New York City multi-instrumentalist and composer T@NE released his latest record, a live in concert recording at the famed Arlene’s Grocery, in April. The actual concert was recorded back in September of last year and featured Taber Gable on keys, Andrew Renfroe on guitars, Peter Manheim on drums and Dan Pappalardo on basses joining lead man T@NE on saxes, keys and vocals. The band plays as a tight unit, rarely, if ever, focused too much on one player.
Over four tracks spanning nearly an hour, the band explores jazz fusion themes that would have been at home in Return to Forever’s music from the 1970s. T@NE adds some more current twists of course, like hip-hop beats and even some rapping. A good part of the album exhibits the band floating atop progressive jazz grooves, but when they dive below, navigating a noisy chaos, a dark magic is found. In these moments of plunging into the depths is where this set shines brightest.
We have all been there; a concert you simply cannot refuse. A 220-dollar concert ticket followed by 100-dollars in fees, nearly a 50 percent up charge. It’s your favorite band, a no-holds-barred night out, but at what cost. The next few gigs you land 60-80 dollar tickets purchased from an online-fan-page-stranger. They even let you PayPal them after you got through the doors. As diehard fans, and musicians ourselves, we don’t want to be exploited; we want an exciting live music experience. Since we still yearn for human connection and tangible experiences transcending all sound – again, CashorTrade delivers.
We linger on this narrative because it is overwhelmingly real. You have already lived through it, overpaying, or missed out from an absurd standing room ticket. CashorTrade, an online ticket exchange and social platform for pure music junkies, is growing rapidly to bring real fans tickets at face value.
The Vermont co-founders and brothers, Dusty and Brando Rich, have bred CashorTrade from of their passion of live music, as well as disgust in oversaturated and overpriced tickets. Their story begins with a failed attempt to acquire Phish tickets at Hampton Coliseum in Vermont after the bands five year hiatus. It was Phish’s first performance since Coventry on August 15, 2004. The band started with “Fluffhead,” which was not played since 2000 (phish.net), but it should not merit a four-figure ticket price.
“What got us the most, was seeing the tickets listed for two – thousand – dollars a piece,” said Brando Rich. “When Phish stopped touring in 2004, Stubhub was created, and Facebook… The dawn of peer to peer ticketing platforms. A lot had changed, and five years later [2009] things are up and running… It has taken what used to happen in brick and mortar box offices to the extreme and ruined it for fans.”
CashorTrade has become a social network that allows people to have friends, share photos and connect with one another. It makes trading with people you know, love and trust that much easier. The Rich brothers have plans on building that further because “we want to better connect friends who have tickets they need. And, for fans to know about shows they are attending or interested in attending,” which is tailored to each specific user-profile.
The dawn of the internet had changed the concert experience, for better and worse. When it comes to ticket consumption Brando stresses that not all ticket company owners are fans. “I would go as far as saying that most are not fans. In the end, what my brother and I created is most helpful to fans because we are fans. We grew up loving live music – every ounce of it.”
“We would do whatever we could to get to the next show, fighting to make burritos in the lot, to make money [for our next tickets]. Your community feeds you, clothes you and it becomes your life.”
This lifestyle shows through the organic growth in the company, nearing a quarter-million users across 20 countries. CashorTrade is growing at 3,000 new users per month, and expanding. With closed first round investors, direct artist-partnerships, festival partnerships and a growing online platform, CashorTrade is on the rise. Fees diminished to ten-percent or less keeps the pressure off your wallet and draws focus to the music and those enjoying it.
Yesterday, June 12 at 2 p.m. EST, CashorTrade officially partnered proudly with Phish’s official charitable outreach, The WaterWheel Foundation – then again, it all began with Phish. Since 1997, WaterWheel’s outreach aides social and environmental efforts throughout each tour stop, notably local efforts in CashorTrade stomping-grounds: Vermont. Fans selling Phish tickets can opt to donate their profits directly to WaterWheel, while buyers will be charged CashorTrade’s transparent credit card fee (3%). Likewise, 100 percent of those ticket revenues go directly to WaterWheel, who has raised millions for more than 425 groups.
CashorTrade is closing in on their community, helping tickets stay in the hands of a tight-knit, music loving, and sustaining populous. They provide a platform where we can do it safely, carefree, and now, feel good by effortlessly giving back. Fans now have control and positive choice.
https://youtu.be/s3kpeoeNDXo
“We recently partnered with Billy Strings, an up-and-coming bluegrass guitarist, who is an amazing prodigy. I love his vibe and he really seems like the perfect fit for CashorTrade – so we are very excited to become his dedicated reseller.” Likewise, the company has paired with the killer, nationally touring act, Twiddle, said Rich. “They are selling out shows left and right; and they’re from Vermont, so that was a natural fit.”
“Partnerships are exciting, becoming an artists’ dedicated reseller is something we have always dreamed of doing,” said Rich. Additional partnerships with WaterWheel, Summer Camp Music Festival, Disc Jam and Osiris’ The Drop Podcast are just the beginning for CashorTrade. There is a lot of power in the fans.
According to their website, festivals are life changing moments. For Brando there are too many to count by hand, but the first Clifford Ball in 1996 holds a special place in his heart.
Phish played their first time at the former Plattsburgh Air Force Base. “My parents had just dropped me off my first year of college at Johnson State in Vermont. I got settled and drove straight to Plattsburgh, NY. It was the – most – amazing – three days of my life, having never seen so many people. It was something like experiencing a Woodstock-esque festival, with jam-packed streets, mayhem and three miles of party. That was pretty life changing, to see a plane fly overhead with Phish lyrics – and to think – what an extravaganza this is.”
Become a gold member and receive text/email alerts when what you want is posted. cashortrade.org/gold
The original Woodstock Music and Arts Festival almost never happened. From changes in mass gathering policies requiring a change of venue to epic traffic jams, Woodstock experienced some seemingly insurmountable problems. Under different circumstances, this festival would have been canceled.
The Road to Woodstock details the plight of one man who used his super powers to overcome these struggles and put on the biggest mass gathering ever at the time. Michael Lang’s abilities as a negotiator and communicator enabled him to bring a sense of calm to almost any chaotic event. The concept behind Woodstock was entirely Lang’s vision. He knew that if conditions were right, a beautiful, peaceful festival would grow. Lang’s perseverance through extreme adversity is unfathomable, and the cornerstone of the Woodstock Festival. More recently, Lang has encountered similar problems for the Woodstock 50 festival, but continues to engage his talents in an effort to make this festival happen.
Woodstock Visionary Michael Lang (photo by Dion Ogust)
Lang’s skills as a master communicator and negotiator started at a young age. While in school at NYU, he dropped out, moved to Miami and opened a head shop in Coconut Grove. This store was under constant scrutiny and police busts, but was never shut down by the authorities. He was able to put on the 1968 Miami Pop Festival in three weeks time based on his negotiating abilities.
These skills later enabled him to turn the powerful Billy Graham from a competitor into a team member, when Graham threatened to pull the plug on Woodstock. He also convinced Max Yasgur to have the festival on his farm. Max’s wife Miriam commented, “It takes Michael about 20 minutes to charm you.” As the preparations at Max’s farm proceeded, Lang was able to recruit almost every able bodied person to help build the festival and provide goods and services. Lang also stopped gunfights and kept everyone who was owed money from insisting violence.
In addition to being a master communicator, peacekeeper and negotiator, Lang was the visionary behind Woodstock. He could feel the peaceful vibe and knew a large mass gathering centered around music and arts would be successful. A random call from a Bethel resident led Lang to Max’s farm. He saw the bowl and knew this was the place.
He had the vision to know that a police presence was needed, but in a peaceful way. Security was handled by unarmed NYC police officers and The Hog Farm, the longest running hippy commune based in California, founded by activist Wavy Gravy. They convinced Lang to let them build a free kitchen, which was always stocked for people who are hungry. Lang made it clear that people who aren’t hungry or thirsty are happier and less prone to fighting. This was unconventional thinking at that time, but Lang was right. Who knew granola equaled crowd control? The sentiment continued at Woodstock ’99. When Lang found out water was four dollars per bottle, he ordered a truck load of it to be distributed for free.
Lang’s visionary skills were accompanied by an unwillingness to give up on this vision. The two sites prior to Bethel did not want the festival to happen. Saugerties never approved anything, but Wallkill did. As the authorities realized the festival’s intentions, extreme county laws were passed requiring a sign off from the town sanitary inspector to the State Department of Transportation. These requirements were insurmountable in the time remaining before the festival. Rather than give up, he immediately started looking for a new site. He knew all money invested in Wallkill was lost, but that didn’t matter in the grand scheme.
Lang’s ‘never give up’ attitude has stayed with him into 2019 for the 50th anniversary Woodstock Festival. Lang has struggled to secure permits at Watkins Glen. This led to his sponsor, Dentsu Aegis Network, backing out and officially “cancelling” the festival. A judge ruled that Dentsu Aegis Network had no right to cancel, and thus, preparations continue.
The Road to Woodstock paints a rosy picture behind the man who broke social barriers to bring about a festival that many believed wasn’t possible. He opened the door for our beloved modern festivals and showed the world how to embrace the growing youth counter culture. And he’s still continuing to use his skills to bring music to the masses in 2019.
Erin McKeown will be the first show that starts a new tradition at Caffè Lena this month. Caffè Lena has been proud to promote an inclusive environment and present a diverse range of performers on the stage.
On June 20, Erin’s performance will mark the first of a new monthly pride series where LGBTQ performers will be featured. It will be a safe space for people to hear the stories of members of the LGBTQ community. Sarah Craig, Executive Director of Caffè Lena, is excited to expand Saratoga’s musical horizons by giving these performers a stage. Through her years of collaborating with Saratoga Pride, Sarah has been “blown away by both the turn out and the quality of performances” that have been presented during the Pride Open Mics. The talent and creativity are there, and Caffè Lena wants to give these LGBTQ performers a chance to display it.
Erin McKeown was an excellent pick to start the new series. An out and proud lesbian, Erin has garnered a solid reputation as a performer and activist. Throughout her career, she has released ten albums, the most recent being Mirrors Break Back in 2017. Miss You Like Hell, her first musical, has garnered multiple awards including five Drama Desk Awards. The Wall Street Journal named it the “Best Musical of 2018.”
Future shows in the Pride Series include Jonatha Brooke in July, David and Sophie Buskin in August, and a mystery performer in September that Sarah Craig is particularly excited about. Tickets for this show and all future events in the Pride Series can be purchased at the Caffè Lena website.
Parenthood is rarely extolled in music. It’s hard to find songs that explore the joys and challenges that come with raising kids. On one side of the chasm are chipper children’s tunes by artists like Raffi, and on the other side were songs of lament about missing out on the joys of parenting, like in Harry Chapin’s “Cat’s In The Cradle.” Sarah Eide boldly explores the role of motherhood versus the road not taken in her debut album Dreams on Hold.
The album starts with the upbeat “Big Mover,” a song about watching a child play, and savoring these moments knowing that time, like childhood, is fleeting. It flows nicely into “The Bridge Song.” In an age when the powers that be are talking about building walls to keep people apart, it’s refreshing to hear a song about bridges that connect people.
The more reflective “Journey Song” follows. The lap steel, upright bass, and fiddle play a prominent role in this one. It’s a turning point in the album, heralding in more pensive pieces. It’s not just a lyrical shift, but also a compositional shift. The instrumentation becomes more complex, interweaving tributes to music of the past and fusing it with modern sensibilities. There’s a little boogie woogie here and a sprinkling of jazz there, which pays tribute to Americana and serves as a compass pointing the way for the future of the genre.
The poignant lullaby “Little O” was written by Eide after returning home from tour. It’s a heart-rending song about the emotional cost of being a professional musician – being torn between her personal aspirations and the realities of motherhood. “Dreams on Hold” offers some resolution to the conflict. The jazzy song showcases Eide’s ability to pair a storyline with music as the song builds to a dramatic climax and ends with whimsical curly-cue notes on piano, fiddle, and trumpet.
Like the opening songs, “Shadow” feels like a children’s song but also has a deeper meaning. Eide can’t shake her little shadow, a child who copies everything she does. But childrens’ astute perceptions are reflected back to us like a mirror, and show us things which may not be the most flattering. “Cry Cry Cry” explores the burnout of parenting day in and day out, providing contrast with the upbeat style of New Orleans Jazz.
In “The Journey,” Eide brings all the conflicts of past/present and dreams/realities to resolution through acts of patience, forgiveness, and unconditional love.
Eide takes a lot of chances on this album, exposing her vulnerabilities. Dreams on Hold is a bold musical endeavor exploring the monumental role of adults in shaping future generations. It balances whimsy and gravity, swooping gracefully between the dizzying heights of playful jazz down to the roots of plaintive folk ballads. Even those who haven’t faced the joys and challenges of parenthood will relate to the lyrical themes struggling to balance personal goals with relationships, to capture a fleeting moment in time, and to honor the musical traditions while trying to expand the boundaries.
The production value on the album is high – from the technicality of Eide’s arrangements to the flawless performances by some of Chicago’s well-known contemporary musicians, to the artwork and presentation. The album was self-produced by Eide and recorded in Chicago, prior to Eide’s relocation to Rochester, NY. Engineering was done by Yuri Lysoivanov. It was mixed and mastered by Anthony Gravino (with the exception of “Shadow,” which was mixed by Lysoivanov). Studio musicians include jazz drummer Jon Deitemyer, Shane Jonas of the Low Down Brass Band, Joe Camarillo of The Waco Brothers, and Jess McIntosh who plays fiddle for Al Scorch. The CD comes in a 6-panel case, with artwork by Betony Coons featuring collage images of children, mountains, flowers growing, and musical instruments.
Salutations friends! As June opens its’ door, festival season is officially underway. People can once again begin to embark out on the perpetual quest to satisfy their ears and eyes by indulging in one of the greatest gifts life has to offer-live music. Across the nation, fans now engage in chasing their favorite destination events, bands, songs, and comrades. Among them, next weekend’s (June 13-16, 2019) Bonnaroo Music & Arts Festival in Manchester, Tennessee.
Bonnaroo has risen to world fame from its’ beginnings as a mostly jam-centric haven to its’ current state, a wonderful melting pot of genre, visual art, and collectiveness from all over the planet. Yes, Bonnaroo is one of the largest festivals in the country, but it’s so much more. It is an explosion of diversity through art, a sponge for culture, and a tradition of expression like none other.
The lineup this year is as staggering as ever, dripping with intrigue at every avenue. Heading up the cavalry is the likes of Phish, Cardi B., Post Malone, The Childish Gambino, The Avett Brothers, Griz, John Prine, Gucci Mane, Odesza, Solange, The Lumineers, Brandi Carlisle, Joe Russo’s Almost Dead, The Grand Ole Opry, The National, and so many, many more brilliant acts waiting to unload, including tremendous representation from New York sure to stamp the South. Additionally, Bonnaroo boasts so much extra flavor it differentiates itself from any other event on the circuit. Bonnaroo has, and continues to always stand-alone in greatness and mystique. As I prepare to join the horde down on the farm, let’s look ahead to some of what this year’s installment has to offer.
Bonnaroo stretches four days; each packed to the brim with exciting names, activities, and opportunity. I look forward to rejoining the mass down in Manchester for the first time in many years, and it’s a pleasure to act as the correspondent for NYS Music for the first time! I’ll be rolling along from start to finish as the biggest party of the year pops its’ top, and I’d like to point to a few things which excite me about this event.
The Grand Ole Opry (Thursday evening): This conglomerate of folk and bluegrass takes the headlining slot on Thursday evening. The wagon features Old Crow Medicine Show, Steve Earle & The Dukes, Ricky Skaggs and a collection of other friends that is sure to bring the downhome sounds of the do-si-dos right into the heart of Graceland. The energy at Bonnaroo on Thursday night is something fierce; of course arriving at a festival is always special. Anticipation breathes, evening comes quickly, and for the first time the site really becomes alive. Bonnaroo Thursday is the above but just a little more special simply because of the size and tradition of this place. The sounds of Appalachia is the perfect way to send the first shockwave through the crowds, and I can’t wait to see what this group of bluegrass all stars has to throw down.
Access to new discovery: I can’t stress to our readers and fellow attendees how special this aspect of the festival is. Naturally a few names will jump off the lineup every year, and every individual has their favorites, but Bonnaroo is at its’ roots a mecca of discovery. Stumbling upon a band I’ve never heard of, from a distant region, or perhaps one whose genre is so outside my wheel well is just serene, and Bonnaroo is the place for that. I encourage those on the grounds to get lost at least once, and bask in the sheer size and undertaking of this gathering. Follow your feet to sound, and discover something new.
Sheryl Crow – photo by Nick Karp, Bonnaroo 2018
Phish: The boys from Vermont make their third appearance on the hollowed grounds of the What Stage for what promises to be an epic soul shakedown. Their last appearance at the ‘Roo was in 2012, and the band is in quite a different place today then they were in 2012, when they really had just begun to step back into their stride following their hiatus during the early and mid 2000s. Today, the band has been firing on all cylinders for quite a while, and while Bonnaroo is only at the tip of their summer tour, these shows will be absolutely special. Especially of note is Friday’s performance, which finds the foursome busting loose at 11pm, a start time much later than their usual shows. Always well aware of the stage and moment, expect a high energy, barnburner style punch right out of the gate.
Photo by Brian Ferguson – Magnaball 2015
New York in the house: Good news everyone! Fine company represents New York this year down in Manchester. A group that includes headliner Cardi B, the space funk party sounds of Rubblebucket, the indie quartet Parquet Courts, the dynamic electro dance king Space Jesus, the multi-instrumentalist rockers The Lemon Twigs, the young singer-songwriter and producer whiz King Princess, modern pioneers of the “now” sound AJR, and of course Joe Russo’s Almost Dead. I want to touch explicitly on Russo’s band for a second, or, JRAD, as many known them by their acronym. JRAD, a band born at the New York’s own Brooklyn Bowl in 2013 is a group which reprises the music of The Grateful Dead in a way that is so fresh, so their own that a listener can get completely lost within their compositions. Bonnaroo would not be the same without some iteration of The Dead’s catalogue in its’ midst and JRAD is the perfect selection. Late night? In a tent (That Tent)? Yes please. The group pioneered by kit virtuoso Joe Russo is always good for a surprise as well. Listen carefully for off the wall covers and licks to keep the crowd guessing. This collection of homegrown artists is as diverse as the great state and city from which they hail, and it will be a treat to see how they weave into the mix.
Photo by Nick Karp, Bonnaroo 2018
The site/sights/people: Bonnaroo is absolutely a national treasure of sound, but it’s also delightfully visual. The installations and works of vast creative genius teams stretch far beyond the actual venue (dubbed Center Roo), and engulf in color, light, and wonder that sweeps through the surrounding campgrounds and commonplaces that make up the bulk of the festival’s map. Feast your eyes on tapestry of color created by attendees and visual artists alike. There is not a more diverse group of patrons to be found than at Bonnaroo, and there is something very powerful to be said in that. The beauty in a distinct diversity of ages, races, sexes, nationalities and beyond all transcend themselves on the farm. I have always found it to be a fluid place in so many different ways, I encourage everyone to notice how special this feature is as they traverse through the weekend.
Bonnaroo has a lane, a speed, and a taste for everyone. It continues to reinvent itself. It’s a testament to the industry and people for which it serves. Stages arise out of the woods; themed areas such as The Christmas Club Barn wait to be stumbled upon, roving DJ pop up sets in the plazas of the camps are just the beginning. To invoke the great Paul Simon, these are the days of miracle and wonder, of lasers in the jungle my friends, this is the long distance call. A wave of positive kinetic madness is about break under the hot Tennessee sun. Bonnaroo 2019 is finally here!
For more information on the Bonnaroo Music & Arts
Festival, including tickets, the complete lineup, map, schedule, and much more,
visit www.Bonnaroo.com. Keep your
browsers dialed in right here at NYS Music for all of our coverage as I roam
around the fields with my trusty photographer Rob Roane. Check our coverage out
throughout the festival as we document our happenings via the NYS Music
Instagram page, and after the festival wraps we will be dropping our reviews to
keep you informed, up to date, and enthralled. Until then my friends, I will
see you on the other side.
Rock lovers of the Hudson Valley rejoice. The Tail Winds Music Festival, located in Wappingers Falls, takes place on June 29. The all day event will feature eight renowned rock performances, food and drink, and family-friendly activities.
Comprised of Chris Robinson (lead vocals, guitar), Neal Casal (guitar), Tony Leone (drums), and Jeff Hill (bass), the folk/psychedelic rock band, Chris Robinson Brotherhood, is headlining the festival. Constantly pushing boundaries with their music, CRB provides an American folk/psychadelic rock sound. Joining them on the lineup is Black Stone Cherry, Geoff Tate’s Operation: Mindcrime, King’s X, Sass Jordan, The Jason Gisser Band, Big Guns, and The PlayBack, rounding out a full day of non-stop music.
Tail Winds Music Festival also offers food and drinks from a variety of food trucks and craft breweries, helicopter rides to experience a bird’s eye view of the festival, and family-friendly activities everyone can enjoy. For more information and ticket information for the festival click here.
Check out the Chris Robinson Brotherhood’s performance of “Rare Birds” live from The Shed this past weekend below.
After the Crossgates Mall crowd at Jupiter Hall in Albany dissipated, the dark metal corridors echoed with the growling sounds of screams from beyond.
The Chaos Collective, an upstate live entertainment group, and event manager Joe Vonschinzel, brought the areas darkest, loudest, most theatrical death and black metal bands together for what will, unfortunately, be one of the venue’s last shows.
As you walked to the closed doors and slowly opened them, you could see blue and white light pulsating from the stage. The screams and drums, mixed with wailing deep guitars, made one feel as though they were entering another world, another dimension. The bands put it all out there for the fans, and the fans loved every thunderous moment.
The metal lineup for the night at Jupiter Hall was: Vile Tyrant, Goatmass, Scavengers, Organ Harvest, Faced518. Jupiter Hall will have their last show next weekend, June 14, with Revenge, a non-make up Kiss tribute, Frank Palangi, The Hard Luck Souls, and Wasteland Junction.
(Updated 10:00 p.m.) According to the Poughkeepsie Journal, despite the loss of Watkins Glen as the venue for Woodstock 50, organizers are still pressing on.
The paper quotes Woodstock official Gregory Peck in a statement issued Monday evening, “We are in discussions with another venue to host Woodstock 50 on Aug. 16-18 and look forward to sharing the new location when tickets go on sale in the coming weeks.”
Tickets for the festival, which lists headliners Jay-Z, Miley Cyrus, The Killers, Dead & Co., and The Raconteurs have yet to go on sale. The festival is scheduled to take place in just over two months.
According to Speedway Digest, Watkins Glen International Speedway has terminated its site license agreement to host the official 50 year anniversary celebration of the Woodstock Music and Arts Festival.
A statement released by representatives of Watkins Glen International stated, “Watkins Glen International terminated the site license for Woodstock pursuant to provisions of the contract. As such, WGI will not be hosting the Woodstock 50 Festival.”
This announcement comes after many troubles for the festival and puts the celebration, which promoter Michael Lang has claimed in recent weeks will go on, in further doubt.
Woodstock 50 was originally scheduled to take place Aug. 16-18 at the famed speedway.
Stay tuned to NYS Music for further developments on this.
Earlier this month, Fever Dolls released their third single, “Mrs. Carver.” Similar to their previous two releases, this song was accompanied by a thematically sound music video. However, it would be a disservice to simply call this visual component a music video, as its narration and storytelling resembles elements of a short film. Just like “Gennifer Flowers” and “Adline,” there are greater cinematic influences at play here that work together with the lyrics to ultimately enhance the listener’s experience.
NYS Music had the pleasure of asking Renn Mulloy and Evan Allis of Fever Dolls questions regarding their creative vision and how visual media has influenced their music.
Sammy Steiner: Who are some of your biggest musical influences? How have they influenced your work?
Evan & Renn: Our biggest influences are people that play no-frills, hook-driven pop music. We love Motown, new wave, and 70’s FM radio, and see ourselves in that tradition. We’re musical populists. We write choruses you can sing with your friends.
SS: What (or who) excites you within the realm of music right now?
E&R: RKS, Lizzo, Kacey Musgraves, Billie Eilish…people that transcend genres and think about their music as a fully immersive experience for their fans. That excites and inspires us. We’re noticing more bands that aren’t afraid to draw from pop music, write big choruses, or make the spectacle an equally important part of the live experience. We feel like there’s a better responsiveness to our type of band than there was a couple of years ago.
SS: Lyrically speaking – do you draw on influences from your personal lives or through the lives of others?
E&R: At first our songs were mostly autobiographical and confessional, but recently I’ve started writing more about made-up people. In general, I think I’m probably a better storyteller than a protagonist, and find that writing songs about fictional characters allows me to write about a wider array of subjects than when I was starting out and only writing about my own love life. Moreover, since we always wanted to be a theatrical band, it feels more in line with our vision to play ballads and story songs.
SS: Do you think the average person’s relationship with music has changed with the rise of visual storytelling? What role has the convergence of visual media had on your creative process and ability to tell a story?
E&R: It definitely seems that for a lot of people hearing a song by itself isn’t enough anymore. Why stimulate one sense when TV stimulates two! Even Spotify now incorporates video into the platforms of their top tier artists, with these slightly ridiculous 20 second loops of animation or video. For the record, this seems to be about as cool as the iTunes equalizer button, but the point is people are excited by the relationship between audio and visuals, and want more music that speaks to them in that way.
Speaking as a member of this generation, I think television is the greatest art form ever invented, and it invades every part of my life and thought process. I constantly find myself reducing complicated life situations to derivative story arcs, and the personalities of people in my life to those of their most similar TV character. It makes living easy. Even when I write songs, I find my brain responds to what I’m writing by concocting scenes from fictional movies that play out in my head over the melodies. For a long time this seemed crazy, but now we try to lean into these associations and embrace the ways in which our band’s music inspires images and non-musical stories for us. We feel like the output makes sense to our audience’s listening experience, and has been more authentic and reflective of the way people in our generation’s brains work.
SS: With an album on the way, what are your goals for the upcoming year?
E&R: We’re sitting on a ton of recorded material that we’d like to release in the next year. The hold up is that I’m not a very capable engineer — but I’m getting better at asking for help and relinquishing control. The goal for the upcoming year, beyond the album, would be to release most or all of what we’re recording right now. We’re especially excited about a collection of songs and videos we’re working on about different criminals throughout American history that we’re calling, Only When Its Dark Out.
Be sure to follow Fever Dolls onFacebook for updates regarding new music.
