Synth-pop trio Humble Braggers are heading out on a run of shows across the state. The tour coincides with the release of their debut full-length album, I Know Better, I’m No Better. It all starts with a hometown show at Nietzsche’s in Buffalo on March 10. From there, they travel across the state and circle back to Fredonia on March 22. Tickets are on sale now.
Tour Dates:
March 10 – Neitzches – Buffalo
March 14 – Bug Jar – Rochester
March 15 – The Range – Ithaca
March 16 – Silvana – Harlem
March 17 – Ralph’s Diner – Worcester, MA
March 18 – Pianos – Manhattan
March 22 – BJ’s – Fredonia
I Know Better, I’m No Better is out on Admirable Traits Records on March 10. The single “Weight” can be streamed now on Soundcloud.
This past Saturday, February 25, The Benevento/Russo Duo and WOLF! played at the Brooklyn Bowl as a part of the Freaks Ball XVII.
The show was The Duo’s first official show in the states in 7 years, although they played a last minute warm-up show for Jamcruise at Threes Brewing in Brooklyn a few weeks ago. Both bands have strong ties to the Freaks Ball as Joe Russo has played in 14 of them, but Scott Metzger of WOLF! has him beat with 15 appearances himself. The show sold out in 30 seconds, extras were expensive or scarce, and although the venue was packed, it was full of people who wanted to be there.
WOLF! played a great opening set, they let the energy build up as Scott Metzger shredded throughout the whole set. The Benevento/Russo Duo slid back into their catalog like a worn glove. They crushed all the classics, the peak of the night came during the “Becky” and “Scratchitti” section. They paired two of their most loved, high-energy songs together and the crowd at the Brooklyn Bowl was losing it. Though they’ve played together throughout the years in different bands and line-ups, it’s hard to deny the chemistry and connection those two old friends have when it’s just them on stage together making music. The Duo has no other shows scheduled for this year, but I think it’s safe to say that they will be back again soon.
Setlist: Best Reason To Buy The Sun, Sunny’s Song, 9X9, Soba, Powder, Walking, Running, Viking, Welcome Red, Becky, Scratchitti > Something For Rockets, Hate Frame, My Pet Goat
If success is playing over 700 shows and releasing three wildly successful studio albums, then Sister Sparrow & The Dirty Birds have it. Their presence on stage is infectious, contributing to a vast and ever-growing festival scene. The Brooklyn-based Sister Sparrow and the Dirty Birds just released their newest addition to the catalogue, a two-disc live album titled Fowl Play, that provides enough horsepower and sheer grit to get you in the mood to roll down the windows and hit the road.
The album starts hard and heavy with “Freight Train,” complete with wailing horns and a voice that could bring just about anyone to their knees. It’s no surprise that lead vocalist Arleigh Kincheloe can use her voice to soar over the rest of her seven-piece band. “Freight Train” is how you start a live album. If you’re new to the band, then that’s the song that will keep you listening.
“My House” slows it down, with that 50’s soul feel almost comparable to a Sam Cooke ballad. The song is bookended with Kincheloe’s sultry voice, but the meat of the song is the guitar solo in the middle. You’ll definitely want to go back and listen again to get the full effect. For a band who prides themselves on hard-hitting, gritty rock, the ballad is where you really see the definition and talent. Ballads can be tough for a large band, but their ability to settle down and hit you with the feels is undeniable.
Disc two opens with “Dirt,” which is a prime example of why you should set the computer down and go see them live. The attitude and low-end growl is what makes Sister Sparrow & The Dirty Birds so popular among a vast fan base. The harmonica and sax solo battle is one for the ages, grabbing your attention from every angle. Arleigh’s brother Jackson Kincheloe on harmonica and Brian Graham on saxophone somehow fit more notes into a solo than what should be possible. But nevertheless, it builds to a full-band roar, like a battle cry after winning the war.
Fans crave live albums, and this one does not disappoint. It appeals to just about every genre, and provides funky, gritty jams that can get just about anyone moving. Get your copy on their Bandcamp where you can also preview the album. They don’t currently have any tour dates announced, but keep a close eye on their website for upcoming tour and festival announcements. Do yourself a favor and hop on the Dirty Birds train, because wherever it’s going, you’re in for one wild ride.
Come to find out, our generous busker not only resides in NYC, current street performer Will Boyajian, is a Clifton Park native, and son of notable Albany lawyer, Don Boyajian. Boyajian graduated from Shenendehowa High School in 2008. He studied music theater at Ithaca College, and has been living in NYC since 2012.
As word of his story rapidly spreads, Boyajian stated to The Schenectady Gazette, that he hopes someone will step in and make it bigger, as he will be leaving NYC in March to act in the Capital Repertory Theater production of “They Built America: The Workers of the Erie Canal.” After that, Boyajian will take his acting skills, and head back to the cruise ship from April through December.
Musicians from Los Angeles and Chicago have reached out to Boyajian, wanting to start their own #HopefulCases, but Boyajian wants to make sure that people are doing it for the right reasons, at that the campaigns name is never used for profit and personal gain.
Original Article Follows:
In Upstate NY, you can usually catch street performers playing their instruments, looking for a little extra cash near all the downtown hot spots in whatever city you reside. When you travel to a bigger city, like New York, one common place to see street performers looking for earnings, are in subway terminals. In a different twist, one specific street performer does it solely for humanitarian reasons, and now has the whole city talking.
The New York Post reports that 26-year-old Will Boyajian, performs his bluegrass style of music to strap hangers walking by at the 42nd Street-Port Authority Bus Terminal subway station, and gives away his earnings throughout the day to those in need while trying to show New Yorkers a different way to give back and donate.
Boyajian, who saved money for his cause by performing 8 months for Norwegian Cruise Line, earns around $400 daily in tips from passersby. Before he starts playing, the busker leans a sign against his case that reads, “If you’re homeless or need help, take as much as you need from the case.” His goal at the end of the day is to end with zero dollars in the case. If any cash is left, Boyajian will either hand out the left over singles, or purchase single ride MetroCards to pass out.
There is no limit to what a person can take from the case as Boyajian trusts the persons taking from the case are truly in need. When talking about his experiment, which he calls Hopeful Cases, Boyajian stated to the New York Post:
It’s really wild. Some people come up and take a dollar or take five dollars, some people come up and take $80… It’s not my job to judge it’s just my job to give.
Boyajian reflected about a moment that grabbed his heart Sunday when a man, with his dog, approached the case:
I probably had $40 or $50 left, and my voice was trashed, and I wanted go home. ‘I said, just empty it out man…Treat yourself.’ And he said it’senough for one of those hotels that let the dogs come, and he told the dog, ‘Moby, we’re going to be OK.’
He also recounted about a time when he first moved to the city:
When I first moved to the city… this dude got on the train… and was clearly homeless. The whole train moved away. None of us will ever experience that kind of rejection in our lives.
New York’s PWR BTTM announced their sophomore album will be released on May 12 on Polyvinyl Records. Pageant is the follow-up to 2015’s acclaimed Ugly Cherries. The punk duo plans to tour extensively in 2017. The North American summer tour kicks off Friday May 26 at Toronto’s Velvet Underground, and comes to New York’s Webster Hall on June 21. Tickets are available starting noon on Friday, February 17.
Coinciding with the album announcement, PWR BTTM also released the video for “Big Beautiful Day,” the final song on Pageant. The music video, directed by Christopher Good, is chock full of deliciously decadent glam. The day-in-the-life concept starts with band members Ben Hopkins and Liv Bruce having waffles for breakfast and builds up to an extravagant dance party.
Pageant is available for preorder as a digital download, compact disc, metallic gold cassette, and maroon vinyl.
Tracklist:
1 Silly
2 Answer My Text
3 LOL
4 Won’t
5 Now, Now
6 Sissy
7 Pageant
8 Oh Boy
9 New Trick
10 Wash
11 Kids’ Table
12 Big Beautiful Day
13 Styrofoam
On Friday, February 10 at Webster Hall in Manhattan, The Wood Brothers brought their unique blend of soul, folk and rock to a packed house. In a venue known for DJs and dance parties, the rare bill featured an Oakland based indie-Americana band known as The T Sisters. A short opening set from the ladies warmed the room up for the main family act of the evening and created a comfortable space for everyone in the room.
As the stage darkened and The Wood Brothers appeared in the shadows, the heartbeat of “Stop That Train” began pulsating on stage. The song, popularized by Bob Marley and The Wailers, created a fantastic segue for “Two Places” off their newest studio album Paradise. The topics of lost love and the urge to embark on a new adventure are etched into the lyrics of both songs. “All my life, I’ve been a lonely man,” paralleled with “I’m livin’ a beautiful dream while I’m chasing another” made this opening combo one of the most delicately crafted surprises of the show, and we had only just begun.
Couples began embracing each other during the always-beautiful “Keep Me Around” as Jano Rix gave the song something extra with his self-made instrument, the Shuitar. Friday night partiers at the venue bar slammed rounds of shots after Oliver Wood announced that the song, “Loaded” was on their newest live album, Live at the Barn. Much like the recorded rendition, Oliver asked for assistance from the rowdy audience and we were happy to belt out the playful lyrics along with them.
The trio always does an outstanding job of cleverly crafting their set lists and digging deep into the twelve-year-old catalog. Friday night was no exception. “Tried and Tempted,” which found its way into the sixth spot of the set list, can be heard on their debut record, Ways Not To Lose. In only a half dozen tunes, they had played a new cover and songs from each and every one of their five studio releases. Chris Wood showed off his moves during “Snakes Eyes” and got the crowd shaking along with him during this crisp and rocking version. Oliver unleashed a new song with a bluesy reggae feel and since they have been working on some new material in their hometown of Nashville, TN, one can only hope that a new studio album is on the horizon. The year 2016 sucked for so many reasons, and the lack of a Wood Brothers original release didn’t help.
Speaking of 2016, “American Heartache” was next up and lead into an uplifting “Atlas” which was one of the first songs the Wood Brothers ever played onstage nearly a dozen years ago in the same city. The somber “Blue and Green” mellowed Webster Hall out before “One More Day” brought the fire to a roar and allowed Oliver to show off some unusually bluesy chops at the end the tune.
To the crowd’s enthusiastic approval, the band brought out Big Mike (an old -timey stand-up microphone) and quietly played one of their loveliest pieces, “The Muse” off the 2013 album with the same name. Along with Big Mike, the brothers also welcomed their opening act, The T Sisters, to join them for another song off The Muse, “Sing About It.” After hearing the live NYC debut of this song at the Bowery Ballroom a few years prior, I knew there was something special about it, but Friday night’s version took it to a whole new level with the addition of female vocalists. In pop culture, three brothers and three sisters sharing the stage may remind you of rainbows, sunshine and dancing all through the night, but unlike the Brady Bunch, the six members on stage Friday night sang about the power of music in its most spiritual and rawest form.
As The T Sisters exited the stage, “Postcards From Hell” kept the relaxed and thought-provoking vibe present in the room. To finish the set, they executed two more songs from their southern rock influenced catalog with “Singin’ To Strangers” and “Honey Jar.” A new version of their old hit “Luckiest Man” brought smiles to faces throughout the room as part one of a two-song encore. The Band’s “Ophelia” closed out the show and gave the audience one more chance to sing along with the trio. In a recent interview, Oliver mentioned how much of an influence Levon Helm has been for the band’s development, and they certainly paid tribute during the well-received finale. The show started and ended with classic covers and gave long-time fans and strangers alike one more fantastic Wood Brothers show for the books.
Setlist: Stop That Train> Two Places, Keep Me Around, Loaded, Smoke Ring Halo, Tried and Tempted, Snake Eyes, (New Song), American Heartache, Atlas, Blue And Green, One More Day, Muse*, Sing About It*^, Postcards From Hell, Singin’ To Strangers, Honey Jar
Austin indie rock band White Denim swung through NYC for a quick two night stop at the beloved Brooklyn Bowl on Thursday and Friday, February 9 and 10. The band of James Petralli on vocals and guitar, Jordan Richardson on drums, Steven Terebecki on vocals and bass, and Mike St. Clair on trumpet and synthesizer performed a variety of their studio albums, but leaned heavily towards their most recent release Stiff, the 7th in their catalog.
The band only has a handful of tour dates posted for the rest of 2017 at them moment, with their next return to New York this summer at Mountain Jam. Be sure to catch them if you can.
NYS Music had the chance to sit down and interview with Oliver Wood of The Wood Brothers just days before they embarked on their 2017 Winter Tour, which is currently under way. Due to their familial connection, the Woods come from the same musical roots, but their talents grew in all different directions over the years prior to forming the soulful folk band that now has a worldwide following. Some dates on this tour are already sold out, so if the spirit of their music moves you, purchase your tickets today!
Ben Boivin: Let’s start from the very beginning…The Wood Brothers connection with the state of New York. Your first ever show was at Tonic in NYC and two of the first five shows were at Savannah’s in Albany. How did the Capital District wind up as your first stomping grounds?
Oliver Wood: Well, part of it was a matter of convenience because my brother [Chris Wood] used to live in Saugerties and in the early days of The Wood Brothers we were trying to find little gigs and do things that were realistic and convenient. I was living in Atlanta at the time so I would just go up there and hang out for a few days and work on music and then get a few gigs in the area. We played gigs nearby Atlanta for the same reason. My brother would come down and that just made the most sense. Sort of how we cut out teeth and started to figure out what The Wood Brothers was all about.
BB: What do you feel is different about playing in New York State compared to other parts of the country?
OW: Every region has its own unique vibe and certainly New York State has that. The first thing that comes to mind for me is obviously New York City. That’s where we got our record deal and where our management company is located and where we played our first gig. There’s a sentimental connection to it. Also, we played several times at Levon’s [Helm] barn, his rambles, while he was still alive. Besides Chris living in that part of the country, it certainly has some sentimental value to me as well. There is such a rich tradition there.
BB: Is there one band member that chooses the set lists or is it a group effort?
OW: We definitely tweak it as a group, but I would say Chris is the master set writer. He is the guy that masterminds it and really thinks it through. I don’t know why, it is just something he started doing and was really good at. I guess he is a better decision maker than me? We certainly consult each other and as a group make a list of songs, but Chris is really good at putting them all together.
BB: Do you ever consider cutting songs based on the crowd?
OW: Oh, absolutely. If the crowd is rowdy, we add some rowdier songs. Sometimes we try to tone it down for people and they might be rowdy, but what they don’t know is that they actually want to shut up for a minute and really be in the moment and that’s cool too because it brings them in. It gives them something they didn’t expect.
BB: I read something you said about touring with the Zac Brown Band in front of 20,000 people and how that is a much different level than the normal tours you do as a trio. What makes that different from the theaters and bars where you primarily play?
OW: In a large venue, it is more consistent, there is this one gear. But, I like the variety of small and medium places because they are all unique and you can play them in different ways. It is very satisfying to not just do the same thing every night.
BB: How does playing music with your brother help or hurt what it is you are trying to do?
OW: It is definitely a different dynamic. I mean when you play in a band for years and years with people they become brothers. It’s like a family. It’s like a marriage even. There are those kind of brothers and then something different and deeper with a real brother because you’re family and because you have a more shared experience. Your childhood and your growing up and your parents are all formidable things that you both have. I think also, there is that innate, intangible, yet genetic thing that Chris and I noticed right away. After years apart, being able to comfortably play together and have this telepathy that usually takes years to develop, we were kind of like,“Wow, we have it built in!”
BB: In recent tours you guys have been taking different versions of the same songs on the road. Does Jano Rix help you dissect and resurrect new versions of the same song?
OW: It’s very much a group effort. Part of that is for us. By rethinking a song it is keeping it fresh for us. If we have been playing a song for a couple of years, we may think people love this song but maybe we are getting kind of tired of it. Let’s do something different with it. There is a big rocking number, like the song “Shoefly Pie,” that’s a full electric one, but we made it more porch-y the next time around. We made it all acoustic and Jano was on percussion instead of drum kit, and that’s an example of how we can deconstruct a tune and put it back together in a completely different way. It keeps it fresh for us and for the audience too. We have had a lot of comments where people appreciate and enjoy that.
BB: I have seen you guys a lot and must have heard “Luckiest Man” about 100 times.
OW: Yeah me too, tell me about it.
BB: In the Winter 2016 tour, Jano came out and did a long piano intro before a very jazzy version of “Luckiest Man” and it was really special to hear a familiar song played differently for the first time.
OW: I think people like to get surprised and challenged a little bit and there’s nothing wrong with that on either side.
BB: Going back to the topic of New York, your most recent release, Live from the Barn, was recorded right in the heart of the Catskill music scene in Woodstock, NY. Why did you choose that spot and why is it so special to you?
OW: It’s a very sentimental place for us and Levon is a serious influence and indirectly like a mentor to us. We hadn’t been there in years. Since he passed away we have done stuff with Amy, his daughter, and felt that family connection with their family. When we made the plan to go back there to play, it felt like a special occasion and we wanted to record it all. You never know how it will turn out. Maybe that was okay or that was horrible, but as it turned out, if felt like a real special night. We were really happy and excited that we captured it. We were sort of tripping on being there. It was magical and brought back all these memories. I mean, we were there watching Levon play and standing two feet from his drum set. By the end of the night, we were singing songs with him and sitting around in his kitchen after the show. There are spirits there that you just don’t get anywhere else.
BB: What is the best piece of advice Levon gave you?
OW: He never really gave us any specific advice. I think we just learned by example. I will tell you the thing I get from him is to just be yourself. Just be real and be yourself. That’s what he was and sometimes it is hard to do that and remember that in this business. Sometimes you think, what can we do to survive and to sell more tickets? It’s not about that. If you can be yourself, that’s going to be the best art you can make.
BB: I am sure you are aware that “Big Pink,” the house that The Band rented to create their debut album, is located about 10 minutes outside of Woodstock. Do you, Chris and Jano have your own “Big Pink”? Is there a place that makes writing and creating music easier for you as a group?
OW: Not necessarily. We’ve had several spots, but it has been a challenge since Chris and I lived in different parts of the country for the first six or seven years of The Wood Brothers. I would go up to him and we would write and then he would come down to my place. We would write on the road, backstage, in dressing rooms and at sound checks. He would send me e-mails and we would go back and forth. I will say, since we all moved to Nashville a few years ago, it has been awesomeness because we have been able to hole up in someone’s basement or living room or even rehearsal space. Nashville has been a good place to gel in that regard and relax with our writing. It makes it fun.
BB: What was it about Nashville that drove you guys there?
OW: It was a combination of things. For one, it was somewhat in between New York and Atlanta. We wanted to stay on the east side of the country and I was in the South so long and I like the South, a lot! Part of it too is that we had a lot of great experiences before we lived here. Really cool times where we came to town and recorded with people and collaborated with people and had some shows we really enjoyed. At random, we got to know some good friends and we had kids in school and Nashville is a nice place to raise a family. The music industry here has a stigma that it is just a country music town but there is all sorts of stuff happening with great writers and great music. It is really inspiring just to be here. You can sit in your house and think, “Maybe my neighbors are writing great songs and making great music.” I love that part too.
BB: You will be returning to the Empire State this summer, hitting SPAC in Saratoga and the Highland Bowl in Rochester as well as over a dozen other cities with the Tedeschi Trucks Band & Hot Tuna for the 2017 “Wheels Of Soul” Tour. What’s it like touring with other well-known bands compared to being on the road as a trio?
OW: It’s real special because usually when you’re on the road alone you are crossing like ships in the night and you don’t get to hang out with your contemporaries and they’re all playing at the same time as you are in some other city or state. It is a real treat even at summer festivals to get to cross paths with some of our friends and to get to hang out for a few minutes if we’re lucky. To do a tour with Tedeschi Trucks and be with them every day for a month or two is a real privilege because not only do we get to hear them play every night, but we also get to play with them, eat meals with them and be close.
BB: Well, we are definitely looking forward to that tour.
Escort played their second night of a two night run on Saturday, January 28 at the Brooklyn Bowl, with Horizon Wireless opening. DJ Harrison Waxenberg created the electronic textures while drummer Daniel Lyons kept the beat driving, getting the crowd nice and warmed and setting the tone for the night.
The sold out crowd was crammed on the floor by the time the headliners took the stage, and they kept up with them, matching the energy Escort was putting out. They started out the night with a string of originals before treating everyone to section of disco covers. They finished off the night with their hits and the crowd kept on dancing to a closing set by DJ Speakerbot.
Following Brooklyn Bowl, Escort finishes the run in Philly and Washington D.C. this week.
Andy Suzuki & The Method (Kozza Babumba) are on the verge of releasing something incredible. It’s called The Glass Hour and it’s going to get them the recognition they deserve. Their past work, unfortunately, blended in among other folk-rock/pop bands, but they have taken a new direction that will definitely make waves in the New York music scene and it’s only a matter of time before they reach national recognition. They’re slowly finding their niche, now focused around future-pop with heavy R&B and soul touches, garnished with rock undertones. There are a wide variety of tones and attitudes and one could imagine these songs fitting seamlessly in between today’s popular music radio stations.
The Brooklyn based bunch have known each other for some time and have been producing music for about 10 years now. They first met in college and knew that they would fit together perfectly musically. Their unique backgrounds made them gravitate towards each other with Suzuki, being half Jewish and half Japanese, practicing music in both languages, and Kozza, being the son of Grammy-winning percussionist Babatunde Olatunji.They teamed up, created three albums and on February 3rd they will release their fourth one which is arguably their best work.
Their prior album, Born Out of Mischief, is very heavy on the folk/country side and it slipped under the radar. It was creative, well thought out and well produced. It showed that they knew what they were doing and could work their way around a studio and recording process. It was great work but it just wasn’t special and wasn’t worthy of great recognition. Going above and beyond, trying new techniques and combining sounds that have not been fused together before is what gets the name out there. Mischief didn’t do the trick, but The Glass Hour sure will.
The album starts off with “Run Away” and the attitude and tone is such an incredible change compared to Mischief. It’s a giant leap towards today’s pop music direction. The Method, who will be referred to as Babumba, has a keen ear for an addictive beat. That, paired to Suzuki’s sultry voice, is the perfect recipe for a not too distant future-pop sound that feels familiar but has enough flare to keep things interesting and unique. This track is a softer entry into the album but things get even more interesting as it goes along.
“I Can’t Live” is one of the singles they released and it’s one of which they seem to be particularly proud. They say it’s one of the tracks that sounds like a cross between Jack Garratt and Michael Jackson. That’s a bold statement, but it’s arguably true. The song is more impressive because of its properly balanced mix of pop and rock. Both clean and distorted guitar sounds ring throughout the entire song which gives the heavy pop beats and licks a nice flare.
“Shelter” is definitely a notable track because of it’s heavy R&B and gospel influences which makes for a very emotional song. It seems that it’s about trying to convince a girl that he will take care of and “shelter” her, which is very R&B-like lyrical content. One of the best phrases of the song is when it climaxes and they bring in a beautiful gospel/church-like chorus line and it can send chills up and down the spine of listeners.
“Fire” is more typical pop, filled with tribal drum beats and plenty of vocalization. It brings to mind a movie montage of a group of friends on their way across country via a VW Microbus. It’s well made, but lacks direction. It’s very predictable and can be uneventful to those who don’t enjoy this type of sound.
Once listeners hit “I Need You More” they’ll see that he group is still in experimental phase as they toy around with a very 90’s pop sound. The tone stems from the beat mainly with it’s peppy and upbeat grooves and recognizable synthetic snare hits. They again combine this sound with a gospel chorus line that adds a nice flavor to an old sound. And it works pretty well, but more than likely for a small demographic. But society is full of surprises and may eat this stuff up.
“Come Forward” is very well done and has one of the most aggressive attitudes on the record. It carries a primarily minor tonality all the way through and it makes for a very unique track. Once again, Babumba creates a very cerebral and intriguing series of beats. It’s very busy and complicated but listeners can still feel the beat and that’s not something that’s easily accomplished.
“Overtime” will definitely be a crowd pleaser. It was another one of the singles they released so it’s obvious they’re very confident about it. The chorus is so well done and it’s hard to explain why, but Suzuki hits a perfect series of notes over a super smooth, laid back and spacey beat. Again, a bluesy and distorted guitar solo makes a for a fantastic and addicting climax.
If listeners weren’t perplexed by the album’s diversity by this point, then they will be by the time they hear “Digging My Way Out.” It almost sounds like a modern chain gang song. It’s march with a “four on the floor” beat with a jingling tambourine on the upbeat to give it an authentic chain gang song feel. Once again, their guitarist absolutely crushes the solos and adds a fantastic emotional flavor to the song that separates it from other genres and bands alike.
The album is highly experimental, but it seems that there is one central theme among all the songs and that’s the intricacies of the music and how they propel the songs forward. Suzuki’s voice is immaculate, there’s no argument, but a lot of the focus is directed towards how addictive the song is musically. Hopefully, they will stay with their influences of R&B and rock because these flavors obviously work with so many different genres.
Key Tracks: Overtime, Shelter, I Can’t Live, Digging My Way Out
Coinciding with the album announcement, PWR BTTM also released the video for “Big Beautiful Day,” the final song on Pageant. The music video, directed by Christopher Good, is chock full of deliciously decadent glam. The day-in-the-life concept starts with band members Ben Hopkins and Liv Bruce having waffles for breakfast and builds up to an extravagant dance party.
Tracklist:
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“Shelter” is definitely a notable track because of it’s heavy R&B and gospel influences which makes for a very emotional song. It seems that it’s about trying to convince a girl that he will take care of and “shelter” her, which is very R&B-like lyrical content. One of the best phrases of the song is when it climaxes and they bring in a beautiful gospel/church-like chorus line and it can send chills up and down the spine of listeners.