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.
I’ll always jump at the chance to review music in my local area, so getting to write about DC-based indie band Pretty Bitter was super exciting. The band, (composed of vocalist Mel Bleker, bassist Miri Tyler, keyboardist Zack Be, guitarist Chris Smith, and drum-ist Jason Hayes) formed during the late 2010s and have released two albums, 2019’s Patchwork and 2022’s Hinges, with a third currently being scheduled for some time later this year. Their sound is self-described as “queer alternative emo dream pop-ish”, which is probably a fair way of putting it. Listening to some of their previous songs gave the impression that the band has eclectic tastes and doesn’t want their sound to be pigeonholed, especially considering the immense talents each member has. It seems inspired by a plethora of alt-rock sounds, namely dense pedal/feedback-heavy psychedelia (or shoegaze, if you’re annoying) with occasionally some distorted garage-rock guitars or danceable drumming and bass playing. For a band that’s still young, I appreciate their desire to keep listeners on their toes by having a decent range of playing styles.
Their newest single from February, the grimly titled “Roadkill”, is a great showcase of each member’s abilities and chemistry with each other as they make the track into a total gem. The vocals are bursting with confidence and enthusiasm, even when they’re occasionally buried by layers of guitar and synthesizer effects. Speaking of, the band continues to mix and match styles by incorporating some bubbly new wave-y synths that really pop, and keep the song fresh. The aggressive, relentless energy provided by the guitar, bass (wonderfully gritty during the bridge) and especially the drumming, which never seems to slow down for even a second. It complements the angst and frustration present in the songwriting, with lyrics that are personal and confessional like a lot of Pretty Bitter’s other work. Yet it’s still fresh and inventive through the band’s abilities and their commitment to not fully repeating themselves.
I’m glad I could write about Pretty Bitter, as the band is absolutely a shining star in DC’s growing local music scene. They have potential and musical expertise in spades, and seeing their further growth and evolution will be a joy to witness.
For those weary of pop’s increasingly homogenized soundscapes, the Indianapolis duo LITTRELL emerges as a refreshing antidote. Their latest single, “Dirty,” doesn’t just defy genres—it blends them seamlessly, creating a uniquely turbulent and immersive sonic experience.
“Dirty” combines a haunting atmosphere with intense energy, placing LITTRELL among forward-thinking acts like Massive Attack, Portishead, and BANKS. Lindsay Littrell’s vocal performance walks a tightrope between urgency and haunting restraint, perfectly anchored by Garrett Langebartels’ masterful production.
At its core, “Dirty” explores the inherent messiness of intimacy, rejecting idealized notions of love in favor of raw, complex emotions, in spite of their messiness. The song’s thematic complexity is mirrored in its sound, showcasing LITTRELL’s ability to craft a sound that’s both beautiful and haunting.
LITTRELL’s lyrics delve into the discomfort of shallow relationships. The opening lines, “I don’t wanna be your respite from reality / When you go you leave the ashes of your fantasies,” set the stage for a song that craves genuine connections over escapism. The chorus, “They don’t keep me warm / They just pile up on the floor / And leave me feelin’ dirty,” highlights the emptiness left by temporary comforts.
“Dirty” demands active engagement from its listeners, encouraging them to dive deep into its disquieting themes. LITTRELL understands that true catharsis comes from confronting the messiness head-on and finding transformation on the other side.
“Dirty” is one of 2024’s most compelling releases, challenging the polished, PR-driven mainstream with its bold, unfiltered approach. This track serves as a reminder that impactful art leaves a mark and invites listeners to explore deeper emotions.
LITTRELL has crafted a sound that is both beautiful and moody, with dark electronic elements. With lyrics and songwriting that cut through surface-level platitudes to grapple with deeper existential questions around sincerity, truth, and meaning, Lindsay Littrell and Garrett Langebartels have tapped into something truly unique as songwriters and producers. “Dirty” is a captivating single for fans of alternative and electronic music who appreciate lyrical depth and emotional resonance. Dive into the world of LITTRELL and let “Dirty” envelop you in its raw, emotional embrace.
Love them or hate them, bands that were popular at the turn of the century are making a comeback. And Hanson? They never really went anywhere. After going indie when their label failed them professionally, the three-brother band has maintained a brand – with multiple creative endeavors within it, including a beer company, tiered fan club membership, collaborative fan community, and more – that has continued to serve them and their growing family over the years. They have consistently toured, continuously contributed to nonprofit funding efforts, and continue to deliver new music as a sibling project year after year.
On Friday, June 14th, Hanson entertained a large crowd gathered in front of the Visit Missouri main stage at Boulevardia in Kansas City, Missouri. There, they announced the release of their new peach cider venture – that comes in honor of the 20th anniversary of “Penny & Me” – that they would be pouring themselves at the Taps & Tastes event the following day.
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Boulevardia draws thousands to the Kansas City area every Father’s Day weekend for an interactive beer and music festival, with local makers and food vendors galore.
Brooklyn’s own indie rock band Razor Braids just released Big Wave, their sophomore LP after 2021’s “I Could Cry If You Want Me To”. The new album is of a concept record about the timeline of going through a breakup, and lyrically it’s very personal. It goes into the narrator’s (which could be any of the members of the band, or multiple writing from shared experiences) feelings about their insecurities, self-doubts, and feelings of anguish within themselves. The lyrics are one of the strong points of the band, being clear, relatable, and easy to identify with as a listener.
Musically, the band’s style has its inspirations in 90s indie and alternative rock. There are many obvious comparisons like the lo-fi sound of Liz Phair, some Mazzy Star-style touches of psychedelia, as well as heavy grungy guitars that occasionally pop up. The production and guitar work on the album is consistently good, with a hazy but dreamy atmosphere composing many of the songs. Lead vocalist Hollye Bynum gives a lot of great performances throughout, showing her singing as more confident than the band’s earlier singles like “Nashville”. The backing vocals (contributed by rhythm guitarist Jillian Karande) are just as strong, though some of the best sounding parts of the album were when both vocalists harmonized, like on “B26” and “Windy Gap”. It’s an element of the band’s sound that I wish they used more.
My favorite track is the lead single, “She”, which is an upbeat pop-rock song that easily has the breeziest and most danceable groove on the album (with the drums provided by former member Sid Nichols). The band’s irresistible energy and chemistry here shines through, accentuated by brief giggles by the band as the song closes. However, while “She” is a great single, it differs a bit from the rest of the album in terms of its accessibility and focus on a pop chorus. Not that this is a bad thing, as mellow and downbeat songs like “It Goes Quiet” and the title track are still strong because of the earnest performances and lyrics, and especially from the lush guitars (from lead guitarist Janie Peacock) in the second half of the latter.
Big Wave is mostly a storytelling album rather than one that’s song driven. There’re points where the tracks can feel more about expressing emotions rather than structure and rhythm. This is most apparent on “JR”, which seems to explode with intensity as a musical emotional breakdown in the second half, as psychedelic guitars bury the vocals before they come crashing down on themselves. The vulnerability given from Bynum’s performances helps make this seem rawer and more effective.
All the songs are good, and the album is easy to recommend to fans of modern indie rock that are more into lyrically driven music. It’s not perfect, as I think it could’ve used another good hook or two and better pacing. Still, the album ends on a bittersweet but hopeful note on “There’s No Sound”, and I think the band still has a lot of talent and potential to build on based on the more promising parts of the album.
Big Wave may end up just being a steppingstone for a band that’s still evolving, but it’s captivating enough to look deeper into it.
The new single by Swedish indie rock band Girl Scout, “I Just Needed You To Know”, shows the range of the band in terms of their musicianship. It’s entirely in the realms of punk music, with driving drums and bass, distorted guitars, and an intentionally raw and unpolished production. The song never lets up for its entire duration, especially as it approaches noise rock-levels of volume at its climax. The song can appear loose and sloppy, yet it’s still obviously controlled and well thought out as more than just a fun studio jam session.
From what it seems, Girl Scout is still finding a distinct identity based on their previous singles more in line with contemporary bedroom indie pop. However, garage-inspired songs like this and “Do You Remember Sally Moore?” show they refuse to be pigeonholed. They’re successful in part because of the talents of members Per Lindberg, Viktor Spasov, and Evelina Arvidsson Eklind; but also because of the vocal range that front-woman Emma Jansson provides. Throughout many of Girl Scout’s songs, her voice can change from soft and vulnerable, angsty and grungy, or powerful and belting out. The latter is seen especially in “I Just Needed You To Know” as her voice almost becomes a powerful instrument in itself, soaring upwards and refusing to be buried under sludgy guitars.
The song is an easy recommendation for indie rock fans or anyone who’s a fan of fast-paced 90’s alternative rock. Despite only gaining attention last year through the release of two EPs (Real Life Human Garbage and Granny Music, respectively), the band’s popularity is rapidly growing as they embark on a summer tour opening for Alvvays. Considering the mountains of energy contained in the track, I’m sure it’ll become a Girl Scout live favorite for years to come.
It hasn’t been historically easy for me to figure out what to do for my birthday. Usually, I use the fact that I am an identical twin to find ways to celebrate. Plus, both my brother and brother-in-law have birthdays during the same week as us. April is a crazy time in our household!
But when I heard AJR was planning to be in my hometown on my birthday this year, it was a no-brainer that I would be there. Not because I’m a superfan. (Admittedly, I’m not.) Not because I know their catalog extensively. (Oops, I am a very casual listener.) Actually, it was because the band’s energy felt like the right one for my birthday. Well-paced songs, often dark honesty blended with pop hooks, quirky entertainment value. I had caught a glimpse of their live set at Bonnaroo in 2019, and had wanted to see their full creative capabilities. So, my mom and I got tickets together. (Because she has wildly good taste in music and is a phenomenal show buddy.)
AJR is another three-brother band comprised of Adam, Jack, and Ryan Metz. They are more than just your average “We tried choreographed dancing and it’s still stiff,” “We dress alike for our image,” or “We play instruments but we don’t use the space to entertain” groups. They have approached their work very differently than many others, to maintain their individuality and spark as a group the whole time. As their music catches fire with even more people, they acknowledge and appreciate their successes as it happens.
Dean Lewis opened the show for them, bringing his brand of Australian power ballad to the people of Kansas City. While he may have unbuttoned a few too many buttons on his shirt, his rendition of Goo Goo Dolls’ “Iris” was really well done, and his vulnerability on stage allowed him to connect with the early crowd.
As is the case when you head to a comedy show, be prepared for AJR to exist outside of the box a little bit. Crowd interaction, scripted stage moments, and behind-the-scenes glimpses into their creative process… So many more examples of dynamic storytelling aside from the incredible musicianship are in store for you. The show’s eco-impact – supported by Adam Met’s efforts as a climate activist – is notable alone, as they sell sustainably packaged water and donate a percentage of each ticket sold to Planet Reimagined. Their VIP experiences are almost as dynamic as the show itself. During an AJR show, they drive cars, dine in restaurants, skydive, do shadow puppets, and perform from unexpected heights. And that’s just some of it.
There is a performed breakdown of the song “Way Less Sad” during their set. This was one of the most fascinating elements of their show. It allowed AJR to play with prepared prose and do a little set work. Seeing this – and hearing them talk about having a theatrical musical style – was a super relatable moment as a child of the 90s raised on musicals and art. It seems these brothers had nurturing upbringings embracing the arts and they work really well together. I see myself in that, and want to lead a more collaborative existence like that.
If you are heading out to see The Maybe Man Tour and don’t have context, there is a sad piece to their set. They talk about the inspiring advice their dad gave them before he passed last year. It is fresh in their minds, their lyrics, and their hearts as they approach the topic. I warn you because waterworks are almost unavoidable. Even surrounded by confetti and giddy, happy hearts of almost every age. (It was kind of like a daycare in there at times.)
Run Time: 1hr 25 mins Streaming: HULU Genre: Comedy, Action/Adventure, Thriller, Silly Adventure, Buddy Comedy, Mystery Suggested for: People and pets of all ages. Those who love Squid Games, Hunger Games, hunting, etc. Adoring fans of The Pepperwood Chronicles or other deep cut references from New Girl.
To tell you I know I will watch this movie a dozen times or more over the next 6 months is probably an understatement. Written, directed, produced, and starred in by none other than Jake Johnson (fka such gems as “Shady David Krumholtz” and “a deeply troubled, degenerate Oscar Isaac”), Self Reliance is a comedy thriller that pushes the needle on self-awareness. A heavily nuanced piece, it presents as a little more whacky, with adrenaline-inducing chase scenes and the inclusion of several familiar faces. My twin sister is in town, and it was the perfect way to spend the early hours of our Friday morning with Schmidt (the cat) in tow.
IMDb Description: Given the opportunity to participate in a life or death reality game show, one man discovers there’s a lot to live for.
Tommy (Jake Johnson) is a man not quite taking advantage of the prime of his life. He lives with his mom after a debilitating breakup and sticks to a daily routine that seems rigid and unfulfilling. He wakes up with a picture of his ex next to the alarm clock, rides the exercise bike watching the iPad with no sense of urgency, walks the same route to work, pushes paper at his desk all day, walks to the bar for a drink, and heads home. Everything seems gray, and very purposefully so.
One day, Andy Samberg – another producer on the project is The Lonely Island – pulls up alongside Tommy in a limo. He tells Tommy he doesn’t know why he has picked him up, but that people are waiting for him and the driver takes them to a warehouse where they drop Tommy off and urgently leave. Samberg’s quintessential over-the-top facial expressions and visible discomfort during the scene help to foreshadow a rough go for Tommy.
After following red arrows through a maze of warehouse corridors, Tommy finds himself facing a table of foreign men who tell him he has been invited to play a game where he is being hunted. It is all being broadcast to the dark web. Hunters could find him, but they might not. The only way he can avoid being killed is to stay in close proximity to another person for 30 days. If he survives that time frame, he gets $1 million. Sounds easy, so he accepts.
THIS PARAGRAPH HAS MILD SPOILERS. SKIP THIS SECTION IF YOU’D LIKE. Until his family hears his story about Andy Samberg picking him up in a limo and offering him a spot in a game where people hunt others for sport. Because he is stuck in a post-breakup depression haze, Tommy’s family – expertly played by Mary Holland, Emily Hampshire, and Nancy Lenehan – thinks his mental health has tanked and he just doesn’t want to be alone. When he furthers their theory about his sanity by physically moving his brother-in-law from the toilet mid-shit to prove to an assassin that he isn’t alone through a bathroom window in the middle of the night, they back out entirely. He recruits a houseless man to live and work with him so he is never alone, consequently loses his job, and is thrown into a hailstorm of a month. *******************
Joining Johnson in his debut effort is an insanely stacked cast. Aside from the aforementioned, Natalie Morales appears as Tommy’s ex. Anna Kendrick plays his love interest, a woman named Maddy who reaches out when Tommy posts a cryptic Craigslist ad to learn more about other players of this game. Christopher Lloyd makes an appearance, as well as Wayne Brady, Biff Wiff, Boban Marjanović, GaTa – whose work bringing mental health-focused projects to the table has held a healthy balance amidst his music and acting endeavors – and Eduardo Franco, who is pretty much everyone’s favorite human to be around.
My sister, Erin P.S. Zimmerman (a producer, filmmaker, and film critic) had a pointed takeaway from this fun watch. The man who wrote this movie has most likely experienced loneliness and pain, and come to his own existential conclusions. Humor and growth have been found in the process. Through Self Reliance, Jake Johnson has pinpointed the importance of community in the human experience. Though I’m sure the plotline was born from many inside jokes and comedic life experiences – and a flurry of incredible pop culture references – the core of the film is, truly, togetherness.
It is also, in my opinion, a sound testament to trusting your own gut and instincts through life. As terrifying as some of the situations were that the characters found themselves in, they had to work their their own intuition and ideas with the information they had to move forward. Watching these characters pause for thought, and then approach situations with unwarranted confidence is almost empowering. Because, truly, nothing different is happening to the people in Self Reliance than is happening to all of us at any point in our lives. Anything can happen to you at any moment. And you have to work with what you have in that moment to thrive — or even just to survive. Curveballs – like the cryptic messages from GaTa and the P.A. Ninjas – can be thrown your way at any time. You have to be aware and ready to create your own destiny. (You know, instead of meandering about as we all do from time to time for an extended period. Because meandering is cool.)
Another great piece to this film is that Tommy recognizes the people who are helping him pretty quickly. His character even goes so far as to acknowledge them along the way, and it is because he is waking up and beginning to notice the things around him a lot more — see the world more clearly. (You would too if assassins were hidden around your world, trying to take you out as soon as you’re not paying attention.)
A more detailed perspective from Erin:
As someone that works in the production industry, watching how the P.A. Ninjas were presented was lighthearted and hilarious, but also true. Knowing that Jake Johnson has touched many facets of the filmmaking workflow – writer, director, producer, and actor in this movie alone – he went into this project as a filmmaker who has a more well-rounded perspective of the process.
Though the P.A. Ninjas seem like a characature, they are very true to life in that they bend over backwards for everyone, they take care of the people who take care of them, they’re ninjas that seem to do everything and take care of everything. But they are necessary and he brought light to the fact that they are ninjas. It was a nice little nod to workforces in the industry that aren’t often acknowledged by the executives and top-billed cast, or anyone who has never been in their position before.
Coming out of the strikes of 2023, the details in this film seem all the more important as the creative community bands together again to go through a season of productivity.
Self Reliance is a little more fast paced, and it will require a bit of attention to catch all of the quips and references. Johnson’s genius mind will have you second-guessing your predictions, assumptions, and real-time assessments until the very end. Be ready to spot Ellen DeGeneres, Mario, a sumo wrestler, samurais, and more – and question everything you know – on this adventure.
Today, San Diego rock act Embers releases To: The Moon, a 5-track EP that will get you on your feet, jamming out to anthemic melodies about mistakes, intrusive thoughts, and other relatable material. Sleeping with Sirens’ Kellin Quinn guests his notable vocals on the EP’s second track, “eating me alive,” giving this otherwise dark track another intense and beautiful layer.
Explains Embers of the EP: “’To: The Moon’ is a melting pot of my influences using inspiration from pop punk and emo to reflect on mental health struggles, toxic relationships, and emotional turbulence. A step forward from my last EP ‘EMO SZN’, ‘To: The Moon’ finds itself a more energetic place in my catalog.”
And he’s not wrong. The energy is on another level. Get your first listen to the Embers EP in its entirety below.
Recording the EP has been an amazing journey. On my first EP, I was going through such a hard time, and it reflects in the music. I’m so proud of the lyrical content and how therapeutic performing those songs is for me and my fans, from what I’ve been told. This second EP takes the basis of the sound of the first EP, but bumps up the energy x 100. The guitars are bigger and the lyrics are less desperate and stronger to match. I can’t wait for people to hear the new music live.
