Brendan Donnelly is an interdisciplinary trickster—an artist working at the nexus of being both an appreciator and interpreter of subculture, an angry old man shouting from a soapbox plunked at the corner of fine art and bullshit.
The first time I saw Sophie Allison and co. live last February opening for Phoebe Bridgers at the Great Scott, I knew there was something different about the tunes, skating the line between something grungy and something folky.
Mk.gee's first body of work, Pronounced Mcgee, named after the mispronunciation of his stage name, is a hodgepodge of genres, with each song giving you a different idea of just what Gordon is capable of.
What we find so captivating about Julian Lage’s style is that he is able to bring together the fast, dissonant, chaotic sense of jazz improv into very simple, more alternative sounding chord progressions during pieces like “General Thunder” and “Atlantic Limited.”
Liz Cooper is a commander of mojo, a conductor of the in-between, and the guide to that groove you once knew long ago. Consider The Stampede as her advisors of the journey, the enforcers, the glue between it all.
Death Valley Girls are a reminder that rock and roll never died, it was just taking a snooze. The rock group sounds like mummies gettin’ down after being awakened from an eternal slumber, or something along those lines.