Less than a week into their nearly 9-month long U.S. run on the III World Tour, The Lumineers brought warmth to a cold and snowy St. Louis night through spirited storytelling and electric performance at Enterprise Center.
This past year saw the release of the Denver-based Americana group’s third studio album, III. The project was daring, veering almost completely away from the foot-stopping, hand-clapping hits that the group is known for to delve into the dark and and tangled web of the cycles of addiction. But what the album lacks in light-heartedness, it makes up for in it’s expertly crafted stories and songs. The group’s founding members, vocalist/guitarist Wesley Shultz and drummer/pianist Jeremiah Fraites, have been together on their musical journey for just shy of two decades now, and III has brought new clarity to just how talented they are at what is proving to be their true craft: songwriting.
Very little was traditional about the album, which was released in 3 chapters, each one focusing on a different generation of a family whose life has been deeply affected by addiction. The album saw a heavy emphasis placed on the visual aspect of storytelling as well; the band released a music video for every song on the album, and large video screens let concert-goers experience those stories live as the band played the album through and the videos played behind them. While the family depicted, also known as the Sparks, are a fictional family, their stories come from a very real place.
The Lumineers played the new album in its entirety (although not in order as it was originally released) as well as plenty of fan favorites during their set, which lasted nearly 2 hours. The first half of the show contained many of the band’s earlier hits although content from III was dispersed throughout, proving that songs from the dark storybook of an album could stand on their own as well.
While so much of the night dealt with heavy subject matter, The Lumineers didn’t let it weigh them down, and the energy was always light-hearted, electric, and engaging. Of the band’s massively successful breakthrough hit, “Ho Hey”, Shultz encouraged the crowd to join in (as if there was any planet on which they wouldn’t) as he humbly told the audience that to the band “it doesn’t even feel like our song anymore; It feels like a cover.” The stadium was eager to claim it as their own.
In terms of actual covers, the Lumineers busted out a spirited version of Dylan’s fast-paced “Subterranean Homesick Blues” as well as bringing out openers Matt Quinn of Mt. Joy and J.S. Ondra for a moving take on Cohen’s “Democracy”, which is included as a bonus track on the album.
As the night wore on the band got more serious, with the back half of the show containing almost exclusively songs from the grim III, including alternative radio-hit “Gloria”, which at first listen may sound like a bright and shiny sonic match to early Lumineers numbers, but a closer listen to the lyrics would reveal the hopeless and manic addiction fueled-world meant to be represented.
Before “Leader of the Landslide”, one of the pinnacle moments from the album, Shultz took a moment to speak of what the record means to him and his own experiences trying to help a family member battle addiction. “What I learned is that standing up against addiction is like standing up in the ocean,” he said. “It’s so hard.” He dedicated the heart-wrenching and powerful song to those in the audience going through similar experiences.
Despite the large group on stage, which included violinist Lauren Jacobson, pianist/accordionist Stelth Ulvang, bassist Byron Isaacs and percussionist/guitarist Brandon Miller in addition to Shultz and Fraites, the feeling on stage was always intimate and that of one big, happy, musical family. The group was constantly in motion, often swapping out instruments or venturing out onto the stage’s various ramps to be closer to the encircled audience. Perhaps one of the most enjoyable aspects about watching the group is how much fun they seem to be having amongst themselves. Every member seems to possess a true sense of camaraderie that is rare to see with bands playing venues of this size. The Lumineers had a childlike lightness in their step as they danced, frolicked, and (if you’re the wacky, barefooted Ulvang) leapt 10 feet into the air off of pianos.
Shultz, as close as one can get to being an Americana Rockstar, was no exception to this. The frontman nonchalantly disregarded this status and casually hopped off the stage, unencumbered by security, to immerse himself in his audience. He journeyed around the arena for a song, climbing up almost to the nosebleeds to high-five and connect with adoring and respectful fans before returning to stage.
The show closed after a fiery encore with longtime fan-favorite “Stubborn Love”, which audience members joyously clapped, danced, and passionately belted along to with the band before saying goodbye to the always gracious folk-rockers.
As the band loaded out and fans sauntered out into the icy winter night, many concert-goers milled around the arena floor, talking and laughing quietly amongst themselves as adults and children alike gathered and tossed handfuls of the earlier-released confetti and continued to spin and dance in the paper rain as it fell back to the ground, the elation of the experience not quite worn off yet. Unwilling to wake up from the Americana- dream world that we all had spent the night dazing in, they remained there as I reluctantly left to rejoin the real world. Can’t say I blame them.
New York-based Americana trio TheLoneBellowhave been around for a decade now, but their newest release has shown that the folksy group still have plenty of stories left to tell and plenty of new ways to tell them. The group, comprised of lead singer/guitarist Zach Williams, multi-instrumentalist Kanene Donehey Pipkin and guitarist Brian Elmquist (both of whom join Williams on both vocals and songwriting) have just released their fifth studio album, Half Moon Light, produced by The National’s Aaron Desner, who also oversaw their sophomore album, Then Came the Morning.
The album itself is a beautiful showcase of catharsis for every one of the band members, who have all endured shocking amounts of tragedy and hardship in their lives that they admirably translate into soul-shaking music. The group holds tight to its folksy roots on Half Moon Light, but it’s uplifting and spiritual tone often soars into the rafters with clear influence in gospel, soul, and blues.
The chilling story of “Intro”, “Interlude”, and “Finale”, which appear dispersed equally throughout the album, is one unlike any other. The album works around the difficult theme of death, but instead of it being a somber reflection, it’s a triumphantly uplifting celebration of life. This tone is firmly set right from the start with the intro, which showcases Williams’ grandmother bringing the house down in a moving tribute at her husband’s (William’s grandfather) funeral when this old woman, supposedly barely capable of walking, made her way up to the front of the church, kicked the paid musician off the piano, and in the final moments of the packed service, hammered out a soul-shaking medley of songs as a beautiful tribute to her husband of 64 years. Williams later realized in the studio that his dad had recorded the whole thing, and it in turn made its way onto the album. The soulful medley effortlessly manages to tie the album together in a uniquely beautiful way.
In “I Can Feel You Dancing”, Williams and Elmquist send a letter beyond the grave to their own grandfathers, who passed away fairly recently within a couple months of each other. In a showcase to the beautiful celebration of life that takes center stage thematically on this album, the track is a moving ode to life both lived and yet to be lived, as it pays tribute to their loved ones before them but also to the people currently in their life who push them to live to the fullest everyday. Triumphant horns, soaring harmonies, and a comfortingly-grounding drumline decorate the pure and sparkling walls of this number, which embodies what it means to celebrate life.
Explosive blues-rock track “Just Enough to Get By” showcases Pipkin absolutely bringing the house down with earth-shaking vocals and brutally honest storytelling. The ache and grit in the multi-talented musician’s voice bleed onto the emotional track, which tells the story of her mother, who was raped as a teenager and forced to give up the resulting child. 40 years later, that child came back into her life, and all of the emotions that Pipkin clearly felt are laid out for all to see (and feel) on this powerful track. Pipkin usually plays an important role in bringing life to the oh-so-sweet 3 part harmonies that have long been a key weapon in TheLoneBellow’s folksy musical arsenal, so seeing this intensely soulful side of her voice is an impressive display of her dynamism to say the least and a standout moment on the album.
“Good Times” is a mind-bending bout of wild storytelling courtesy of Williams that features piano that is somehow both devilish and gleeful all at once. The track is supported by shouting choruses, which are also featured on “Count on Me”, which celebrates camaraderie and friendship. Songs like “Wash it Clean” and “August” shift the focus back to heavier material. The former features beautifully picked guitar and sliding strings as Elmquist pays tribute to his recently passed father, who he had a difficult relationship with, while the latter is an ode to Frightened Rabbit’s Scott Hutchison, who tragically passed away in May of 2018.
The trio impressively manages to stay grounded in the music that made their fans fall in love a decade ago while also bravely exploring new genres and themes. Their adventurous musical spirit aside, a constant is the positive light that the band manages to cast over so many difficult stories of hardship and tragedy, and they undoubtedly have a knack for translating those trials into a celebratory story of life.
TheLoneBellow will play at Knuckleheads Saloon in Kansas City on March 2nd, 2020. Come out with us that night for one of the most entertaining stage performances you’ve ever experienced!
Politically charged music is still prominent in rock and roll, and New York band Lower Power ride its wave in new album One Planet at a Time. The album collectively addresses issues impacting our society like the increasing gun violence, mental health, war, inequality, and much more.
The lead track “All About Me” has a main focus on narcissism that affects our society. This track kicks down the door and introduces listeners to the impact Lower Power is trying to create.
The video for “All About Me” are clips of money being transformed into different shapes, and being warped through snapchat filters. As well as home video using similar snapchat filters. The idea here is capturing through silly filters, obscuring the view of normal, with a very “me-centered” persona. The narcissistic tendencies being pointed out in the song and the video go beyond everyday people, but the economy and government themselves.
This in-your-face, pay attention, mentality One Planet at a Time has makes listeners think about these heavy topics. It forces listeners to face these hard-hitting issues, charging them up.
Today, indie pop sensation Beabadoobee released the official music video for her track “Sun More Often.” Animated by Elliot Bech, the entirety of the video is a gorgeous black and white cartoon with images alluding to the Space Cadet EP. While she soulfully sings, her words breathe life into your day as she implores you to look at the bright side of things, with lyrics like: “If you try/You’ll see/That the world’s/Not scary as it seems.”
Check out the video below, and let us know what your thoughts are over on Facebook!
TOUR
3/23 – Atlanta, GA – Aisle 5 *
3/25 – Washington, DC – Union Stage *
3/26 – Philadelphia, PA – Foundry *
3/27 – Toronto, ON – Velvet Underground *
3/29 – New York, NY – Bowery Ballroom *
3/31 – Cleveland, OH – House of Blues – Cambridge Room *
4/02 – St. Paul, MN – Amsterdam *
4/03 – Kansas City, MO – Encore @ Uptown #
4/04 – Denver, CO – Moon Room @ Summit Hall #
4/05 – Salt Lake City, UT – Kilby Court #
4/07 – Seattle, WA – Crocodile #
4/08 – Portland, WA – Holocene #
4/10 – San Francisco, CA – Rickshaw Stop #
4/14 – Phoenix, AZ – Valley Bar #
4/27 – Houston, TX – Cynthia Woods Pavilion ^
4/29 – Austin, TX – Austin360 Amphitheater ^
5/2 – Dallas, TX – Dos Equis Pavilion ^
5/3 – El Paso, TX – Don Haskins Center ^
5/5 – Glendale, AZ – vGila River Arena ^
5/7 – Los Angeles, CA – The Forum ^
5/8 – Irvine, CA – FivePoint Amphitheatre ^
5/11 – Morrison, CO – Red Rocks Amphitheatre ^
5/13 – Omaha, NE – Baxter Arena ^
5/14 – St Louis, MO – Enterprise Center ^
5/16 – St. Paul, MN – Xcel Energy Center ^
5/18 – Milwaukee, WI – Fiserv Forum ^
5/19 – Columbus, OH – Schottenstein Center ^
5/21 – Toronto, ON – Budweiser Stage ^
5/23 – Washington, DC – The Anthem ^
5/26 – New York, NY – Madison Square Garden ^
5/29 – Hanover, MD – The Hall Live! Casino and Hotel ^
5/30 – Camden, NJ – BB&T Pavillion %
6/1 – Pittsburgh, PA – Petersen Events Center ^
6/3 – Cleveland, OH – Rocket Mortgage FieldHouse ^
6/5 – Virginia Beach, VA – Veterans United Home Loans Amphitheater ^
6/6 – Charlotte, NC – Spectrum Center ^
6/8 – Jacksonville, FL – Daily’s Place ^
6/9 – Miami, FL – Bayfront Park Amphitheatre ^
6/11 – Duluth, GA – Infinite Energy Center ^
* w/ support from Eliza & The Delusionals
# w/ support from Taylor Janzen
^ In support of The 1975
% 104.5 Birthday Celebration
Festivals:
3/16 – 3/22 – SXSW – Austin, TX
4/11 – Coachella – Indigo, CA
4/18 – Coachella – Indigo, CA
5/24 – Boston Calling – Boston, MA
It’s often said that music is a universal language, but even so it’s rare to see a group that represents that so literally. Progressive-indie electronic group Me & the Monster all came together when they met at their shared university in Berlin, but they possess an additional layer that sets them apart from the typical cliche of starting a band in college; the 4 musicians all hail from different countries.
While most bands start off arguing about when they’re going to rehearse or who’s going to bring snacks, this group had to immediately face an obstacle that most would never even consider; figuring out how to deal with the cultural and linguistic differences that existed as a result of their varied backgrounds. But luckily, they all had one overwhelmingly important thing in common that transcended these barriers: their love and appreciation for music. Their self-titled EP, dropping January 31st, 2020, is the group’s debut.
The influences of their different homelands come through in their music, and the result is a beautiful melting pot of sounds and ideas. A range of modern influences can be heard in The Monster’s music; Of Monsters and Men seem to show on their indie folk-rock side and Alt-J in their experimental sounds and concepts. The progressive debut EP touches on political issues such as the rapidly-changing coral reefs and the controversial political scenes in the hometowns of some of the band members. Their debut is representative of who the group is and what they stand for, and everything about them supports this; even the name Me & the Monster itself is a take on describing “modern man and his connection to the most original part of himself, the subconscious: his monster.”
The opening track, “My House”, is an introduction into the Monsters’ world, and they waste no time in welcoming their listeners into their melting pot of music. Hearty tribal drums and soulful vocals immediately draw you in; “Greetings / This is the jungle of my feelings” sings vocalist Andrea Trujillo. Here, home exists not as a place but as an idea, as a feeling, and as the people that become home for you when you leave the place you’ve always known. The opening track is the perfect intro to the group, who are all familiar with this concept as they hail from Spain, Venezuela, and Italy and all found unity and this idea of home through their common love for music.
“The Shadow” touches on the concept that the group is named for; the idea of recognizing the monster inside of yourself and the battle that everyone goes through with that. Meanwhile “Give Me Fire” stresses the importance of finding a source of light to keep you fighting through dark times. “Here” is a brightly-colored river of sounds that winds slowly before building into an explosive chorus heavy with tribal drums and echoing harmonies. The passionate political anthem introduces a sense of urgency as the group makes a call to action; “We cannot pretend / That this isn’t real / This is not the end”.
The closer, “Colours” touches on the issue of the damage of the coral reefs as a result of climate change. “It’s in my body / It’s in my bones / I must keep fighting,” Trujillo repeats, her passion for the cause evident in her moving and soulful voice. Smoothly rolling guitar riffs reminiscent of the ocean waves themselves accent the anthemic chorus. Shouting background vocals call for unity as the group reminds listeners of the importance of using music as a channel for activism for important causes.
The debut is a rare case that leaves listeners not only with a crystal clear idea of where the group stands musically, but also politically. While each track shows off a varied side of who the Monsters are and what they’re all about, the EP has a strong feeling of unity and coherence that makes the group’s debut body of work feel strong and memorable.
Indie group Hello Forever release video for newest track “I Want to Marry You”. Hailing from hippie-esque Topanga County, Calif., those same vibes are present in the song and the video.
Hello Forever, are shot at multiple locations in Topanga County. The look of the video is an off-shoot of their hippie style, seemingly recorded or mimicked to look like it was recorded on 35mm film.
“I Want to Marry You” is lead by ukulele with percussion used to keep the steady rhythm. The ukulele created melody give the song a light feeling. A feeling a listener can find themselves relaxing to or dancing along with.
Hello Forever’s style of music falls somewhere between the indie-rock powerhouse Vampire Weekend and psychedelic POND. This varied marker gives them the space to create and innovate in spaces that seem far apart. What Hello Forever are able to create in this space is a warped indie style that is highly enjoyable.
Post-punk group Wire release second single “Primed & Ready” from upcoming album Mind Hive, set to be released January 24th through the band’s own label pinkflag.
In the band’s 40-year career, they have continued to grow and release a steady stream of music to keep their name on the map. Mind Hive will be the band’s seventh studio album, and continues to prove the influence and dominance of Wire.
The band’s music has always stretched the confines of the rock format while also showcases the genre’s essence. That again is proven with the newest track “Primed & Ready”. Lead vocalist Colin Newman notes the simplicity of the song’s structure. Stating that the song was easy to write and that the chord sequence and structure is relatively basic, with only 3 chords used throughout the whole song.
Mind Hivefollows the band’s 2017 release Silver/Lead, which career sales and amazing reviews for the band. From just this first look, its seems Mind Hive easily reaches the high bar set from previous releases.
Erin P.S. Zimmerman has not only the memory of an elephant and the rhythm of one of Destiny’s children, but she’s the twin sister of our Editor, so she’s an absolute magnet for pop culture. She took a side road and grabbed us a large quantity of songs for a playlist that easily covers the entire decade. We’re sure it was inspired by her Spotify plays, as well as a deep dive into each year and her own iTunes library. But this girl’s got some gems. So read em, listen to em, and celebrate 2020 with the sounds of the past!
2009
Dick in a Box – Lonely Island ft Justin Timberlake One of the first times I realized that my mom has a wicked dirty sense of humor. In 2011, we requested this one at a piano bar “for our mom”. They pulled her on stage to sing and dance…and boy, did she!
I’m on a Boat – The Lonely Island Everyone seemed to know this one, and it brought us all togethe
Water Landing – Third Eye Blind Favorite TEB song. My new bf at the time – now my husband – made me a mix CD when we started dating, and this was the first song.
Boom Boom Pow – The Black Eyed Peas “You’re so two thousand and LATE!” – Also, my sorority formal date’s “THIS IS MY JAM!”
Gives You Hell – The All-American Rejects Our anthem for all the bullshit left behind in high school.
Use Somebody – Kings of Leon Favorite moment of my study abroad trip to London: a packed room at a bar singing this to a live band playing a cover.
Party in the USA – Miley Cyrus There is no physical possibility she could walk off the plane at LAX, hop in her cab and look to the right to see the Hollywood sign.
Battlefield – Jordin Sparks Why DOES love always feel like a battlefield?
Fireflies – Owl City Why did we like this one so much??
I Love College – Asher Roth This is the given on the soundtrack of someone who was in college in 2009 or any year after.
Breakeven – The Script This introduced me to The Script. Which became part of the soundtrack to my summer.
Lines, Vines, and Trying Times – Jonas Brothers YES, this is the whole album. Because I loved about 4/5ths of it. And it was the magical soundtrack to exploring London and Los Angeles.
2010
Cooler Than Me – Mike Posner Someone told me they thought of me every time they hear this song because I probably think I’m cooler than them. I am.
Billionaire – Travie McCoy ft Bruno Mars Heard this one for the first time driving around Los Angeles with some friends. And I could picture myself as a billionaire VERY clearly – and still do every time I hear it!
Club Can’t Handle Me – Flo Rida ft. David Guetta Always blasted in my dorm with my roommates. Always never at the club…because it can’t handle me right now.
Whataya Want from Me – Adam Lambert I felt like I had his vocal range. Spoiler alert: I didn’t. Also: what I sang in my head every time someone from high school reached out to me…
If I Die Young – The Band Perry My co-worker’s young daughter loved this song. And creepily sang every word as she stared deep into my eyes. I lived to tell the tale.
Shout It Out – Hanson Yes, it’s another boy band album. I truly love all of the upbeat music on this, and it’s great for running through the sprinklers and then enjoying a bomb pop on a summer day (or upbeat music for your NYE)!
2011
Under the Mistletoe – Justin Bieber My sister received a video invitation to a Christmas party in Manhattan, New York that featured this song. And it was original and funny and I can’t help but love the song now.
Rolling in the Deep – Adele Power ballad and my introduction to Adele [insert heart eyes]
Party Rock Anthem – LMFAO My little bro learned the dance. We made the gold box head from the video for him. This was his anthem.
Raise Your Glass – P!nk Underdogs. Weirdos. Dirty little freaks. I’ve never felt so seen…
F**kin’ Perfect – P!nk NOW I feel seen.
Look At Me Now – Chris Brown ft Lil Wayne and Busta Rhymes I spent an entire week vacationing in San Diego practicing rapping to Busta’s verse. I got most of it, performed it at my 21st birthday party, and retired from the rap game.
Good Life – OneRepublic Upbeat. Meaningful. Nostalgic. Perfect for a party!
Pretty Girl Rock – Keri Hilson Because, of course.
Jessie J’s entire album: Who You Are Spent the summer – and fall and winter and spring – driving around with my twin sis rockin’ out to this one! Daddio’s favorite is Price Tag
Threw it on the Ground – The Lonely Island Makes me giggle. Referenced often to this day.
2012
Somebody That I Used to Know – Gotye Just one of those songs from 2012 that defined the year…because it was played non-stop on every radio station. So, everyone knows it.
We Are Young – Fun Another one of those anthems for people of all ages about going out and painting the town red – or setting it on fire, whatever
Ni**as in Paris – Jay Z and Kanye West A fun one that made at least SOMETHING in Blades of Glory funny.
Birthday Cake – Rihanna ft Chris Brown Super weird collaboration following his assaulting her and the romantic breakup that followed 3 years prior…but a super catchy – albeit sometimes annoying – track.
2013
Thrift Shop – Macklemore and Ryan Lewis Who didn’t love this song, and then become a complete thrift shop junkie? It took me years to get back to thrifting and getting anything good!
Flawless – Beyonce Empowerment anthem OF THE DECADE. And, most days? I DID wake up like this.
Mirrors – Justin Timberlake Cried. Sang it with the windows down driving up the 101. Made my bridal party do a dance to it. There is video evidence.
Royals – Lorde I had somehow forgotten this song. It played in perpetuity from 2013-the KC Royals 2015 World Series Championship. Now I can’t get it out of my head…
Wrecking Ball – Miley Cyrus An ode to Miley’s breakup, breakdown and ripping off the bandaid that was her Disney persona. And you, too, can get a skin for your MacBook that turns your Apple logo into the wrecking ball in question.
Girl on Fire – Alicia Keys ANOTHER empowerment anthem? We will take all of them we can get!
Try – P!nk Have you ever seen the music video? Watch it. NOW.
You and I – John Legend Hell, really I just mean all of the album “Love in the Future”. Best of 2013.
2014
Happy – Pharrell Williams Who doesn’t want a feel-good song to take you from down in the dumps, to dancing on the hood of your car? Or the bar? Or the table or the street?
All of Me – John Legend Bawled. Became first dance at wedding. Years later, I told John Legend to his face that he only makes music to purposefully make me cry. And he guaranteed tears at his concert. And he delivered. Damn him.
Turn Down for What – DJ Snake and Lil Jon Only video I took at my wedding: Dance off in the foreground between 5 VERY white boys to this song. In the background? Family friend Russian kicking my 9-year-old niece into 2016.
Chandelier – Sia I DO want to swing from the chandeli-here!
The Man – Aloe Blacc Best basketball warm up song. Best slideshow music for the graduating seniors of the St. Pius X high school basketball team.
Partition – Beyonce This one just has me feelin’ myself, no matter what mood I was in before! In fact, I’m going to go listen to it, now!
2015
See You Again – Wiz Khalifa ft Charlie Puth First death of a friend my age. This played on a slideshow. He’s all I think of when I hear it and I cry. Which means I cried while watching Fast and the Furious. But not because of Fast and the Furious.
Take Me to Church – Hozier The year I really STOPPED going to church. But his voice more than made up for it!
Elastic Heart – Sia Two words: Shia. Labeouf.
Outlaws – Alessia Cara I felt like this was the anthem for myself and my fellow entrepreneurs as we retreated in the mountains and built our businesses and white-water rafted and had a jolly ole time.
House Party – Sam Hunt How the twin and I have always lived our lives: entertaining from the comfort of our own homes.
2016
Love Yourself – Justin Bieber
Sorry – Justin Bieber OK, let’s be honest. The whole damn album. I’m not embarrassed. I danced my way through 2016 to JB.
Work from Home – Fifth Harmony I had just started working from home as a full-time freelancer when this one came out. So, it was constantly in my head – and is a fun one to dance to, as well!
Just Like Fire – P!nk Apparently, I am drawn to fire. I believe it’s the Aries in me…
One Call Away – Charlie Puth Sister broke up with her boyfriend. I rallied the troops and had friends and family from across the US lip sync on video and put it together as a breakup gift. And a perpetual reminder.
Sit Still, Look Pretty – Daya Calling society in to question. While being catchy and easy to dance to? Yes, please and thank you! Because smashing the patriarchy can and should feel a hell of a lot more fun!
Lost Boy – Ruth B Haunting, gender-bending, put into question how we see ourselves vs. how we are seen.
I know, deep, right?
2017
HUMBLE – Kendrick Lamar I saw this one as a challenge for me to be less humble and take up space, while also singing along loudly in the direction of folx who need to sit the f*** down, shut up and listen.
Say You Won’t Let Go – James Arthur Does anyone else see Jane and Rafael from Jane the Virgin when they listen to this song? No? Just me?
Redbone – Childish Gambino A range and style no one expected, but everyone needed.
Slow Hands – Niall Horan Sexy from a former One Directioner…I should have seen it coming.
Sorry Not Sorry – Demi Lovato Hate the saying. LOVE the song.
DNA – Kendrick Lamar The BEST song to lift heavy weights and smash a bag around to! TRY to tell me differently!
Better Life – P!nk Sad and beautiful. It helps me to stop and take inventory and answer P!nk’s question for myself.
Younger Now – Miley Cyrus How I feel with each passing year…
Bastards – Kesha First song on her 2017 album. “Don’t let the bastards get you down” (America’s official slogan since, what, 2016?)
Everybody Lost Somebody – Bleachers Bleachers makes depression fun by helping folx find commonalities in one another. YOU are not alone!
Finesse – Bruno Mars and Cardi B LOVE the throwback late 80s/early 90s sound. MORE PLEASE!
All The Stars – Kendrick Lamar & SZA Black Panther. Entire Marvel/Disney soundtrack produced by Kendrick Lamar. My mom is friends with SZA’s mom.
This is America – Childish Gambino Calling us out. Poignant. This IS America. Always and still.
God is a Woman – Ariana Grande Finally. Someone got it right.
Shape of You – Ed Sheeran I’m still trying to hate it. But every time it comes on – and it still does a LOT – my foot just gets a’tappin’!
Thank U, Next – Ariana Grande I find myself singing this at my husband of 5+ years. Gotta keep um on their toes!
Hey Look Ma, I Made It – Pan!c at the Disco Haven’t heard much from Pan!c since the mid 2000s…and now they are back and better than ever! In fact: theirs was my favorite show of 2019 (and Elizabeth’s! Check out her review here: http://imperfectfifth.com/elizabeths-favorite-shows-of-2019-dont-threaten-me-with-a-good-time/)
2019
7 Rings – Ariana Grande Sound of Music is my favorite. And so are my bitches (though, I don’t have 6 of them…probably)
Old Town Road – Lil Nas X ft Billy Ray Cyrus Lil Nas X became a role model, THEN came out (and became an even BIGGER role model), all while trolling us with this annoyingly catchy – but really bad – anthem of 2019.
Bad Guy – Billie Eilish Hate to say it…I love it. Because, well, I don’t always want to be the nice guy!
I Don’t Care – Ed Sheeran and Justin Bieber This is literally how I feel about everyone and everything. Except for my family. Sometimes. Other times, it’s exactly how I feel about all humans except myself.
Homecoming: The Live Album – Beyonce Watching it live. Listening to it in its entirety. Tears to my eyes and over a decade of music and emotions.
Still haven’t decided on that perfect music selection for the quiet moments amidst the madness of the holidays? That’s OK.London-based singer/songwriter Ollie Trevers has swooped in with a win for you, boasting five incredibly beautiful tracks on his new EP Cordelia. Each song is dripping with emotion, Trevers’ vocals acting as the main instrument. Sincerely, if you haven’t experienced this man’s vocal talent, it’s absolutely time.
Take first track “Dispassionate Love”, for example. There are points in that song that sound like he is weeping. And then he’s singing at the top of his lungs like a ballad. Not to mention the mellifluous sounds he makes between lyrical stanzas, and the gorgeous note changes while drawing out words. “Can’t Make It Up” follows suit, beginning slower and progressing to a cacophony of sound at points during the track. What I love about this one is that it builds to a head, and then slows down again several times. It leaves you slightly unsatisfied throughout in that regard, though disappointing it is not. It edges more on the side of intriguing.
“Stage of Fools” might be one of the most gorgeous songs we have ever encountered, and the album gets no more upbeat in topic from there. The entire EP details loss in love, emotional wreckage, and the relatable thoughts brought on by heartbreak. “I Need Someone” magnifies this, definitely written in a poetic — albeit low — moment. “Lost Alone” rounds everything out with an audio atmosphere that feels very Queen-inspired, a love rock anthem to its core.
