Amy Jay‘s latest single, “Can’t Go Back” is a indie pop track that delves into displacement, detachment and loneliness in a place that you think of as your home. Amy Jay is a self described “alt folk indie singer songwriter” who is currently based in New York City. “Can’t Go Back” is the first single off of Jay’s upcoming album, Mnemonics, out November 7th.
“Can’t Go Back” is the perfect song for soul searchers, introspectives, and who has ever felt out of place or invisible. Amy Jay’s inspiration—feeling lost in New York City—is a universal concept even if you don’t have millions of people on your doorstep. Community is a hard thing to find, and Jay delves into that struggle deeply on “Can’t Go Back.”
The track begins with immersive bass beats with deeply personal direct lyrics targeted to a former friend/lover. She reminsces on what once was, and their final dinner, mentioning the isolation that followed. Her soft vocals are intimate and reflective of the songs sensitive nature.
The tracks shining star is it’s lyrics. When Amy Jay writes, “I can’t tell if it’s New York, or if I’ve grown up, or if I’ve grown up in New York”, she speaks to the dismantling of identity and placement, and the way we become misaligned with our home and self.
As she writes that the city is “shaping her”, she is discussing all the change you go through during youth and how malleable your identity becomes. It’s so easy to lose yourself in new environments and experiences, and forget where you even began, which is exactly what Jay seeks to discover. Describes Jay of the inspiration here, “Remember that change is inevitable and sometimes permanent.” She goes on to explain:
Although I wrote this song before COVID, it’s eerily pertinent to how the pandemic drastically impacted our lives. Despite living in the same city long enough to call it home, I question if my sense of displacement comes from New York’s inherent transience or the broader challenges of adulthood. Even before COVID but especially since, many loved ones moved away and my community is constantly shifting, so it often feels impossible to establish lasting roots in such an ever-changing environment. Like experiencing a death, the only way to move forward is to grieve the change and accept the new reality.
The lyrics are enrobed in Jay’s echoey vocals, and the nostalgic reverb that makes the song feel simultaneously distant and extremely close to home, which is exactly the contrast that exists within the narrative of displacement and discovery.
The steady and relatively chill beat and instrumentals are at odds with the anxiety and mourning of loss time and identity within the song, and the tension works amazingly. Jay is up to quietly mourn who we once were alongside her, as the song allows the listener to reflect on their own irreversible moments and lost memories/experiences.
The repetition of the lyrics “We can’t go back” is both disarming and comforting, as it reflects both the uneasiness towards the passage of time, as well as the acceptance of it. “Can’t Go Back” is the soundtrack for travelers, hermits, college students, and pretty much anyone that has felt instability or loss of identity, and Amy Jay packages it skillfully and wonderfully through her velvety vocals and confessional lyrics. If you don’t already relate, unfortunately, someday you will!
Follow Amy Jay on tour here. Pre-save the single here.
Paris Jackson – yes, Michael Jackson’s daughter Paris Jackson – is opening for Incubus right now, and is an absolute must-see. Walking out onto the stage at Starlight Theatre in Kansas City, Missouri on a sweltering Tuesday night in July, she seemed to almost float. Barefoot, and with a flowy outfit befitting a fairy – or, dare I say it, Stevie Nicks – she wasted no time picking up the guitar and belting her heart out through an impressive twenty minute set as the sun set.
Setlist Maker Happiest Day of My Life Zombies in Love Gaslight (with Mike Einziger) The Colour Blue My Buckling Knees
Her simple goodbye to the crowd? She stood up, and said, “I’m Paris Jackson, and I’m from Los Angeles, California.”
A handful of favorites below. More featured on our Instagram.
Incubus is giving the fans exactly what they want this summer by playing fan favorite album Morning View in its entirety at every stop on their tour. On Tuesday, July 8th, they stopped through Starlight Theatre, tucked into a corner covered in greenery in Kansas City, Missouri. With an incredible amount of energy – especially for such a warm midwest evening – these talented musicians graced the stage with an epic, powerful set design and striking lighting and visuals. Smoke and shadows added emphasis to the work, another layer to their artistry continuing to unlock now, 34 years after the band’s conception.
Incubus is giving us an extra special setlist below, for those of you who have yet to experience this epic evening. Check out their remaining tour dates to catch them this month with the indelible Manchester Orchestra and Paris Jackson.
Nice to Know You Circles Wish You Were Here Just a Phase 11am Blood on the Ground (Acoustic) Mexico Warning Echo Have You Ever Are You In? (Phil Collins “In The Air Tonight” outro) Under My Umbrella (Rihanna “Umbrella” intro) Aqueous Transmission
Megalomaniac Anna Molly The Warmth Vitamin (Portishead “Glory Box” outro) Drive Pardon Me
Honestav took the main stage at 8pm on Saturday, June 14th, in the lead up to headliner Tech N9ne. His joy was palpable from the moment he stepped on stage, as the hip hop artist from a small town in southern Missouri kept smiling and talking about how he was living his dreams. 2024’s “I’d Rather Overdose” gained him traction, and – having spent a life trying to be a rockstar along with his brothers and sisters – it seems like his dreams are finally coming true.
Yoke Lore – the alternative/indie project from musician Adrian Galvin – tore up from the floor up opening for Jack’s Mannequin at The Truman in Kansas City, Missouri on June 17th. What would have otherwise been a quiet Tuesday night was lit up with the energy of this incredible musician as he and his band – expertly comprised of Rafe Bouchard and Michael Vokes – dazzled the audience with dance-worthy titles like “Hallucinate” and “Chin Up.” They slowed down a couple of times, namely for crowd favorite “Beige.”
What really got me was Adrian’s stage presence. The last time I had the opportunity to catch these guys, they played a much smaller venue down the street. The Truman had more space to move around on stage (and off), so we got to enjoy some dance moves and a bevy of lighting changes that we couldn’t before.
There’s something uniquely intimate about a show at Café Colonial in Sacramento. Tucked into a small venue space that practically glows with DIY charm, the latest leg of the Friendship Bracelet Tour features: Everybody’s Worried About Owen, The Last Arizona, June Henry, and openers Brianna Carmel and The Reverent Marigold. It was a night of catharsis, comfort, and queer magic.
The crowd, a cozy mix of alt and queer folks, created a safe and welcoming energy that made even first-timers feel like they belonged. The show kicked off with Sacramento’s own Brianna Carmel, whose punk-emo-inspired set featured a mix of originals and covers, grounding the night in raw vulnerability and hometown pride.
The Reverent Marigold, a trans-nonbinary folk artist from the Southwest, followed with a stunning and surreal set. Their originals like “JUDAS” and “Ahab, or the Whale” mixed folk-punk storytelling with poetic grit, but it was their unreleased track (complete with an audience-led chant of “F-U-C-K I-C-E”) that electrified the space. Rev. Mari’s voice and presence brought a grounded power that stuck with you long after the song ended.
Then came Everybody’s Worried About Owen, a standout moment of the night. With a rotating mix of fan favorites and unreleased tracks, Owen’s set felt both intimate and electric. Hearing “Mawce” live…a song that sparked a wave of resonance and visibility among trans listeners online was surreal and affirming. Other tracks like “Hydroplaning” and “Introducing Jonah to the Whale” showcased Owen’s emo-folk style and lyrical intensity, while news of an upcoming album and a move to Oregon left the crowd buzzing. West Coast fans, take note: Owen’s not going anywhere.
The Last Arizona followed with a warm, emotionally grounding set of original songs that brought a quieter intimacy to the room. While their performance leaned more subdued than some of the other acts, it was no less impactful. Their lyrics unfolded like quiet confessions, offering a soft landing near the close of the evening. There’s a patience and sincerity in The Last Arizona’s delivery that invites you to lean in, to listen harder.
Finally, June Henry closed out the night in a way only she could. Enchanting and deeply personal. Known for her minute-long viral track “void-adjacent,” June brought a blend of freak folk, lo-fi storytelling, and unflinching emotional honesty to the stage. Her unreleased songs felt like entries from a haunted diary, delicate but fearless. There’s something magnetic about the way June navigates her limerence, longing, and circus lore.
By the end of the night, it was clear this wasn’t just a concert, it was a communion of trans and queer artists and fans alike. Every set bled with care, creativity, and the kind of truth that rarely gets stage time. The Friendship Bracelet Tour lives up to its name: it’s stitched together with love, handmade vulnerability, and the promise that none of us are alone.
Kansas City is really lucky, because we get to witness Andrew McMahon in all of his forms pretty frequently. While other musicians skip our metropolitan area more often than now, we are seemingly prioritized by his tour manager and team every single time, be it for Andrew McMahon in The Wilderness, Something Corporate, or Jack’s Mannequin.
And we show up.
Kansas City sold out the Tuesday night show at The Truman, a warehouse venue in the downtown area that has space to move — which is great, given the amount of dancing – and llama crowdsurfing – that was happening.
As we head banged through “Holiday From Real,” “Kill The Messenger,” “Amy, I,” and “Miss California,” a genuine feeling of camaraderie seemed to echo through the space. Per usual, Andrew provided anecdotes for a few songs, giving us a true look at what his life was like twenty years ago when Everything in Transit was released. It was during this time that he was battling cancer.
While some fans seemed to be learning of his earlier health woes at this show, he has been touring with his Dear Jack Foundation – which raises funding to improve the lives of young people with cancer and their families – in tow for years.** At this particular show, he was raffling off a signed drum head for donations. Toward the end of the show, he boarded a llama pool floatie and crowd surfed from the stage to the back of the venue to find out the winner of the raffle. Known for being interactive with his crowd, this was a really entertaining approach. (And we didn’t drop him!) **Not for nothing, we played his “Dear Jack” documentary at the inaugural cancer walk at my university, as suggested by my rad twin sister. His story, his strength, and the way he has allowed his life to open up since is quite inspiring and fun.
The set list for The MFEO Tour has varied slightly. The following songs were played by Jack’s Mannequin at The Truman on June 17th. Holiday From Real Spinning The Mixed Tape Release Me Kill the Messenger Crashin Miss Delaney Swim Television I’m Ready Amy, I Bruised Miss California The Resolution Rescued MFEO: Pt. 1 – Made for Each Other / Pt. 2 – You Can Breathe Hammers and Strings (A Lullaby) La La Lie
Tech N9ne was so excited to take the stage as the headliner for Saturday’s Boulevardia Festival in his native Kansas City, that he started his set 10 minutes early. We were on the other side of the festival walking over, so only got one song to grab highlights. But as we walked up to the stage, you could feel the energy oozing from the crowd. And when we approached the front, we saw that – on the day of NO KINGS – or very own hometown hero was wearing a headband that read “KING.”
It has been seven years since his last appearance at the festival, and headlining the 10th anniversary more than makes him Kansas City’s version of a king. Some fun snaps below.
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.
