Boulevardia really brought the heat – as it does every year – for its tenth anniversary, set with a backdrop of the skyline in Kansas City, Missouri. The festival grabbed local headliners for the decade anniversary of its existence on one of the hottest weekends of the year, a lineup that featured The Greeting Committee at 6:30pm as the sun started to make its way down into the trees. We caught some highlights from the performance, below.
One of the best forms of therapy can be bonding with people from all walks of life, celebrating the same, beautiful music at a concert together. Dawes happens to be comprised of brothers Taylor and Griffin Goldsmith, who happen to come from the same – or similar – walk of life, which isn’t lost on me as I glance around at the spellbound crowd around 9pm on Saturday, June 7th. The fact that they have been able to maintain such fantastic stage presence and creative prowess together for so long is a testament to their dedication to their craft, and their ability to see the good in each other. (Working with your family isn’t an easy thing to do. I honestly see it as a marker of genius in most situations.)
The brothers and their talented backing band played at the Star Pavilion at the Ameristar Casino in Kansas City, Missouri — a venue I hadn’t yet photographed at, but found more enchanting than cheesy.
Dawes tore into a couple of songs before coming up for air to introduce themselves. While many bands will joke about whether they are in Kansas or Missouri, Taylor joked more about not knowing their proximity to the city because of the lack of windows in the room. Small jokes here and there garnered a lot of reaction from the ultra-attentive crowd.
Dawes’ 13-track setlist included crowd favorites, and some slow burns to really cherish together. Witnessing the build of the instrumentals – and watching the way the band jams together live – was an incredibly enjoyable experience, a welcome evening break from the horrors of the world.
On May 6th, hip hop artist Open Mike Eagle opened for Future Islands at The Madrid in Kansas City. He set the fun tone for the remainder of the evening. Whitney Young captured some highlights from the set for us.
Future Islands creates synth-pop that helps us to disconnect from reality — and sometimes become more connected to ourselves. Seeing them live is an experience unto itself, and we were lucky enough to check them out last week on their stop through Kansas City, Missouri. The Madrid is a beautiful, historic theater that was the perfect backdrop to this lineup.
While I have listened to folk artist Jensen McRae’s sophomore album – which dropped in its entirety on Friday, April 25th – I Don’t Know How But They Found Me! in part a few times at this point, I have yet to sit down with the body of work from beginning to end. The album’s title itself is a Back to the Future quote, perhaps the standalone lighthearted aspect of this sonic adventure.
Here, my unapologetic thoughts as I experienced this heavy, beautiful 11-track masterpiece.
To note, the album was born from a period of time in McRae’s life and is semi-autobiographical. “More than anything, I am grateful to have made this album as a record of my transition into real womanhood,” she explains. “It’s me processing girlhood, with all its attendant naïveté and guilelessness and resistance to change, and emerging as an adult who is capable of forgiveness and transformation and measured optimism.”
The work begins with 2 minute, 48 second track “The Rearranger,” which effortlessly gives voice to the feeling of emptiness in a relationship (or, for some, situationship) that does not make plans. To me, this song is about a relationship that seems to have most everything you want, but feels slightly off.
“I Can Change Him” hit me the hardest on first listen. The song tells a story of a smitten relationship that can only get so far without forward momentum and change. We have all been in a relationship (or several) that presents its issues to work on together and through. The hope in McRae’s voice as the chorus comes in:
Maybe I, maybe I just love him Maybe I, maybe I just think All he needs is a little something Maybe that little something’s me Maybe I’ll be his exception And I’ll never be the same Maybe I, maybe I could change him Unless he doesn’t want to change
But you can’t expect yourself to be the change someone else needs in their life. They have to be willing to change, which is why the “Unless he doesn’t want to change” is so heartbreaking. It is almost as though, over the duration of the song, the narrator is coming to a slow realization that the only true thing she has change over is herself.
More heartbreak comes in third track “Savannah,” which was released alongside a Rena Johnson directed and produced video. The song – and its accompanying video – questions alternate life outcomes based on boundaries and how you make decisions in your life. You can acknowledge what once was and what could have been while also creating a life of your own design, and this song really drives that truth home.
Fourth track “Daffodils” examines a relationship plagued with substance abuse, the push and pull of the life that supports. From one line to the next, this dichotomy keeps the narrator in this cycle of bad to good on repeat, when everyone deserves better.
Anyone who has ever been a rule follower may identify with the lyrics of “Let Me Be Wrong,” which feels a bit revolutionary and positive when compared to its predecessors. The rasp in McRae’s vocals hits correctly at the end of the verses, as she encourages people to let her learn her own way. This song has Top 40 potential written all over it, something we can all get behind at the level of The Chicks or Shania Twain.
The cadence to this song is absolutely magnetic, as Jensen McRae sings “Novelty” with her velvety vocals. She tells it like it is in this track, fully aware that some people are into the novelty of a person, environment, or otherwise. And, worse off, she has been in this place before. Having any type of relationship with someone who isn’t invested in you as a human being can subdue the entire thrill of dating, and you can feel the ice and indifference as it comes to its conclusion.
“I Don’t Do Drugs” slows things down and simplifies them a bit. Singing of how healing isn’t linear, patterns permeate, and the familiar can be addictive, this is an eye-opening piece of art at just 2 minutes and 19 seconds in length.
After hearing “Tuesday,” I was wondering how Jensen could have possibly survived a one-sided relationship as severe is this — how anyone could. But this song also stirs up feelings in people who have felt unseen in their families, friendships, or romantic partnerships. With such conviction, this ballad is specific, intense, and relatable. Unkempt in some ways, it is tinged with fire from her emotions and the rasp in her vocals.
“Mother Wound” hits pivotal aspects of successful relationships — communication and expectation management (which, to its credit, comes from communication). For an artist who has referenced Biblical text and Jesus in other songs on this record, her ability to “read your cards right” and tap into intuition in other lines throughout this album encourages open-minded spirituality and trust, almost. This song is one of those times.
“Praying For Your Downfall” could be a take down track, as vindictive as I would be given the circumstances. However, the beauty in it is that she reads him for trash in the lyrics. Lines like “keep whistling, boy, I was never your dog” hit with an unrelenting attitude that she has more than earned. She repeats “I don’t need to see you fall down” as she releases her energy from the negativity. The bridge brings us out light as a feather, layered in a way you would almost expect from HAIM.
She ends the album with fan favorite “Massachusetts,” a track that gave her a little bit more momentum with listeners. The immediate reference to Batman hooked me when I saw her perform it on Kimmel (directly after Ben Affleck was a guest), but the idea of affiliating an entire place with a person is what kept my attention. As someone who has had the fortune of living in and traveling to many places, I associate these places with people and memories.
Every young relationship leaves stamps on your heart. Marks on your memory. But that doesn’t mean you have to keep it. You can keep the good, and release yourself from what belittled you and told you that you didn’t meet its expectations. This entire album is both a testament to the pain that so many people go through while they learn themselves and their partners, and a beacon for people who are nostalgic for sweet memories that didn’t necessarily pan out.
I Don’t Know How But They Found Me! is a massive feat of strength… for McRae and all of her collaborators. Listen to it dancing around your room on a rainy day, in an air conditioned metro car on your way to a weekend spot, or with the windows down in the sunshine. It will deliver an exuberance to your nervous system that outweighs the empathic, heavy nature of it all — and validates anything you have been through or are currently experiencing.
Max McNown sold out two back-to-back nights at the Bowery Ballroom, a triumphant success for any new artist playing NYC. There was, however, just one problem.
A certain, then-unnamed artist needed the venue, bumping McNown’s shows on February 11th and 12th over to the larger Irving Plaza. This wasn’t the worst thing to occur; if anything, more fans would be able to attend, and as McNown’s popularity continues to grow daily, the larger the venue, the better.
McNown’s people knew that the artist had to be huge; to be bumped like that would make no sense otherwise. After some inquiries, their hunch had been confirmed: Sir Paul McCartney would be playing two unannounced, intimate shows and wanted the Bowery Ballroom for those nights specifically, as February 11th was the 61st anniversary of the Beatles’ first show in the United States in Washington, D.C.
McCartney was quite apologetic, offering McNown tickets to his shows. However, McNown notes that despite wanting to go, he felt he had to be responsible: “I honestly wish I could have pulled it off…I always say touring is a job and there were too many people counting on me to play my own show to skip out on it. But yes, ‘tempted’ is an understatement.’”
Irving Plaza was packed on February 11th, and it was clear that being bumped had worked in McNown’s favor. The sheer number of fans was startling, and all were armed with cell phones at the ready, flooding into the front. Further, the crowd was one of all ages, a smattering of a few young children in addition to teenagers and older adults.
McNown opened the show by casually sitting on the side of the stage, just a few feet from the barricade. The audience, rapt, was elated at the intimacy, as if McNown were merely hanging out with his friends. Faces lit up, as did phones, and the show was in full swing as McNown stood and proceeded to make his way to the stage’s center. Ripping into “Love I’ve Got Left,” his second song of the night, the lights burst bright as McNown’s vocals washed over the crowd. An upbeat, anthemic tune, “Love I’ve Got Left” is a standout on McNown’s LP, Wandering, as is his breakout hit, “A Lot More Free,” a track about breaking up with someone, yet subsequently realizing the silver lining. This is the track that put him on the map, introducing his music to TikTok and going viral.
The show consisted of songs off his latest LP, Night Diving, in addition to Wandering and Willfully Blind. McNown is a force to be reckoned with, and this is just the beginning.
