to the schedule and immediately froze. There is so much content to choose from! Even though I knew I would only be there for a short, two-day window, narrowing down the possibilities seemed daunting. Enter Google Docs. Meredith created a spreadsheet that had a tab for each day, a different color for each of us, and a column to indicate if the event was in person or VOD. She has done this each year to organize coverage. I also knew that there were two kinds of events – official and unofficial. Since I didn’t have a badge, I wasn’t eligible to attend a portion of the official events. However, I was able to attend most of the unofficial events. The upshot? During the time that I was there, we decided to attend anything that A) didn’t require a badge; and B) sounded interesting. Pressure off! Fortunately, both of them found some things that I didn’t even see in the schedule, and I love trying all the new things!
We arrived on Sunday, March 13th and got in line for the Create & Cultivate Pop Up. This was an unofficial event, so didn’t require a badge. However, we did have to pre-register, and spots filled up in the blink of an eye! There were speakers, sponsorship installations, refreshments, and an amazing swag bag! It was a ‘make a trip back to the car to drop things off before we could continue with our day’ sized bag. I subscribe to the Create & Cultivate newsletter and this event was the newsletter come to life.
In our walks to and from the car, I saw a proliferation of movie posters for Tony Hawk: Until the Wheels Fall Off and the upcoming Nicholas Cage film, The Unbearable Weight of Massive Talent. Each film had already had its premiere, but I made notes (in my newly acquired notebook from my gift bag) to see both of them once they got distribution.
After walking through the Convention Center to pick up badges, we took a stroll down Rainey Street, where we had the most amazing fresh mini donuts. There were also several houses that had exhibits (we saw you CNN and “Summer In Argyle”), most open to non-badge wearers as well. The one that caught our eyes was the Peacock Playground. They had taken some of their new shows and created playground games out of them. You could shoot hoops in the “Bel Air” booth or seasaw with a “Joe vs. Carole” backdrop, among other things. Our personal favorite? You could make a music video in the “Girls 5 Eva” booth. Yes, we did and here it is! We also had drinks and snacks and would have gotten a handmade t-shirt if the t-shirt people hadn’t gone on break. It was all outside and was a great way to spend some time while we learned more about Peacock and its new content.
By now, it was time for a late lunch which we ate at the Moonshine Patio Bar and Grill. I had my first ever chicken and waffles – did not disappoint! We also used this time to map out our route for the rest of the afternoon.
The first place we headed after lunch was to the WarnerMedia House. While a lot of the activity for SXSW takes place near the convention center, there are things spread throughout downtown. The several block walk to the WarnerMedia House took us past the Porsche Unseen building. As a major sponsor, Porsche had several presentations and displays scheduled for badge holders; however, they did have an amazing car parked outside that any of us could drool over!
The WarnerMedia House had THE exhibit we had come to see. TheBatman had been released on March 4, but we hadn’t gotten a chance to see it before going to Austin. This exhibit included costumes from all the main characters, as well as props from the movie. Other DC content, like Peacemaker helmets and other franchise NFTs, games, and artwork were represented as well. The highlight, though, was down the block and around the corner – the Bat Mobile from The Batman. Only a few people at a time were allowed in the garage, but we were able to walk around the car and look inside. I’m not a huge car fan, but it was a cool experience!
After the WarnerMedia House, we poked our heads into the Virtual Equality Lounge before we headed back up toward the convention center. We had RSVP’d to the Future Today Institute (FTI) 2040 House which was an installation that reflected 2040, based on future trends. When we entered, we walked through a facial reading station that texted a report to us that captured our heart rate, body temperature, mood, and social score. My heart rate and temperature were right on what was listed on my FitBit. My mood was ‘sleepy’ – not surprised! It also gave me the recommendation to eat some protein to uplift my mood. From there, we had some snacks and drinks, served the 2022 way. We did take away some 3D-printed drink mixes to use at home. I also discovered that chocolate is considered contraband in the year 2040! Even with all of the fun, we received an FTI 2022 Tech and Science Trends Report via email that covered key trends impacting 15+ topics. A very educational, informative, and fun space.
After a good night’s sleep, we started the day getting our hair styled at the Jonathan Van Ness salon. The JVN Come As You Are Tour had taken over a current salon in downtown Austin and was the site of the product launch of his haircare products, JVN Hair. We knew he was speaking later, but the event was sold out. Erin gave us a heads up about the pop-up and we got ourselves scheduled. Very relaxing and such a fun way to spend a half-hour.
One of the host hotels for SXSW is the JW Marriott. We had parked our car there, so explored the different panels and lounges that were available. We were able to sit in on a panel entitled “What the ‘She-cession’ Will Teach Us About Hiring”, which was a fascinating look at what hiring might look like as we head out of the pandemic. I know that it clarified some ideas I have for my own career going forward.
The second place that we discovered was the Future of Work Summit Lounge Presented by Indeed. It was located in a space close to the panel, so we stepped in to check it out and I am so glad we did! Indeed had career coaches on hand to chat with, they had a coffee/cocoa bar for a much-needed caffeine boost, and space to sit and charge your devices. They also had photographers taking headshots and tarot card readers. I thought that was an especially intuitive touch because the job search combines all the facets of your personality and life. Indeed also had a salary board where people could write where they lived, what their job is, and what they get paid, then post it. Salary transparency is vital to help people, especially women, get paid their worth.
Our next stop was closer to the convention center, but our first music stop – the SoundCloud Next Wav showcase. Although we were fifth in line when we got there, the line soon stretched around the block, and for good reason – the musical showcase presented by SoundCloud was great and the 30-minute presentation Vocals on the Go by Dub Academy was amazing. Dub Academy is a program based in Austin that helps musicians fine-tune their craft. It was super interesting to watch them create in real-time. It is clear that Soundcloud hosts showcases that people look forward to each year.
After leaving the showcase — and even though I had some amazing Mexican food and a couple of drinks there — I was in the mood for food from a food truck. Austin did not disappoint! We ate the most amazing corndogs but also had our choice of a myriad of other offerings. Our goal was to walk and eat so we could check out more things and that is exactly what we did.
After a break to grab some dinner, change clothes, and unload the car, we came back downtown, parked and walked 6th Street and some of the same areas we had walked during the day. There is a completely different vibe at night – everyone is ready to relax and really listen to some music. Walking in any direction, you could hear different genres of music emanating from venues in every direction. I was completely content to stand outside listening and people watching. We had a reservation to attend a showcase at Elysium later, so we relaxed with a few drinks at Iron Cactus before.
The showcase ran from 10:00 pm – 2:00 am at the Elysium. We found a place to sit and got to see Body Meat perform. The artist we came to see was Haru Nemuri. She is a singer/songwriter from Yokohama, Japan who has quite a fan base in the United States. The club quickly filled up when her set started at midnight. Nemuri’s fans knew all the songs, even though most were sung in Japanese. She never stopped dancing and the audience matched her energy. Such a great way to end the evening!
I went home on Tuesday morning, so didn’t get to see anything else live. I will say, though, that I have now seen Tony Hawk: Until the Wheels Fall Off, since it is on streaming platforms, and thought it was a very complete documentary. The camera work was breathtaking and well worth your time to watch. Now to catch The Unbearable Weight of Massive Talent!
On our second full day experiencing SXSW 2022, we wandered into the JW Marriott to check out what was going on shortly after getting our hair done at the JVN pop-up. “What the She-Cession Will Teach Us About Hiring” was listed on the board, a panel starting in mere minutes upstairs. So, we meandered up the escalator and got our seats. (After a brief stop to the Indeed Lounge for an iced latte and hot cocoa, of course.) The panel was led by Jessica Jensen, the CMO at Indeed, and included Mandy Price (CEO, Co-Founder of Kanarys, Inc.), Janet Gipson (VP of Talent Acquisition for Global Medical Response), and Jennifer Tracy (VP of Talent Acquisition at Spectrum).
So, we were in the presence of greatness. Incredible women in C-Suite positions doing good things in the hiring world.
And then the stats hit.
90% of the 50 million people who left the workforce permanently during the pandemic? Women. 70% of women who reduced hours or left jobs during the pandemic in the US did so because of a lack of support in the workplace. 89% of these women admitted that their male partners weren’t as negatively affected.
The numbers are absolutely devastating. Women – who are often relied on for extra work throughout their lives – were stretched thin when things took a turn for the worse two years ago. After all, who was widely expected to make sure kids in the household were logging into Zoom for schooling and keeping them entertained while they were trapped inside? Who is always encouraged to keep a tidy home, cook, and possibly even have a full-time job to financially support a family or any dependents? Plus, women are often tapped to be caretakers/caregivers when family and friends become less capable of handling their own things. The pandemic brought that into even harsher light than ever before. And women aren’t, truly, asking for that much from their employers. The panelists went on to outline common needs women seek from their place of work:
Pay
Happiness and a sense of belonging
Flexibility to make work and life
Caring managers
Luckily, the massive change in workforce dynamic during the pandemic led to a few realizations by companies across the United States. “Organizations became more thoughtful as to when they scheduled meetings – are they scheduled during the day or during the times childcare would be more problematic,” elaborated Mandy Price. “We also saw organizations realize that, just because you weren’t on camera, didn’t mean you weren’t working.”
“We have to collect the data and see who is exiting the workforce, what is their profile and how can we support them,” encouraged Janet Gipson. “Starting at the top, women are exiting faster and leaving for more flexible work and lucrative pay (travel nurses, for example). Moving down the tree, women of color are leaving even more.” In fact, examining intersectional dynamics has been key in a lot of their upward movement over the past few years. And it needs to be a practice that more companies – especially at a corporate level – employ and expand on.
As for changes within their respective companies? “When we look at the ability to change healthcare, our company is innovating in how we deliver healthcare,” Janet said. “We’ve partnered with Mobile Health and are delivering paramedics, EMT’s and the like to homes of patients. People do not have the dollars or reimbursements for 4 or 5 days post-surgery. We deploy health care professionals to take vitals, check-in on patients, etc. This has allowed a couple of things – The pay is more competitive. The other thing is the flexibility. The data, along with changing how we schedule and do work are key to keeping and retaining the women in the work force.“
Which, by the way, isn’t always as easy as it seems. Many jobs require physically demanding work that women aren’t historically linked to. However, many women are more than capable nowadays to tackle heavy lifting and challenging physical roles. But that doesn’t mean they’re being considered in the same ways men are. Explains Jennifer of Spectrum’s current hiring process and capabilities, “65% men, 35% women. 86% of hiring is frontline. Some roles have historic physical barriers. 80+ pound ladders. We have a tool on our site called ‘Fit Finder’ – a candidate can take this and it allows them to be served jobs based on their personality. Launched two years in the past, we have seen gender representation in those frontline roles has increased, simply because we have made the suggestion that women may be a good fit for this role.”
In addition to software updates and more open-minded hiring practices, Spectrum has brought their 80lb ladders down to 50lb ladders, a feat that benefits people of every gender and helps relieve pressure and unnecessary tension as we all age.
Jennifer, perhaps, made the most poignant statement on how to move forward in the hiring process to retain talent that will stick with you, and reduce turnover and disappointed employees. “Working to remove education requirements and focusing on skills and abilities. Working to expunge criminal records. Proactively retain your talent, not just acquisition.“
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I found the Indeed Lounge to be an especially absorbing stop in my day. It seemed to be much more tailored to the whole person, rather than just the resume of a person. The Share Your Salary to Support Equal Pay was fascinating – people were encouraged to write their job titles, location, and salary on a card to post for all other participants to see. In this way, salary is not a closely held secret, but rather knowledge to help in your own negotiations.
Indeed had headshot photographers, coffee, appointments with a career coach, and tarot readers. Yes, tarot readers, which make all the sense in the world in a job search. It is important to identify your own possible strengths and fears and tarot is the perfect vehicle for this understanding.
SXSW 2022 – as we have established – was such a welcoming and wonderful experience. With 2020 being canceled and 2021 being an all-digital event, coming back into a hybrid in-person/digital setting was everything we could have hoped for. This year, the film/television panels and events were spread out further into the week than years past, and we were thrilled at the thought of trying to get a glimpse of Donald Glover and the Atlanta team on the red carpet on Saturday, March 19th, at the Paramount. Not expecting to get a chance to actually step foot into the theater, we were shocked when we got into the premiere with no issue as secondary music badge holders. Viewers were promised the first episode followed by an extended Q&A. We got that PLUS the second episode!
“We like to under promise and over deliver.” – Show creator, Donald Glover.
If you love Atlanta already? You will be pleased right out the gate. If you didn’t love Atlanta already? It’s absolutely time to give it a try!
Without any big spoilers: The first episode is a reimagining of real events. Because there are plenty of things that happen in this real world – in our individual lives – where you just think: that could have happened differently. One of the things the cast revealed in the Q&A was that, in putting together these final two seasons of Atlanta – If you didn’t know, now you know. Seasons 3 and 4 have been filmed, and they will be the show’s last – they spent a lot of time watching other amazing shows like Succession while asking themselves: What is something these shows CAN’T do that we can?
And with the preview of just the first two episodes? This team can do a LOT that others can’t!
During the first season, the writers and cast genuinely felt like they were trying too hard – and, upon reflection, they can still feel it in the work itself. During season 2, they were trying hard to prove that season one wasn’t a fluke. They earned that success, and they did a brilliant job. In these final two seasons? They’ve grown up, survived 2 years of a pandemic, some even have growing families that they didn’t have before. Admits Donald of how he writes post-children: “Kids make you soft as butt.”
The consensus this time around? “We’re just trying to have fun.”
And, when the Q&A host asked if some of the subject matters in the first two episodes were based in truth (including instances of black face and euthanasia), show writer (and show creator Donald Glover’s brother) Stephen Glover said: “That shit is just funny”.
“We’re just fucked up people,” Donald added. “It came from us.” He went on to explain the correlation between fear and comedy, which are both massively present in Atlanta. “Fear and comedy are closely related, they’re always touching each other. They’re very connected. That’s why we’re trying to do that.”
From a viewing perspective? This show has always hit the tough, societal, human notes right alongside the wacky, weird, hilarious, bizarre WTF moments.
The panelists revealed that their writer’s room has been a physical location – but also a group text thread filled with memes and videos. Which, in hindsight, is made crystal clear in season 2, episode 6 with the character of Teddy Perkins (IYKYK). Donald Glover revealed that the character and episode were inspired by a photo of Michael Jackson ducking and covering, and the follow-up question: “What if you were being chased by that version of Michael?”
After this theatre viewing, we can admit it’s OUTSTANDING to watch alongside other fans, but just as hilarious, poignant, and effective when watching alone. Starting this season, you can watch it on Hulu the day after the episode airs on FX. And if the rest of the series continues with the cadence of the first two episodes of the 3rd season? You will not want to miss a single second.
The insight during the panel revealed self-awareness and an all-encompassing relatability to the content. With everything I learned about the creative process behind Atlanta, with its text thread writer’s room, I am feeling inspired to start my own writer’s room text thread. Because, my friends and I are SURELY clever enough to create our own epic, highly anticipated show, right?
On second thought, I think I’ll leave it to the pros. I already miss you, Atlanta crew!
Episode 1 of the 3rd season drops tomorrow, March 24th on FX. (Available on Hulu starting March 25th!) Keep up with our continuing coverage of SXSW here.
Singer, songwriter, and healing artist Lauren Monroe is on a roll. On the heels of her new show announcements, she brings along her latest single release with the beautiful “Kiss Me Now.” Her first release of 2022, the song reminds us all to take life as it comes at us and, for a lack of better analogy, grab the bull by the horns. Explains Monroe:
[Kiss Me Now is] a reminder of the impermanence of life – a reminder to be grateful for who we have and the journey we have taken with loved ones. It’s about being happy and free, having fun but remembering it all ends one day. The pandemic challenged our ability to celebrate just being with people, and this song reminds us to celebrate the moments we do spend together.
While the pandemic still trudges on, this is a feeling we can all identify with. And this song is a beautiful testament to the humanness that brings us all together. Enjoy the track – and it’s gorgeously compiled lyric. video – below!
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.
If you’ve been looking for an aesthetic that is vibrant, intricate, and akin to some of the video games you’ve been besting your PR at all pandemic long, then the EELS’ latest video for “The Magic” might just be your cup of tea. While we’re particularly fond of the music itself – with its mass, danceable appeal, and borderline-eery instrumentals – the adventurous layer that the music video adds to the concept is really quite intriguing.
While we’re quite aware that the magic we’re experiencing is CGI-based, it’s interesting to see how much detail went into the 3 minutes and 19 seconds of visual beauty that is presented.
If this is any indication, the EELS have something quite enigmatic up their sleeves for the new year. And I’ll ride that submarine anytime.
