Baby Got Back Talk’s G’Ra’s calm tone of voice as he sings, “Stop right there and don’t you dare tell me that I’m wrong,” in his song “I’m Sorry I’m a Moron, But Also, Help,” reveals he is coping with people talking down to him in a calm and collected manner. However, his lyrics contradict his tone of voice because he is direct and strong-willed. As revealed by the phrase “don’t you dare,” he is expressing anger and a barrier he puts up before anyone can tell him that he is wrong, which will emotionally scar him.
His lyrics further indicate that he has been told that he is wrong once or many times before. Thus, he is attempting to hide his pain through his tone when confronting people who he feels could scar him emotionally but wrote his lyrics when he was feeling emotional. If you listen to his lyrics, not his tone of voice, you will feel his pain.
G’Ra continues singing in a similar tone as he sings, “I’m a loss, an albatross, who dropped the baton.” He becomes vulnerable as he explains that he feels like a lost bird, as an albatross is a type of bird. Saying that he “dropped the baton” reveals he feels that while he is flying in his career, he has lost his ability to keep calm and in control emotionally because he is releasing all of his emotions into his lyrics. He feels he must keep a calm demeanor as he struggles to hold back revealing his true emotions.
Hope builds up like our protagonist is metaphorically climbing a mountain, with feelings of passion and excitement, as he sings “‘Till the hallway’s bathed in moonlight, and you saunter in and it always made me think twice when I am wandering.” Singing of bathing in the moonlight is depicting him bathing in hope.
As he wanders in this moonlight, he thinks twice about his friendships and becomes the moonlight, allowing him to be a shining light above other people. As he becomes the moonlight, he encounters people from different backgrounds. “Against all the odds,” as he sings, he is able to integrate himself with people who are unlike him. He continues to persevere to learn about other types of people until all the odds are stacked against him. His inability to overcome these odds is temporary, as he “gets his knuckles bruised” from struggling through barriers to be with people who have given him emotional baggage. (As articulated in the lyrics, “Stop right there and don’t you dare tell me that I’m wrong.”)
As the song concludes, it bubbles with excitement and energy. This energy circulates into the stressed emotions of uncertainty and doubt as it uplifts and brings hope to these negative emotions. This entire song fluctuates from feelings of uneasiness and doubt to confidence and hope.
The newly released music video uses tone, color, and shape to evoke the emotions associated with the song. The visual representation is somehow spot on. View it below.
A continuously persistent beat, vulnerable and “voodoo” themes — there is no helping of a looming irony in Big Bliss‘ new single, “Tell Me When You’re Ready.” Big Bliss recently had a new member join, and now the band of three is a trio against all odds.
The new single is a deeply personal one — a sense of struggle, introspection, and a longing for change. There is a desire for a different and better day, indicating a recognition that something needs to change in life. It is that awful but important first step of recognizing change is needed, and it is in that recognition that there is hope for change to come.
For one, the beat cycles through and through, creating a numbing and nauseating effect not exactly being in the present. It’s a fever dream. The line “Make an effort or pretend that I don’t know why I’m so tired” suggests a feeling of weariness and a possible attempt to deny or ignore the underlying reasons behind it. It is so deeply profound because in that state, there is still an overpowering draw to force everything negative back and create a facade in front of not just everyone, but oneself, too.
My personal favorite line — the repeated phrase “I have a name for it now” implies that the speaker has finally identified or labeled their struggles or emotions. The internal battle between wanting to escape and the awareness that there might be a name, a diagnosis for these feelings, reflects the complexity of navigating one’s mental and emotional well-being. This newfound awareness signifies a step towards confronting and addressing one’s issues directly.
As the song progresses, there is an intangible feeling of both hope and uncertainty. There is finally acknowledgment of the possibility for a better future, fueled by the anticipation of new innovations and potential solutions. However, they also express hesitation in vocalizing the true nature of their struggle, perhaps due to fear of judgment or stigmatization. The imagery of being intoxicated and alone, while experiencing a warm glow in their spine, captures the contradictory emotions that can arise from seeking temporary relief amidst internal turmoil.
Though on the surface “TMWYR” is addressing the struggle to sobriety, Tim Race comments that his “example is addiction, but ultimately TMWYR is about the experience of confronting fear and letting a desperate search for ‘what’s missing’ end.” It applies to everyone because we’re all human. We fear, we struggle, and most importantly, we perceive the world around us with utmost importance. We all have shared adversity. It’s just a matter if there are those who have the strength to speak about it and empower the rest of us, and that’s exactly what Big Bliss has done to me — “TMWYR” is a powerful anthem, encapsulating the human experience of grappling with fear, searching for fulfillment, and ultimately finding the resilience to confront our inner demons. It is that lighthouse in the harbor for me, and I hope you find it as confoundingly eye-opening as I did.
Niall Connolly has never shied away from his own artistry. In listening to his repertoire you’re unlikely to sense reluctance. Instead, the folk singer rushes headlong into his music, laying his soul bare for the world to witness. “In this house, if you wanna cry, you can cry,” he sings on his latest album, The Patience of Trees, out June 2. And with a shuddering breath, we believe him.
The Irish-born troubadour has been a steady presence in the New York City folk scene, telling his musical stories across the din of nondescript bars and Manhattan’s broad stages alike. At every Connolly gig audiences are ushered into his world of unflinching honesty and disarming resonance. Whether listening to him live or on recording, the listener is wrapped in a strange combination of isolation and warmth, a mix that leaves a profound effect: one of having been held and lonely at the same time. This is Connolly’s unique ability to transform his art into something capable of providing tangible comfort.
The album’s first single, “We Don’t Have to Talk About It”, approaches the topic of self-harm in this same manner. “I know you get tempted by the third rail late at night,” he sings, acknowledging and stripping the power away from one’s demons at the same time. The latest single, “It’s a Beautiful Life,” gives an unrelenting perspective of the struggles many of us endure and, ultimately, the love that attempts to pull us through. The song evokes the painful journey through mental health and offers a unique perspective of the collective’s ability to triumph by giving voice to our experiences.
“Out of the Light” feels like an offering at the altar of Leonard Cohen’s emotional legacy. Thoughtful and serene but also spare in its hints of loneliness as he observes “every kind of messy road that leads to love.” Similarly, “Orchids at the Supermarket” haunts like a Nick Drake ballad, making beauty out of brokenness. Yet despite the gentle presence of such ghosts, the presence of Connolly’s emotionality makes each song the kind of experience that only he can create.
The Patience of Trees is enriched by the presence of Connolly’s friends and collaborators, including Mick Flannery, Anna Tivel, E.W. Harris, Javier Mas, and Warren Malone. The arrangements of each track serve as an echo of their lyrical power, emphasizing the story at the center of each song. Expansively, the songs stretch out across the album to create a rich journey full of remarkable souls and powerful experiences. At once demanding and exquisitely comforting, The Patience of Trees takes us into our own depths and offers us solace.
“The clouds were forming question marks, like the sky was doubting me,” he sings in “A Cloud on the Summer Sun”. “I’ve got every right to be here, as much as everyone.” While his songs take us into the caverns of human struggle, likely to cause the sharp, stabbing breath of resonance as the days, weeks, years of tamping down our emotions burst to the surface, the underlying tenet of Connolly’s work is always hope. Aggressive fucking hope. No longer the lame figment to punk theology. His words and his music welcome us into a world where hope and kindness are the bravest of things. In his house, if we wanna cry, we can cry, but ultimately we will heal.
The ever-charming and talented alt-rock outfit Carver Commodore – comprised of guitarist and vocalist Payton Pruitt, guitarist Phillip Blevins, drummer Noah Freeman, and multi-instrumentalist Clayton Christopher – took time out of their schedule to take over our Instagram account during SXSW 2023. We caught up with them post-takeover – and post-fest – to see how it all went down for them. Lead singer and guitarist Payton Pruitt’s words below.
an interview with Payton of carver commodore
iF: What was the first song or album that you remember hearing, and does that work of art have any influence on how you approach your music today?
Carver Commodore (CC): One of the first songs I remember hearing is “That Smell” by Lynyrd Skynyrd. I have a core memory of slamming my finger in the door of my dad’s El Camino and rushing to the doctor as my finger gushed blood and “That Smell” played over the speakers. I was probably 4 years old. I still love that song, and I’m 100% sure it has crept into my songwriting at some point. The Lynyrd Skynyrd “triple guitar assault” is definitely something we draw from as a band!
iF: Tell us a little bit about what got you started in music, and how this project came to be.
CC: I started playing music around 11 or 12 years old because a friend of mine played guitar and we both got into AC/DC at the same time, so I wanted to play those songs with him. I started singing and writing songs around 15 years old, and a few bands later, Phil (our guitarist) and I started Carver Commodore together after being in a folk rock band together.
iF: What did the road to SXSW look like for you, literally or figuratively?
CC: We’ve been trying to make it out to SXSW for years. We were booked for a few unofficial shows in 2020, but we all know what happened there. Couldn’t get on in ’21 or ’22, and finally made it in ’23. Played a few great shows with our boys in a band called Brother Moses on our way out this year and loved it.
iF: What has the experience been like? I’d love to see it through your eyes, as first-timers!
CC: Honestly, super chaotic when it comes time to play shows! Parking & Load-in kinda sucks, but that’s just part of it I guess. We had a few great shows and a few not-so-great, but I’m glad we finally got to experience it. It was a learning experience if nothing else! Would also be nice if SXSW would give artists water!
iF: Best showcase, besides your own?
CC: Hermanos Guiterrez at Stubb’s.
iF: What was the most magical thing you found in Austin?
CC: Free parking
iF: What’s your absolute favorite word right now, and why?
CC: “Mode.” No idea why – everything is just on “__ mode” (ex: “SXSW is on $30 parking mode”)
iF: If you had the ability to tell the future, would you like it?
CC: Probably not. Would just give us more to worry about or anticipate!
iF: What’s coming up for you next?
CC: We’re releasing a new EP called “If Nothing Happens” on August 15th! The first single is out April 11th and it’s called “Drown Me in Emotions”. Very excited for people to hear these songs.
iF: That’s amazing! We can’t wait.
CC: CAR-VER COM-MO-DORE! Thanks for letting us be a part of this!
Holiday-themed romantic comedies are a dime a dozen these days. So when Amazon Prime posted “The People We Hate At The Wedding” to their app during this timeframe, the cynic inside of me jumped for absolute joy. As a single person, I was over the sticky-sweet, predictable cuteness of the regular winter release. As someone who works pretty heavily in the wedding industry? I was ready to see the jaded side of celebration season.
Based on the book by Grant Ginder and directed by Claire Scanlon, the movie follows a brother and sister as their half-sister gets married in an extravagant ceremony overseas. The three siblings, played by Kristen Bell (Alice), Ben Platt (Paul), and Cynthia Addai-Robinson (Eloise) have a strained relationship, with Eloise being particularly estranged from the other two. The trio has a special type of chemistry in the way they choose to fight and play nice throughout the film.
The incomparable Allison Janney plays their mother Donna effortlessly, echoing the “can’t you all just get along?” sentiments that generations of parents have screamed into the abyss.
1. It Humanizes Parents
So many romantic comedies keep the plotline basic and don’t spend time on characters that have, in theory, shaped the protagonists. I can’t speak to the book, but the movie spends considerable time elaborating on Donna’s story. Yes, she is portrayed as a bit of a tightwad and incredibly frustrating for the kids in the beginning. But for once, you get a glimpse into the matriarch’s past, present, and future. You can see her heartache, notice how she supports and protects her children, and view her as an entirely independent character from the three true protagonists.
2. It Is Inclusive
“The People We Hate At The Wedding” focuses on blended families and the pain of comparison in a way that we are not familiar with in modern cinema. It isn’t afraid to vocalize both the beauties and the difficulties of a layered family.
The movie is inclusive of same-sex relationships – like that between Paul and his boyfriend – and engages in the discussion of what emotions come up when trying something like an open relationship.
3. It Examines Self-Worth Through Many Lenses
“The People We Hate At The Wedding” emphasizes a discussion around self-worth as it stands for each character. While Donna explores what makes her truly happy – and begins to find it in an old flame – Paul also has self-reflection time to explore what he wants in a romantic partner. His confidence in both himself and his familial relationships becomes clearer by the end of the movie.
Noticing true character progression in such palpable ways leaves the viewer inspired and excited for self-discovery in their own lives.
4. British Accents Abound
Love a good British accent? This film is largely based in the UK, so you’ll get your fix every so often. Does anyone really need another reason to melt into a new flick?
5. The Misadventures Will Make You Feel Good About Yourself
While the 3-star rating on IMDB might not exactly indicate it, there are moments of pure hilarity in this film that make it truly enjoyable. Like when Eloise absolutely burns Paul’s ex-boyfriend out of absolutely nowhere. Or when drunk Paul can’t stop talking about his breakup at the rehearsal dinner.
Plus, 3 family members end up in jail the week of the wedding. Can you guess who they might be? You’ve got to watch to find out!
Berklee student Maggie Cubillos is making her mark on the music industry with new single “Old Shoes.” Raised around the industry because of her dad’s role in it – though the way she approaches it is nuanced in a way that reveals she has created a path all her own – she seems to have accrued the knowledge and wherewithal to know exactly what the world needs to hear, and when.
“Old Shoes” is a meandering, beautiful composition that sets Maggie’s light-as-a-feather vocals center stage. As she sings of struggling with a variety of emotions, the listener absolutely melts into the melody. Maggie’s songwriting abilities indicate a self-awareness and soul far beyond her years, and we can’t wait to hear more from this newcomer.
Keep up with Maggie and her blossoming music career here.
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.
Country artist Ashley Ray brings many core thoughts and memories from her youth in Kansas to her unique and beautiful music. “Just a House” was inspired by her father’s memory. Her family lost him 15 years ago, but grief is not linear. Allowing it to move through her music, Ray has developed a heartwrenching take on the world, a melancholic feel to her art that helps the listener empathize deeply.
The music video – which depicts a young boy trying to raise money to support his dying grandmother – is an absolute treasure of a short film. Stephen and Alexa Kinigopoulos heard the song, and chose to pull from their own feelings and memories of loss for the video’s concept. Explains Stephen:
When I first heard this song, it triggered me in the best way. I re-lived my family’s loss. It triggered me to think of the loss and the whole process in a montage sort of way… I could see and feel what Ashley’s mom was feeling. That dug up some skeletons for me.
The video may stir up some emotions, so be aware of the company you keep while you enjoy it. 😉
Emerging as a solo artist after her time as the frontwoman of surf-pop band High Wasted, Jessica Louise Dye returns with a new side to her musical persona under the moniker Hello Lightfoot. Taking cues from her experience DJ’ing at clubs and throwing chaotic themed parties, her solo work takes listeners into a more intimate look at herself while keeping a gritty and high octane indie-pop sound. Hello Lightfoot’s sophomore single “shame” is no different, serving as an anthem for personal release.
Backed by a punchy synth-pop instrumental, the track rebels against trauma with an emphatic drive to take back control of one’s own emotions. The beat and vocal melodies in this song does a great job of sonically painting a turbulent journey out of a storm- psychologically speaking, as if Hello Lightfoot and the listener fights through their demons with a sense of optimism and relentlessness. Whereas other songs on similar subjects captures a feeling of suffering, “Shame” feels like a middle finger to your inner self’s spiritual attacker, daring it to try hitting again. On the single’s message, Jessica explains:
The concept of feeling shame is one I can relate to and is distinctly tied to feeling embarrassed or even just shy in social situations. It’s something I’ve worked on a lot. I consider myself an extrovert with introvert tendencies. The line “muzzle be damned” is a reference to silencing your own opinions around others as a means to be more amicable. It’s very easy to lose yourself if you’re catering to the likes and dislikes of others. Being a nice guy can be a curse sometimes.
“Shame” is out on all platforms and stay tuned for Hello Lightfoot’s upcoming project.
