Rochester-based new wave shoegaze band Bad Bloom has released their latest single, “onion.”
Described as having a goth, grunge gaze sound, Bad Bloom has been evolving traditional genre patterns since their initial release of the three-track Candle in November of 2019. Since their inception, the band has shared the stage with the likes of Ringo Deathstarr, SUUNS, Greet Death, and Pet Fox, with Kal Marks soon to be added to the list.
Known for pop hooks tucked underneath a distinct shoegaze distortion and riveting instrumentals, members Kate Rogers, Jay Trovato, Travis Johansson, and Jenn Wameling have dedicated themselves to constantly evolving as they experiment with noise through several pedal boards and a determination meld the conventions of the shoegaze genre to their liking.
Once more, Bad Bloom has delivered upon this promise with their latest release, “onion.” As the title suggests, the track itself and its significance offers listeners several layers to dissect. Rooted in hazy rock instrumentals and dreamy vocals, “onion” explores the feeling of having a dream so enjoyable it’s almost disappointing to find yourself back in the real world once you’ve awakened.
Rogers, lead vocalist and bassist, penned the track in the hopes of recreating the feelings of innocence, playfulness, and boundless delight that come with a wandering mind- the magic that happens when one is left to their own devices, bored out of their mind and following whatever weird path boredom leads their thoughts down.
“onion” is only the first track of many to come from Bad Bloom, being the initial pre-release leading up to their upcoming EP Pepper, to be released later this year. In addition, the band plans to release the official music video for “onion” in October.
Bad Bloom is currently on tour, performing at the Bug Jar in Rochester on October 11 and in Kingston on November 1. For more information on future shows, the upcoming Pepper EP, and all of Bad Bloom’s other happenings, visit their Linktree here.
BADBADNOTGOOD played a generous 80 minutes of high-energy jazz-rock during a free show at Awake in New York’s Lower East Side, Saturday Sept. 20. The band teamed up with the vintage clothing store as part of a promotional drive for their new three-disc LP, Mid Spiral.
One incarnation of BADBADNOT.
The mutating Canadian 5-piece came into the night off a four-night run at the Blue Note, and seemed keen to put their new material through its paces in a way they perhaps couldn’t have at the jazz institution a few blocks north. They looked to create a party atmosphere from minute one, and the revved-up crowd were happy to play along with drummer Alexander Sowinski’s high-octane crowd-work.
BADBADNOTGOOD have always provided up-tempo moments on their records, but Mid Spiral feels like a departure from their earlier work; it climbs to high altitude on opener Eyes On Me – and stays there for the duration. This makes for a charged live show: four-to-the-floor percussion, supported by a rhythm section that might be at home at a bossa nova show, drive distorted guitar turns and upbeat horns.
Listeners can detect jazz fusion influences as well as subtle notes of jazz contemporaries Thundercat and Kaytranada; indeed, at several points Sowinski made a point to recognize the band’s musical foundations. Fans of this record would do well to check out those two artists, as well as Dutch 9-man collective Jungle By Night.
This was somewhat of a bootstrap affair and the performance from BADBADNOTGOOD put the LES tenement building through its paces. During bumpier moments one couldn’t help but throw a concerned eye to the creaking ceiling; at quieter points the crowd was reminded that this vintage clothing store has the acoustics of… well, a vintage clothing store.
The performance was an interesting exercise in gig-based sensory deprivation: with no stage available, the crowd had to rely on their ears – and their feet – for the full experience. But the record makes for a compelling performance nonetheless as keys, guitar, saxophone, trumpet and drums deftly trade prominence throughout. A pared-back saxophone solo late in the day made for some light relief from the 100 mph efforts up to that point; bandmates were invited back in one by one to reach a thrilling climax to the night – the evening’s high point.
Sowinski began the show by introducing BADBADNOTGOOD as a group of people who care deeply about music, one another and the direction the world is heading. While this latter point may have felt incongruous with the boutique clothing store setting (not to mention the army of iPhones pointed towards the band), the evening was a thrilling celebration of music and those who come together to enjoy it.
Teddy Swims has become a name synonymous with raw emotion and versatility, and on Thursday night, September 26th at Albany’s Palace Theatre, he proved why he’s one of the most magnetic performers in music today.
The Atlanta-born singer sold out the venue, bringing his soul-stirring blend of R&B, pop, country, and rock to an adoring crowd as part of his “I’ve Tried Everything but Therapy” tour. Along with a joyous opening set from country-rap artist Breland, fans weren’t just showing up for the music, they came for the connection and they came to party.
Teddy Swims sold-out the Palace Theatre in Albany on 9/26/24.
Opening the night was Breland, a country-rap hybrid artist who’s quickly making a name for himself with his genre-defying sound. His energy was infectious as he performed hits like “My Truck,” “For What It’s Worth,” and “Thick.” He was the perfect warm-up for an audience ready to feel every lyric. Breland’s ability to mix country storytelling with urban beats mirrors Swims’ ability to blend styles, making him a natural opener for this tour. After a brief set-change, it was finally time to jump into the deep end.
Country-rap crossover artist Breland opening for Teddy Swims in Albany on 9/26/24.
The bond between Teddy Swims and his fans runs deeper than his music. At the Palace Theatre, it was clear that his audience connects with him on a personal level. This is a guy who wears his heart on his sleeve—quite literally, as his tattoos tell the story of his life and struggles. His heavily inked arms are a reflection of his journey, including a prominent “Create Forever” tattoo that serves as a mantra for the singer. Teddy’s tattoos are more than just ink—they are milestones in his personal journey.
Each piece is carefully curated to represent his struggles, growth, and commitment to his craft. His body art has become as iconic as his voice, with fans often asking about the stories behind the designs. From lyrics of songs to meaningful symbols that represent family, Swims’ tattoos have become part of his brand. Whether he’s singing about love, heartbreak, or resilience, fans see a part of themselves in his lyrics, and it’s this authenticity that sets him apart.
Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.
Opening his performance at the Palace with “Goodbye’s Been Good to You” and “What More Can I Say,” from the moment Teddy and his band, Freak Freely, took the stage, the audience was completely enamored. With both girls and guys regularly blurting out “I love you, Teddy!” he was always quick to acknowledge he heard them and that he loves them right back. After all, as Swims is quick to point out, it’s because of them that he’s allowed to “have the best job in the world.” His one request for the evening was that everyone has fun, stays hydrated and to look after the people in their section to make sure everyone was all good.
During his set, you could feel the energy in the room shift when he introduced songs like “Broke,” which tackles financial struggles, and “911,” a deeply emotional track about mental health. Following them up with a pair of his most recent singles, “Bad Dreams” and “Funeral,” Teddy’s themes often range from self-empowerment to vulnerability, but at the core of every song is the idea of keeping it real, even when life gets hard. Referencing just how far he’s come since the last time he was in Albany, at the much smaller Empire Live venue down the street in November of 2022, his rocket ship to the top has been full throttle ever since, yet Teddy seems to be the same guy now that local fans fell in love with back then.
Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.
Swims rise to fame started humbly, as he began uploading covers to YouTube in 2019. What set him apart was his ability to take on songs from a wide range of genres—everything from Marvin Gaye to Shania Twain—and infuse them with his unique grit and soul. That versatility earned him viral success and a massive following, catapulting him into mainstream success. His cover of “You’re Still the One” went viral, showcasing his vocal power, which, combined with his vulnerability, won over millions.
Now, with 11 million monthly listeners on Spotify and growing, he’s proving that his original material connects just as much as the covers that brought him into the spotlight. Of the many highlights of the night though, perhaps none was more touching than when Teddy invited his main squeeze out for a duet on the aforementioned Shania cover of “You’re Still the One.” At the end of the song, the two exchanged a heartfelt kiss in the middle of the stage which elicited a HUGE ovation, even bringing some to tears.
Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.
While Teddy’s voice is his ultimate instrument, it was the band behind him that brought the music to life. Backing him up on stage was Freak Freely, a tight-knit band of musicians who are as dynamic and versatile as Teddy himself. They seamlessly blend genres, moving from soulful ballads to full-blown rock numbers. The core group includes Addy Maxwell (guitar), Christian Medice (drums), and Kyng Henson (bass), each bringing their own flavor to the sound.
Their synergy with Swims is palpable, creating an atmosphere where every note feels meaningful. Wowing the crowd with their chops on songs like “Hammer to the Heart,” “Devil in a Dress” and the party anthem “Apple Juice,” Teddy made sure to give each member of the group ample time to shine in the spotlight too.
Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.
A true man of the people, during various guitar, keyboard and drum solo breaks throughout the night, Teddy could be seen signing autographs and T-shirts that people had brought up to the stage. He was even totally cool with people being on their phones during the show. In fact, at one point during his song “Simple Things,” he encouraged everyone to text a friend or a loved one that they hadn’t been in touch with for a while, just to let them know you still care.
His endearing sentimentality also came through prior to performing “Some Things I’ll Never Know,” in which he admits he still thinks about a particular ex-lover and wonders what could have been, before “hypothetically” wishing she was doing well. The ballads continued with “Last Communion” before 2021’s “Bed on Fire” from his album Unlearning brought the main portion of the show to a close and left the audience begging for more.
Watch fan shot footage of Teddy Swims performing “Lose Control” live in Albany on 9/26/24.
Returning to the stage with a huge smile on his face, Teddy would soulfully croon “Tell Me” before an absolutely gorgeous piano solo gave the audience ample time to contemplate life. Following an equally beautiful guitar solo intro by Addy Maxwell, fans finally got the song they had been waiting all night for. A veritable smash hit with well over 1 billion streams in just over a year, “Lose Control” had people from the very front to the very top of the balcony singing along with every word. It was one of those concert moments that simply gives you the chills and you knew it was something special. With time left for just one more song, Teddy Swims sent fans out of the Palace Theatre doors in a near euphoric state with one final hit, “The Door,” bringing the scintillating performance to a close.
Teddy Swims performing at the Palace Theatre in Albany on 9/26/24.
As giddy fans gathered outside, the buzz over what they had just experienced felt palpable. Everyone just knew they had to savor the moment, because everyone knew it would likely be the last time they saw Teddy Swims in a venue this size. Destined for bigger stages in bigger cities, years from now, people will still be talking about this show and saying “I remember the night Teddy sold-out the Palace and it’s still one of the best concerts I’ve ever seen.” As Teddy Swims continues his North American tour, he’s gearing up for stops in Boston, Washington D.C., and Philadelphia. His star is only rising, and if his show in Albany was any indication, this is just the beginning. Fans are flocking to see a singer who doesn’t just perform songs—he lives them. Every tear, every smile, every ounce of sweat is real, and that’s why Teddy Swims’ shows feel like much more than a night of music—they feel like a shared experience.
Teddy Swims | September 26, 2024 | Palace Theatre | Albany, NY
Setlist: Goodbye’s Been Good to You, What More Can I Say, Broke, 911, Bad Dreams, Hammer to the Heart, All That Really Matters, Devil in a Dress, Funeral, Apple Juice, Simple Things, You’re Still the One*, Some Things I’ll Never Know, Last Communion, Bed on Fire.
Encore: Tell Me, Lose Control, The Door.
Breland | September 26, 2024 | Palace Theatre | Albany, NY
The Edwards Opera House might be the best-sounding venue you’ve never heard of. Located in the small town of Edwards, New York in St. Lawrence County, the opera house is a veritable hidden gem of the North County.
“We’ve had musicians who have traveled around the world who sit on the stage and say it’s the best place they’ve ever played acoustically,” says Kathleen Huber, chair of the Edwards Art Council, a non-profit which oversees the theater’s operations and upkeep. She compares the theater’s shape to that of an upside-down ship, which she credits for adding phenomenal acoustics and natural reverb.
Kathleen grew up in Edwards, but had no idea the opera house even existed; and for good reason: The theater itself is located on the second floor of the town hall of all places.
Edwards Town Hall exterior. The Opera House is located on the 2nd floor – Photo via edwardsoperahouse.com
The town hall itself dates back to the late 1800s, where architects in nearby Ogdensburg, were tasked with rebuilding the institution after it had burned down in a fire. Over the years, the town hall has been home to a barbershop, a jail, a post-office and a roller-rink. The theater on the second floor originally hosted traveling troupes and medicine shows as well as local musicians and actors. It also served as a popular movie theater until the late 1950s.
“My parents would go in the 50’s and they would tell me that the place would be full,” Huber recounted.
The long history of this building is still very much evident. The original stage curtains are still intact, which include a vibrant hand-painted mural depicting a pastoral scene. It was painted by a traveling troupe that was quarantined in Edwards during the Great Influenza epidemic. On the back of the current, past and current performers have signed their names, with the oldest signature dating back to the early 1900’s.
The original hand-painted curtain / Photo via Edwards Opera House Facebook page
Edwards was a popular mining town for lead and zinc, but when resources ran out in the late 70’s, the mining companies packed up and Edwards began to resemble more of a ghost town. While the town hall remained operational, the theater closed its doors for nearly half a century.
In the early 200’s the Edwards Art Council, a non-profit organization was formed to oversee the restoration and upkeep of the historic theater. Nearby towns in the North County like Clayton and Heuvelton also restored similar theater spaces around the same time, in a trend to restore historic venues and hopefully revitalize the downtown areas.
The Edwards Opera House seats nearly 275 people and hosts a small smattering of around 8-10 shows a year. The venue is mostly seasonal, operating primarily in the spring, summer and fall seasons. The Opera House recently wrapped up its summer series, which included a comedy night, a variety show, a family band and a group of fiddlers.
The Edwards Opera House – Photo courtesy of Edwards Art Council
But while the Edwards Opera House used to draw full houses for its movie showings, a dwindling population – around 500 people – now makes it difficult to fill the 275 seats in the theater. Most neighboring towns are a 30 minute drive away as well.
Huber returned to her hometown and took the role of chair of the arts council during Covid. During this time, she started live streaming concerts to reach new audiences. You can also watch snippets of passt performances on the Edwards Opera House Youtube channel.
The Arts Council is operated entirely by volunteers who dedicate their free time organizing, promoting and hosting events at the opera house. Huber says they are always looking for new members. She said the most rewarding part is being able to provide music and arts to the community.
While the Opera House typically closes in the winter, this year the theater will be hosting a holiday show on Dec. 1st.
Brooklyn-based indie artist Buffchick has released a new single titled, “Gone Awhile,” out on all streaming services now. The release comes ahead of her anticipated LP Showtime.
Erin Manion, known by her stage name Buffchick, brings strong female vocals to the forefront of modern indie music.
“Gone Awhile” begins with a rising and falling of energy that really grabs the listener and lets them know a climax is to be expected. The track has traditional indie tones and vocal styles, but Buffchick’s vocal strength is certainly unique. Her voice soars majestically and really pushes the backing instrumental forward.
Around two-thirds of the way into the song, it falls down to an intimate volume before rising back up sharply and stunningly. Buffchick really displays her vocal talents in this section of the song. In my opinion, this ending of the track was the most impressive part, and really shows the talent she possesses.
To check out Buffchick’s music, “Gone Awhile,” and to stay up to date on upcoming releases, visit her Spotify by clicking here.
Nathaniel Rateliffe and the Night Sweats and My Morning Jacket have been trekking up the eastern US with a late summer double-bill that has inched over into autumn. Turning the corner into the last week of the tour, they took a daring swing up to Syracuse on September 24, testing the city’s notoriously unpredictable weather.
Which, it turned out, was actually quite predictably miserable. Low 60s and a a nagging rain. But the hardy crowd was well prepared, and welcomed the rare chance at an early autumn outdoor pavilion concert, the last of the “summer” season at the Empower FCU Amphitheater at Lakeview.
The bands took comfort in the Upstate NY weather. Jim James proclaiming in a very Jim James way, “Feels good to have the winds of Syracuse blow through my soul!” and Nathaniel Rateliffe, while apologizing to the wet and cold fans out on the lawn, said “This is actually perfect weather for me.” Coming after a couple weeks in the hot South it was no wonder.
James and Rateliffe are two highly engaging front men, each able to corral both their bands and the audience into a symbiosis, while also managing the flow and energy with skill and ease. The similarly equipped bands, navigate similar but unique sounds. The Night Sweats approach Americana from a Soul Revue angle while My Morning Jacket comes at it with an updated Classic Rock focus. They each took their 90 allotted minutes and made the best of it, seamlessly flowing songs together with very little breaks. It was a match made in live music heaven, and the audience was taken on a fabulous three-hour journey.
My Morning Jacket took the stage first on this night. Jim James strode out in an all white suit, questionable after Labor Day as it was, but then again James has always played by his own rules. After searing takes on a couple newer tunes out of the gate, “Regular Scheduled Programming” and “Penny For Your Thoughts,” the band settled into the comfort of some well-worn material.
“Lay Low” arrived early with late set energy and a finishing run of “I’m Amazed,” “Gideon,” “Evil Urges,” “Mahgeetah,” and “Wordless Chorus” was a non-stop parade of hits, energizing the My Morning Jacket faithful while rousing the interest of the larger Night Sweats contingent. But the set hung it’s hat on a monster “I Will Sing You Songs” that was as beautiful as it was ferocious. It’s ending swirled for a long while in and out of a spacey interlude, building up and down out of formlessness for a secondary climax that didn’t quite explode before petering out altogether.
The relentless energy of My Morning Jacket is a tough act to follow, but Nathaniel Rateliffe and the Night Sweats are no slouches. They came out swinging with “Suffer Me,” their three-piece horn section giving that added punch of color. Whether rollicking on the piano at the back of the stage on, fronting on guitar, or bounding across the stage with a tambourine, Rateliffe was in command and had the crowd on their feet and singing along for the entirety of the set. Their core sound was stretched to cover a lot of ground with the New Orleans blues of “Slow Pace of Time,” the atmospheric folk of “And It’s Still Alright,” the country jaunt of “Hey Mama,” and the bring-the-house-down gospel of “S.O.B.”
The night came to a head with a show-closing cover of Traffic’s “Feelin’ Alright” that had both bands merging for a very fun onslaught of sound that pulled out the best from both units. The last show of the amphitheater’s season was an early autumn treat that had everyone in Syracuse feeling alright.
New York City based singer-songwriter, multi-instrumentalist, and producer allie has released her second studio album Every Dog.
Allie Cuva, better known under her moniker allie, is a songwriter, producer, mix engineer, multi-instrumentalist and performer- it’s no exaggeration to say that her work is entirely her own.
With a pulse on everything music from the age twelve onwards, allie began her professional musical journey after a move to Nashville that allowed her to hone her musical skill set and identity as a musician. In 2021, allie toured extensively as the hired drummer for indie pop artist Cavetown, the same year a debut LP of her own was released- Maybe Next Time.
The gutturally honest and sonically ambitious sounds that had caught the attention of those in the New York City indie-rock scene back in 2021 are sharpened in allie’s newest release, Every Dog. Filled with sounds that are unapologetically allie, the album aims to take a space so often dominated by men and expand the horizons, reaching out to listeners and connecting them based upon the fundamental human experience framed within a lesbian, trans, and leftist lens.
A vulnerable exploration of queer love and one’s self, Every Dog offers 27 minutes of sitting alongside allie as she spins poetry out of her most vulnerable experiences. Not unlike paging through a personal journal, the listening experience of Every Dog is as self-reflective as the writing process was for allie herself.
Throughout each track, she explores the jarring shift of life in suburban Michigan and Tennessee to the vibrant constancy of New York City, struggling through self isolation, finding yourself in the midst of pure creative freedom, and queer love and loss.
The title track was one of three tracks selected for pre-release- “Radio Shower,” “Every Dog,” and most recently “Tiny Colored Pills”. “Every Dog” and its coinciding music video recorded along the Long Island Coastline explore the simultaneous acceptance and aching loss felt after a necessary separation from those once kept close.
“I wanted to create something that felt flickering–the oscillating guitar can resemble the constantly churning transportation flowing through NYC–and that also evolved to deliver the listener somewhere different than expected, which was meant to represent big, structural change in a relationship.”
– allie, on “Every Dog”
The video itself is intentionally rather impressionistic and left to interpretation, the only goal when recording being to explore the coastline and possibly capture some of the most mentally engaging imagery.
Similarly, the first of three pre-release tracks to see the light of day, “Radio Shower”, is a deeply impressionistic montage of aging, loss, and love that considers the weight of the passage of time above alternatively tuned guitar plucks and sonically layered instrumentals that lend the song a beautifully textured feel.
Clearly a labor of love, the track had gone through over 32 mix revisions with countless arrangement changes and scrapped vocal recordings that resulted in a cohesive testament to allie’s skill across the music-making experience.
allie has also announced a special one night only album release party at Cassette NYC on October 4 with support from Precious Human and Kid Lake. The evening will celebrate her newest work as she performs the LP from beginning to end. Tickets for this event start at $15 and are available here.
The full track list for allie’s newest LP Every Dog, out now, is below. Fans can learn more about allie’s works and keep up with all of her latest happenings on her website here.
On Saturday, September 21, Khruangbin wrapped up the second of two nights at Forest Hills Stadium to a sold out crowd.
Well on their way through a lengthy global tour promoting their new album, A La Sala, Men I Trust warmed up the crowd as they hit the stage at 7pm sharp. With the bar set high and excitement at its peak, the lights went dark as the trio from Houston, Texas hit the stage at 8:15.
Khruangbin, which translates to airplane in thai, takes their audience on a journey playing consecutively through A La Sala. Exploring many themes and motifs with great style and ambiguity, the music, accompanied by choreography, stunning lighting, and set design created a touching spectacle. If it wasn’t already clear that the band is telling a story with A La Sala, the last song of set 1 exemplified this when Mark Steele, Guitar and Vocals, along with Laura Lee, Bass and Vocals, walked down and sat at the very edge of the stage.
With DJ Johnson on Drums and Keys not far behind them, they gently played through “Le Petit Gris”, a soft piano driven melody. Sounds and visuals of thunder and rain trickling down in the windows behind them, a soft breeze that reminded everyone summer is over and fall is here, the band and audience became one.
The second set featured classic material that could make anyone dance. Notable highlights included “The Number 3”, “August 10”, and “Evan Finds The Third Room”. With genre bending sounds of global influence that all seamlessly weave together, their minimalist approach creates soundscapes of deep grooves, catchy hooks, and mesmerizing rhythms. The trios meteoric rise to the top is no coincidence. Playing iconic festivals and venues like Coachella and Bonnaroo, Radio City Music Hall and Red Rocks, they have solidified their position in the music industry.
With Emmanuelle Proulx of Men I Trust joining them for “Dearest Alfred”, they closed out the evening with the funky renditions of “Maria tambien” and “People Everywhere, (Still Alive)”. After the finale, Leezy reemerged from the back, throwing her extra head bands into the crowd, dancing along with the audience to “September” by Earth, Wind, & Fire. Their tour continues for a few select dates in the United States before departing again to resume tour around the world.
Khruangbin – Forest Hills Stadium – September 21st, 2024
Set 1: Fifteen Fifty-Three, May Ninth, Ada Jean, Farolim de Felguerias, Pon Pon, Todavia Viva, Juegos y Nubes, Hold Me Up (Thank You), Caja de la Sala, Three from Two, A Love International, Les Petits Gris Set 2: The Number 3, August 10, Lady and Man, The Infamous Bill, Pelota, Evan Finds the Third Room, Time (You and I) Encore: Dearest Alfred*, Maria tambien, People Everywhere (Still Alive) *with Emma from Men I Trust
Have you ever wondered what sustenance kept Mick Jagger alive all these years? Or how Clairo has the soothing intonation of an angel, while also ripping the same Marlboro Lights that make my throat burn and lungs dry? And what exactly is Phoebe Bridgers eating to keep her skin effortlessly glowing as she shuffles between solo project, Boy Genius tours, and famous actor and comedian boyfriends?
Fortunately for us, two indie rockers have linked up to give music junkies and avid readers insight into life on tour. Musician Alex Bleeker (Real Estate) and food and travel writer Luke Pyenson (formerly of Frankie Cosmos) penned their first edition of Taste in Music: Eating on Tour with Indie Musicians (Chronicle Books, September 2024). It’s a love letter to life on the road, and the meals and gas station sandwiches that fueled indie rock’s most remarkable minds – or bogged them down – along the way.
Bleeker and Pyenson gathered essays and interviews from dozens of indie musicians from pockets all over the genre, with their tall tales from touring sprinkled in along the way. We hear from the likes of Kero Kero Bonito, Adam Schatx (Japanese Breakfast), Natalie Mering (Weyes Blood), Eric Slick (Dr. Dog), Amelia Meath (Sylvan Esso), and many, many more. Almost all of these featured players are friends from their rolodexes. As the book explains, indie rock is a smaller world than you may think.
I also reference this book as a first edition because, despite the 200+ pages of beautifully penned essays and insights from a variety of the most accredited indie icons, there will never be enough of these essays to satiate the indie rock consumer at least not for me. And as much of a self-proclaimed fanatic as I am of the genre, I was so pleasantly surprised to learn that I didn’t know every band out there. I’m probably the last person to learn of the band Vetiver, but what a treat.
And while there are countless memoirs from rock musicians of the early aughts, many of our beloved present-day performers have not since put down the guitars and amps and had the time to write a book. So, this collection gives us the perfect voyeuristic view of the dinner tables and into the minds of our favorite indie rock artists. And, as the duo writes in the introduction — “stories centering food are the perfect gateway into understanding tour itself.”
Who knew food and music fit so well together?
Indie rockers were the perfect choice to churn out a beautiful book of essays. If they can make driving down the New Jersey highway downtempo and melodic, they can tell exciting tales of Japanese gas station snacks and gut-wrenching stories about breakfast sandwiches and love.
And if you’re wondering, “how the hell do these guys remember what they ate on tour in 2012?” Kevin Morby has an answer for you.
“There’s a lot that I don’t remember about eating on the road,” Morby writes. “And though I’ve been given the good fortune to dine all over the world over the past decade, I’d be hard-pressed to tell you the actual names of most of the restaurants, neighborhoods, or even the cities and towns where the dining took place…Instead of trying to relocate them, I simply let them settle quietly into my past not as a specific time, place, or person, but rather as a feeling.” He then goes on to discuss feeling “cool” as he ate sushi at sunrise in Tokyo, and “fancy” while eating smoked fish at an Icelandic spa, the list goes on.
“Taste in Music” co-author Alex Bleeker
Or as Ethan Bassford, bassist of NYC art-pop group Ava Luna, writes of a Turkish flat bread, he stumbled upon after playing a festival in Mannheim, Germany. A stranger feeding the hungry touring band, a man who did not speak his native tongue, left him with not just the memory of good food but “the sweet memory of being welcomed.” These are some of the little insights that will leave your heart feeling full.
Taste in Music also shows us that musicians are cultured not just because they’re effortlessly cool and good at music, but because they’ve literally seen the ins and outs of different cultures, continents, and places we didn’t even know existed. But as these rockers, often poor in the beginning, living off a $3 a day per band member food budget, they’re shown a lot of love by locals. They’re given the perspective that we may not see as outsiders on the walking tour around Berlin – and not to mention, they perform for different crowds and cultures every night.
Aside from the beautiful and fun bits, the book is also a raw look at how touring impacts artists – not just the glamorous, fun parts. Artists have seemingly opened up about the grueling lifestyle of life on tour. In 2024, it’s not uncommon for an artist to cancel shows, citing physical illness or full tours outright naming the intense strain of touring on mental health.
Bleeker’s essay in part two of the book resonated deeply. He writes about, no matter how good a show might have been, he’d find himself wasting hours staring at photos of himself, critiquing every angle, vowing to do better, and eating the same shit the next day. It’s comforting to know that even some of our favorite artists are, well, human.
It’s something I think a lot of society forgets. Rockstars are people too.
I’d also like to note the layout and format of this book are so fun. While I read my copy digitally, I can only imagine how these colors, fonts, and beautiful images from the artists (chefs, producers, managers, and more) pop off the page. It has that Rachel Ray cookbook type of feel, with the big bold lettering and of course, the little doodles in the margins — the drawings of which came as no surprise to me, a lifelong fan of Lauren Martin, also of Frankie Cosmos, and her artwork (I’m staring at a poster of a smiling bagel as I write this sentence).
Here’s to hoping we get many more books (and albums!) from Luke Pyneson and Alex Bleeker. Pick up a copy here.
On September 24th, the iconic Dropkick Murphys kicked off their highly anticipated fall tour with a powerful and energetic performance at the Rooftop at Pier 17 in New York City.
Supported by Pennywise and The Scratch, this show marked the first of many tour dates across North America, with stops in cities like Philadelphia, Detroit, Las Vegas, and even Canadian dates in Vancouver, Calgary, and Winnipeg. The tour is set to conclude in their home state of Massachusetts on October 27th before the band heads overseas for a 2025 leg that includes shows in Germany, the UK, and Austria.
The night started with Dublin-based The Scratch, whose unique blend of Irish traditional music and heavy metal got the crowd moving early. The three-piece band, who first made waves with their 2020 debut album Couldn’t Give a Rats, followed up with their 2023 release Mind Yourself, which has further solidified their growing fanbase. Their high-energy set was the perfect introduction to the night’s punk-centric lineup.
Next up was punk rock legends Pennywise, whose veteran presence brought the crowd’s energy to another level. Kicking off their set with “My Own Country” and “Every Single Day,” Pennywise proved why they’ve remained a staple in the punk rock scene for decades. With Fletcher Dragge on guitar, Byron McMackin on drums, Jim Lindberg on vocals, and Randy Bradbury on bass, they delivered a blistering set that included classics like “Date with Destiny,” a cover of The Ramones’ “Blitzkrieg Bop,” “Society,” and closed with their fan-favorite anthem “Bro Hymn.”
When Dropkick Murphys took the stage, it was clear the crowd was there to celebrate one of Boston’s most beloved bands. Since their formation in 1996, the Dropkick Murphys have carved out a unique space in the music world, blending traditional Irish instrumentation with punk rock energy. Over the years, they’ve become synonymous with anthemic singalongs and songs that reflect working-class pride, rebellion, and community spirit.
Ken Casey, the band’s frontman, may have been wearing a boot due to a torn Achilles, but that didn’t slow the band down one bit. The energy radiating from the stage was electric, and Casey, along with Tim Brennan (guitar, tin whistle, accordion), Jeff DaRosa (guitar, banjo, mandolin), Matt Kelly (drums), James Lynch (guitar), and Kevin Rheault (bass), gave a performance that had the entire rooftop shaking. Opening with “Barroom Hero” and “Boys on the Docks,” they ripped through a setlist packed with fan favorites, including “The State of Massachusetts,” “Surrender,” “Forever,” and the socially charged “Which Side Are You On?”
The band also played their new song, “Sirens,” a politically charged anthem addressing the growing divide in America. With lyrics that take aim at the billionaires profiting from societal division, Ken Casey delivered a fiery message:“For nearly a decade, the division between red and blue, right and left, has grown deeper, darker and uglier — dividing families and ending friendships. Nobody enjoys this more than the billionaires, who are making record profits off the blood, sweat, and tears of the working class. They love it when we fight amongst ourselves because their biggest fear is us joining together to come after them… THE REAL ENEMY.”
The night ended with a three-song encore that brought the house down. The crowd roared along to “Rose Tattoo,” “Worker’s Song,” and the band’s signature anthem, “I’m Shipping Up to Boston,” a fitting conclusion to a night of celebration, energy, and defiance.
With more than two decades under their belt, Dropkick Murphys have solidified themselves as legends of Celtic punk, known for their intense live performances and deep connection with their fanbase. Despite the absence of co-lead vocalist Al Barr, who took a leave of absence in 2022 to care for his ailing mother, Ken Casey has taken over full lead vocal duties, and the band hasn’t missed a beat. Barr’s return remains uncertain as he continues to focus on family, but fans hold hope for his eventual comeback.
As Dropkick Murphys power through their fall tour, their message remains as strong as ever: unity, pride, and standing up for what’s right. With the release of “Sirens” and plans for an expansive 2025 tour, the Murphys are showing no signs of slowing down. Whether you’re catching them stateside or overseas next year, one thing’s for sure—Dropkick Murphys will continue to bring their unmistakable energy and passion to stages worldwide.
Pennywise Setlist: My Own Country, Every Single Day, Staright Ahead, Same Old Story, Date With Destiny, Fuck Authority, Blitzkrieg Bop, Pennywise, Society, Broken, Stand By Me, Bro Hymn
Dropkick Murphys Setlist: Barroom Hero, Boys on the Docks, The State of Massachusetts, The Boys Are Back, The Spicy McHaggis Jig, Surrender, The Gauntlet, The Fields of Athenry, Johnny, I Hardly Knew Ya, Sirens, Smash Shit Up, Forever, Captain Kelly’s Kitchen, My Hero, Caps and Bottles, Which Side Are You On, The Hardest Mile, Good As Gold, Bastards on Parade, The Irish Rover, Until Next Time, Rose Tattoo, Workers Song, I’m Shipping Up to Boston
