By Avieana Rivera, Staff Writer
The Marίas are back and better than ever with their new single “Run Your Mouth.” The song comes along with the announcement of their sophomore album Submarine, a follow-up to their 2022 debut record CINEMA.
“Run Your Mouth” marks the beginning of their new era, but longtime fans shouldn't fret; the track still has the same sound listeners know and love.
DIVING INTO “RUN YOUR MOUTH”
This song is infused with many different sounds. From jazz influences to psychedelic pop, “Run Your Mouth” is ultimately a tale of freedom and moving on. The song starts off slow, introducing the viewer into the story while the music pulses in the background. Gradually, the band works its way in, adding more and more sound throughout the verse and pre chorus. When the chorus hits, the song takes full form. María Zardoya, the band’s lead singer, sings the catchy melody over the band’s funky percussion and synth beats. “Run Your Mouth” is the type of song that makes you want to dance. Throughout the song, María grapples with her frustration for a person who only wants to place the blame on her for their relationship falling apart instead of hearing her out. She calls out the other person for only showing her love when she’s down, and eventually decides to rid this person from her life. Through this song, María achieves freedom from a relationship that isn’t serving her, and the cycle that traps her in it.
“RUN YOUR MOUTH” MUSIC VIDEO
The Marías released an equally psychedelic music video to go along with their new single. In the video, the band jams out in a series of rooms that lean towards liminal spaces. With chrome walls, multiple versions of themselves, water-looking floors and a Brady Bunch looking sequence, the video contained lots of optical illusions for the viewers. You never quite know where the band is. Still, they dance around to the beat of this incredibly catchy song. At one point, María Zardoya wears a shirt with the song’s title written across the front.
WHAT’S NEXT FOR THE MARÍAS?
Since the release of “Run Your Mouth”, The Marίas have released a second single from their upcoming album, entitled “Lejos de Ti.” They are set to release their new album Submarine on May 31st. This new album is said to mark an era of transition for The Marías, with their signature colors switching from red to blue. The band has announced the start of their Submarine Tour in Mexico this June, and has teased some more tour dates coming soon.
Every Monday, our music staff brings you a new Pick of The Week, detailing some of our favorite songs. Check out our previous Picks of the Week here, and make sure to tune in to WERS 88.9FM!
Photography by Kaileigh Clark
Encapsulating audiences with their grandiose debut album Prelude to Ecstasy, the Last Dinner Party became a global sensation seemingly overnight. Sitting down backstage with our staff writer Ren Gibson ahead of their first Boston headlining show at Royale on March 24th, the five members of the group — Abigail Morris, Georgia Davies, Aurora Nishevci and Lizzie Mayland — gave WERS an exclusive interview. Trading accents for the duration of their conversation (The Last Dinner Party members speaking in an American accent, and Ren in a British one), they revealed some of their favorite aspects of touring, and reflected on their four years of growth since forming.
Plus! After reading through the pre-show chat, be sure to keep scrolling to read Ren’s review of the show, which she calls “A Modern Day Baroque Fantasy.”
SO MY FIRST BIG QUESTION, HOW DO YOU GUYS FEEL HEADLINING YOUR FIRST TOUR?
Abigail Morris: I think it's our first extensive U.S. tour. We played a little mini-tour last year in select places on the East and West coasts, but it's our first time going into America [and] being here in Boston.
It's an amazing feeling to know that there are so many places across this insanely large country that we could play a show like this that people will come [to]. A lot of them have sold out; we've upgraded venues. It's an amazing feeling that anyone cares, especially [in] America…
Lizzie Mayland: When we sell out in Europe, that's crazy. But America feels like a whole other level of like, what the f—? Because we're so far away and, you know, none of us are from here. And we haven't been here at all that much. And so it's such a testament to how the albums reach people, which is really amazing.
SINCE YOU GUYS ARE HERE, I'M ASSUMING IT'S A HUGE CHANGE GOING TO EACH OF THE DIFFERENT CITIES AND EXPERIENCING THE CULTURE OF THEM ALL. I MOVED SIX HOURS UP NORTH, AND IT'S AN INCREDIBLE SHOCK. I DON'T KNOW HOW LONG YOU GUYS HAVE BEEN IN BOSTON, BUT THERE IS LITERALLY A DUNKIN' DONUTS ON EVERY SINGLE CORNER.
Morris: Yeah, I did notice that. I was like, you've got a lot of Dunkin' here. A lot of that. Donut-heavy… Boston Cream, is that a kind of donut?
IT IS… IT'S FROM LIKE, THE BOSTON CREAM PIE, I THINK. THERE'S A PLACE IN THE NORTH END CALLED BOVA'S THAT HAS REALLY GOOD PASTRIES, THEY'RE OPEN ALL NIGHT.
Morris: Does anyone do gluten-free?
I THINK BOVA’S DOES.
Aurora Nischevi: And they're open all night, you say?
OPEN ALL NIGHT.
ARE THERE ANY STOPS THAT YOU GUYS ARE MOST EXCITED ABOUT?
Morris: I'm really excited to go to Canada. We were talking about going to a hockey game. I've always wanted to go, so I'll say Montreal.
Mayland: I'm really excited to be back in New York. We love New York. [We’re] doing two shows there.
Georgia Davies: I’m looking forward to being on the West Coast. It's warm, which I appreciate. [But really], all of them. Just excited to see new cities.
SO FOR TONIGHT, WHAT DO YOU GUYS HAVE IN STORE? WHAT'S YOUR FAVORITE SONG THAT YOU'RE READY TO PLAY?
Morris: Well, I know that there's gonna be a lot of Berklee kids here, that A), my friend is bringing, and B), I feel like they will be here anyway. There's a song that we do that requires audience participation. So I feel like they're gonna be extra good, extra musical.
Davies: Is that a music school?
YES!
Mayland: Just give them harmony!
YOU GUYS FORMED JUST BEFORE THE PANDEMIC. HOW IS PERFORMING DIFFERENT NOW VERSUS WHEN YOU FIRST STARTED?
Nischevi: We didn't play our first gig until after lockdown, but we formed right in March, [during] lockdown.
Morris: I feel like it was more noticing the change in what people wanted from a band. Before, you could see the cycle. We went out all the time, and it was kind of that DIY, London feeling. And then throughout the pandemic, the pendulum shifted to people wanting more solo, bedroom pop. Luckily when we came out, it was when people wanted a live act again. People became even more feral about going out and going to live music and stuff like that because they've been deprived of it for so long.
I KNOW! AS SOON AS I GOT MY HANDS ON CONCERT TICKETS, I WAS LIKE, “OKAY… MAYBE LIFE IS WORTH LIVING!”
Mayland: We had tickets for a festival in Barcelona for three years! We kept rolling on, and rolling on, and then we finally got to go and it was like, ‘yes!’
WELL, NOW YOU GUYS ARE LIKE, WHAT, LIKE FIFTH ROW IN THE LOLLAPALOOZA LINEUP?
Morris: I couldn't believe that. I was like, ‘are you sure? What's going on there?’
THAT IS A HUGE ACCOMPLISHMENT.
Morris: Yeah, she's pretty cute.
OKAY. I HAVE ONE MORE FUN QUESTION. IF YOU WERE A SOUP, WHAT KIND OF SOUP WOULD YOU BE?
Mayland: Soup!
Morris: French onion soup. My favorite soup because it's got bread and cheese, and it's sweet and salty, and it's got all the things that you need. It's so good.
Davies: I'd be a miso. Love miso soup. Feels like it's a very Nourishing, very healing broth. Got that umami flavor.
Morris: You're a very umami girl.
Davies: Yeah, I know, I'm an umami girl.
Nischevi: I’m like a minestrone. I like variation, a little bit of vegetables, and some other stuff.
Mayland: I might go for like a roasted butternut squash. Autumnal vibes. With nice, fresh bread.
Show Review: A Modern-Day Baroque Fantasy
Seeing the Last Dinner Party live was like going to church. With large baroque-inspired elements in their music and influence from the members’ Catholic upbringings, it felt like choral arrangements that you would find in the Psalm book of the daily Mass that was penned in 1902. Of course, their sound is more modern than baroque-era music, but they are able to translate that era into the reality of the twenty-first century.
Each of the members wear outfit pieces that look strikingly out of a Da Vinci painting. Their fashion aesthetics include corsets, puffed sleeves, muted colors and flowy skirts (details which many audience members replicated).
SONIC SPOTLIGHTS
The instruments that the band uses are not just there to make their songs musical; they’re almost members of the band themselves. Their debut album Prelude to Ecstasy explores so many areas of experimental pop within itself, including ballads, cultural music, and many more that all find themselves blending cohesively.
Their song “Ghuja” — which is a love letter to keyboardist Aurora Nishevci’s Albanian roots — is performed with only the accompaniments of the organ and flute to highlight the stylings of traditional Albanian folk songs. Even still, it blends perfectly into their upbeat, indie-pop hit “Sinner.” Getting to hear the former song live made me cry because of how beautiful Nishevci’s performance was.
The band makes use of each member’s voice in their songs. For many artists, this layering is often done entirely in the studio. The Last Dinner Party, however, does it all live. All five members of the band harmonize, and let me tell you: it is a beautiful, once-in-a-lifetime experience.
A lot of their songs feature this particular layering, but one of which sounds the best to me is their track “Beautiful Boy.” The echoing of the voices towards the end of the song as lead singer Abigail Morris finishes with the end of the chorus is heavenly, melancholic, and gut wrenching in the best possible way. This is another song where I found myself close to crying, but trying not to out of fear of risking my mascara.
Not only is it just the band that gets to harmonize, but the audience is taught the harmony later in the set, too. Replacing the choir that backs the band in the studio version, for the bridge of “Portrait of a Dead Girl,” Morris invited the crowd to sing the words “give me the strength” while she continues the main track.
“THE FEMININE URGE” TO SEE THEM AGAIN
Through their storytelling, aesthetics, and, of course, their music, the Last Dinner Party is breaking standard popular music conventions.
Seeing the Last Dinner Party live was an experience that I will never forget. The crowd was overjoyed to accompany the band on the journey through their album, start to finish, earnestly being crowned the loudest crowd of the tour by Morris.
Photography by Jimena Cieza
By Ella Mastroianni, Blog Assistant
Artist: Caroline Rose
Venue: Royale
When: Sunday, April 7th
On April 7th, Caroline Rose took the stage at Royale, and in an hour and a half, Jeannie became a mom, I felt the way I wanted, and I learned the art of forgetting (all lessons or stories Rose has shared through their discography).
Rose is a jack of all trades who has been making music for over a decade. 34 years old and from Long Island, New York, Rose is not only a talented songwriter and producer, but they also have a degree in architecture. This will become important, I promise.
They are best known for their remarkable vocals and the funky energy their music has. Rose has made a name for themself and has planted their feet firmly in any and all music spaces.
While they began with more country and folk music, they branched into indie-pop and, most recently, a more alternative-rock vibe. None of Rose’s music can be neatly packaged, and their show certainly can’t be either.
The stage was set up with fabric panels in a “V” formation, and after having spoken with Caroline about their degree in architecture, I knew this show had much to offer once the lights went up.
JUST XO, FORGET THE SKELETON
La Force, or Ariel Engle, is probably a goddess. Entering in a pink dress alongside some projected “XO” images (à la her 2023 album XO Skeleton), she took the crowd’s attention before she even opened her mouth. It only took some cryptic audios — including hold music royalty “Opus Number 1” — to get the audience intrigued.
Before playing the title track off of her latest album, Engle said, “Death is the ultimate uniter. Birth is cool too but I’m facing death so that’s what I’m into. Coming to a theater near you.” La Force didn’t speak much throughout the set, but when she did, she was passionate.
One of the highlights was her unreleased song, “Protection.” It was about wanting to shelter someone from the world, even when you know you can’t.
La Force’s performance was a whirlwind, with cool visuals and a bit of interpretive dancing that reminded me of Mitski’s most recent tour performances. It was a time where beautiful vocals were heard, conversations about death were had and her pink dress ultimately unraveled to reveal a black sheer one underneath (some might say, she went from XO to skeleton).
CAROLINE, TAKE ALL MY ROSES
The crowd cheered as Caroline descended from steps onto the stage. Everything was dark, except their red cardigan which was the brightest thing in the dim, blue-lit room.
“The Doldrums,” was the opening song and the perfect way to set the tone for the night. It’s a really inquisitive song that asks the burning question, “If that was me then, then who am I now?” The dramatic potential of the stage setup that I predicted upon arrival reigned true, as when Rose sang the drawn out “now,” the lights intensified to a bright citrine yellow, caught on the fabric panels.
From there, they jumped into “Miami,” “Stockholm Syndrome” and “Tell Me What You Want,” which is in the same chronological order as in the album. Rose, with their acoustic guitar strapped on them, cried out the lyrics to all of these songs. The emotion-filled lyrics were not just heard, but felt by the audience in all of their glory.
When performing “Tell Me What You Want,” the audience chorused the lyric, “Boy, you're gonna hate this song!” Additionally, the intense energy of the ending line, “I'm becoming someone else,” certainly has an emotional impact on the recorded album, but was especially intoxicating to hear inside the venue as it was repeated over and over again.
The setlist had 16 songs total, including the encore. They played tracks off of their last three albums— The Art of Forgetting (of course), Superstars, and LONER. Rose had their incredibly talented four piece band on stage with them, consisting of Glenn Van Dyke, Lena Simon, Riley Geare, and Zach Bilson. The electronic energy of the night wouldn’t have been possible without them.
STORYTIME!
If you’d have listened in on the concert from another room, you’d maybe have mistaken Rose’s performance for a stand up comedy set; the crowd was laughing and having a great time listening to the stories that accompanied their music.
Between songs, Rose was doing little dances and conversing with the audience for good amounts of time. The audience was more than willing to chat right back. Firstly, Rose thought it was a Wednesday night, and the audience — in unison — corrected them that it was in fact a Sunday.
We also heard about their trip to Dick’s Sporting Goods, their sleeping bag in the green room and Rose’s thoughts on AI. The audience truly received a complete package of information they didn’t ask for, but would and could never forget. It was with little conversations like these that Rose made the audience feel comfortable.
In between singing their most vulnerable songs, they found new ways to open up to the audience. “I love you, I feel like there’s a good vibe in the crowd tonight,” Rose said at one point. Later, they said that this was their favorite Boston show to date.
THE ART OF REMEMBERING
“The party is over, the cake has been cut,” Rose sang on the stage solo, just them and their guitar, at the end of the night. “Where Do I Go From Here?” was the perfect closer for the night, as it was for the album. Rose’s voice was intense— the closest sound I can compare it to is a soulful howl.
“Come on now, babe, take all this pain and learn to love yourself again,” Rose concluded. “Thank you all for being here. My name’s Caroline Rose, have a wonderful night.” The crowd cheered loudly, and Rose inevitably walked off.
We were left with an empty stage, but also this: as much as forgetting is an art, so is the remembering.
Here at ‘ERS, we love live music! That’s why we created the Uncommon Concert Calendar — your guide to the best concerts in Boston. Each week, our intrepid music staff picks out some upcoming concerts you won’t want to miss.
TINY HABITS @ ROYALE BOSTON
7:00pm, Saturday, April 13
If you are like me, and you like the peacefulness and feeling that comes from a good harmony, you are certain to enjoy those of pop sensation Tiny Habits. “Melodious” and “catchy” are understatements for this band. Their sound is quite ethereal. Having only listened to them recently for the first time, I have been captivated by how full of soul the band is. Through their lyricism, they invoke a vulnerability beautifully enhanced by their sound and presence. Formed in Boston, the trio of insanely talented singers-songwriters joined harmonies after meeting at the Berklee College of Music. They have gained support from artists such as David Crosby and Phoebe Bridgers and opened shows for Gracy Abrams and Noah Kahan. Join the band for a memorable performance this Saturday at the Royale Boston!
- Isabella Kohn, Staff Writer
GIRL IN RED @ MGM MUSIC HALL
8:00pm, Tuesday, April 16th with Momma
Girl In Red has come a long way since the “Do you listen to Girl In Red?” days. She released her debut studio album If I Could Make It Go Quiet and even went on to be the opening act in multiple shows for the Eras Tour. Now, she’s come out with her second studio album I’m Doing it Again Baby!, which she’ll be singing live for the Doing it Again World Tour. In it, she is (can you guess ?) doing it again! So, if you want to see the singer do what she does best, make sure not to miss her at MGM Music Hall! It’s only for one night!
- Jimena Cieza, Staff Writer
BAD BUNNY @ TD GARDEN
8:00pm, Wednesday, April 17
Bad Bunny Day is coming early this year! This Puerto Rican musician is taking the world, and Boston, by storm. Last time the singer came to visit on August 18, 2022, Mayor Michelle Wu declared a city-wide holiday, also known as Bad Bunny Day. He returns this Wednesday on his Most Wanted Tour. In 2022, his sixth album became the first Spanish-language album to be nominated for Album of the Year at the Grammys. His newest album, Nadie Sabe Lo Que Va A Pasar Mañana, sees him take on new influences, as he divides his time between his home country of Puerto Rico and the U.S. The record remains true to Bad Bunny’s Latin roots, and welcomes in a new stage of his life, with influences from house music, and even some trap and drill.
He will be performing at TD Garden this Wednesday and is sure to deliver a mesmerizing performance. In this tour, he leans into the old western vibe seen on the album artwork, which is a painting of himself as a cowboy, riding a horse. There has even been talk of him recreating the album imagery on stage, with a live horse! Now of course, we don’t know what’s going to happen on Wednesday, but we do know it will be an incredible show!
- Avieana Rivera, Staff Writer
REAL ESTATE @ ROYALE
8:00pm, Wednesday, April 17th with Marina Allen
Following the release of their sixth album Daniel, Real Estate will be making their way to the Royale on April 17th. Real Estate is a 5 piece indie rock band from New Jersey, and their latest album is a culmination of their identity as a band. They deliver, and have delivered ever catchy tunes throughout their discography including tracks such as “Talking Backwards,” “Water Underground,” and “Darling.”
Their songs capture indescribable moments and have a very earthy feel to them. With all the natural elements they include (moons, flowers, etc), their work is sure to be embraced by admirers of nature, and lovers of rock(s), of course. “The Main Thing” their music is best remembered for is its groovy and breezy nature, so if you have the opportunity to go to the show, “Say No More.”
- Ella Mastroianni, Blog Assistant
SIR CHLOE @ THE SINCLAIR
8:30pm, Wednesday, April 17th with Daffo
As part of “The Savory Tour,” indie artist Sir Chloe will perform at the Sinclair on April 17th. Achieving popularity in 2020 with her song “Michelle,” the artist has proven her gift as a musician and songwriter through her songs full of powerful, emotional lyrics and catchy guitar riffs. In 2023, she released her second album I Am the Dog, and she has put out two more incredible singles this year: “Seventeen,” and “Over Again.” This show is particularly special because the singer, also known as Dana Foote, has an interesting local New England connection. Foote was raised in Vermont and studied in the state at Bennington College, where she formed Sir Chloe as her senior thesis. Don’t wait until it’s “Too Close” to get tickets for what is sure to be an incredible performance.
- Annie Sarlin, Staff Writer
STRFKR @ ROYALE
7:30pm, Friday, April 19th with Ruth Radelet
STRFKR is taking the stage at Royale this Thursday night to immerse Boston in their synth and psychedelic sounds! Based out of Portland, the band just released their seventh LP Parallel Realms in March which features new playful tracks like “Always/Never” and “Together Forever.” They have produced an impressive discography over their 16-year career with hits like “Rawnald Gregory Erickson the Second” and “Open Your Eyes.” STRFKR invites listeners into their melodic world, and their performance is sure to provide an ailment for the rainy Boston blues.
- Sofia Giarrusso, Staff Writer
JOBIE @ PARTY DOWN THE BLOCK, DOWNTOWN CROSSING
12pm-4pm, Friday, April 19th with Arlo Matthews, Redeye and DJ Little Kilo
From the return of the Public Garden’s swan boats on April 13th to the bright, flowering vines of nasturtiums now hanging at the Isabella Stewart Gardner Museum, spring has finally sprung in Boston! What better way to celebrate than by enjoying some local, live music in the sun? This outdoor event, “Party Down the Block,” is being put on by WERS’ college radio station pals from across the common, WSFR Suffolk Radio, in collaboration with Downtown Boston’s BID (Business Improvement District). It will feature a set from local DJ Little Kilo, plus performances from Redeye, Arlo Matthews and Wicked Local Wednesday alum JOBIE, whose modern spin on a folk sound in songs like “Earworm Lullaby” has us hooked! Plus, as you listen to the music from noon to 4pm on Friday, be sure to check out the booths from local vendors stretching down the street between Macy's and Roche Brothers in Downtown Crossing!
- Nora Onanian, Web Services Coordinator
Photography by Kathia Dawson
By Kathia Dawson, Urban Coordinator
Thrilled concertgoers packed into Dorchester’s Strand Theater for a sold out tribute concert in commemoration of the night James Brown saved Boston. The concert featured Tony Wilson — known as “The Young James Brown” — and other iconic Black soul performers of all ages.
LEARN MORE ABOUT THE NIGHT JAMES BROWN SAVED BOSTON
On April 5th, 1968, only 24 hours after Martin Luther King Jr. was assassinated, James Brown was scheduled to perform at the Boston Garden. Instead, it became not only a stage performance but a televised event. Riots following MLK’s assassination ensued in major cities all around the U.S., and during this tense moment in the country’s history, the mayor of Boston Kevin White along with Boston’s only black city councilor Tom Wilkson decided to unite in an effort to prevent more riots in Boston. They convinced Brown that televising the performance could heal the city by encouraging them to remain at home.
The acclaimed “Godfather of Soul” gave a part of his soul to Boston for the night to prevent more riots, more injuries and more pain to Boston’s Black community.
For further reading on “the night James Brown saved Boston,” read our anniversary piece, or check out the documentary The Night That James Brown Saved Boston.
“THIS IS A TRIBUTE TO BEING PROACTIVE AND INTERNATIONAL”
The event kicked off with a message of unity from Mayor Wu, who declared April 5th the official James Brown Saved Boston day.
“I HAVE NO IDEA WHAT TO EXPECT, BUT I’M EXCITED”
Iconic members of the Black community, Senator Ed Markey, and people who experienced the original night almost 56 years ago filled the seats.
The night shined with the same revolutionary feeling of peace and energetic dizziness that only Soul music creates. Glitter was everywhere. Iconic soul songs, like “Best of My Love” and a cover of King Of Soul Sam Cooke’s “A Change is Gonna Come," moved the audience.
Tony Wilson, a protégé and close friend of James Brown, performed with his own swing. But as “The Young James Brown,” you know his swing is inspired from “the Godfather of Soul.”
Wilson gleamed in his all-white, silk suit with frills and black shoes that sparkled. His performance glowed brighter than his outfit. He danced with an exuberance just like Brown, doing the iconic “James Brown” dance and front flips during every other song.
Him and his 11 piece ensemble wowed the crowds, commemorating the night James Brown’s performance saved Boston and giving justice to the way music can move people in revolutions. The theater’s giddiness poured out into the street, honoring the night once again, and hopefully for years to come.
Tony Wilson "The Young James Brown" and crew perform in Studio 889. Photography by Riley Vecchione
By Kathia Dawson, Urban Coordinator
56 years ago, the devastating assassination of Civil Rights leader Martin Luther King Jr. set in motion passion-filled riots from coast to coast. With tension between Boston police and Black citizens already in effect, city officials struggled to find a way to prevent riots from ensuing in Downtown. They asked James Brown to perform on live television to keep people indoors, and the Godfather of Soul delivered.
Friday, April 5th, 1968 has been labeled the day that James Brown saved Boston. The event wasn’t originally going to be televised, and was instead expected to take place in the Boston Garden with an estimated full-capacity—or 15,000-person—attendance. Because of the proximity of the concert to the tragic death of King the previous day, though, the mayor of Boston was worried about protests turning destructive or violent. He and Tom Wilkinson, the only Black councilman at the time, proposed that the performance be televised on WGBH’s program “Say Brother.”
Brown agreed, demonstrating a level of dedication to his community that helped prevent riots, and injuries by default. His revolutionary energy channeled through TV sets around Boston, and spread a word of peace in a time when peace was needed. The juxtaposition of his lively stage presence with the quiet streets is something that no one else could have accomplished. His words and energetic, dance-filled performance impacted people for years to come.
An accomplished Brown inspired his protégé, Tony Wilson, who met James Brown as a young child, and officially met him in 2002, on the set of the short action-comedy film Beat The Devil. Wilson has gone on to perform internationally by the stage name “The Young James Brown.”
On April 5th, 2024, Wilson led an 11-piece band at Dorchester’s historic Strand Theater for a moving tribute, 56 years to the day of when James Brown saved Boston.
(Read a review of the show here).
Before this performance, musician Tony Wilson had a chance to sit down with WERS/ERS+ Urban Coordinator Kathia Dawson to share more about himself and his inspirations.
LET’S START WITH YOU; WHO IS TONY WILSON?
TW: Tony Wilson is an entertainer. I grew up in Chicago, stayed away from all the bad things, you know— got out of school every day and went to the Chicago Park districts to tumble and springboard and chess, ping pong and all that kind of stuff. And so I had a very good life. I just grew up in music… My sisters are professional tap dancers, instructors, so I came up under the music part.
HOW LONG HAVE YOU BEEN A SINGER?
TW: God, I've been singing since I was eight, but I really got into it when I was 10 years old. But I was so impressed with dancers at that time, so I was a dancer first. And then when the Jackson 5 came out and really blew up, then I started singing, and had that same kind of singing voice Michael had. But I always liked to carry snakes and all that kind of stuff with me, so that kept the girls away. So that was that kind of guy I was. Just a regular kid going and walking to— swamps, fields, catching frogs… I was a block guide and hung out on the block.
OTHER THAN JAMES BROWN AND MICHAEL JACKSON, WHO ARE SOME OF YOUR MUSICAL INFLUENCES?
TW: Of course God. I would say if we’re talking about people who aren’t singers: James Baldwin. And, those kinds of people inspired me. And I always was inspired by Black history, you know, the heroes and she-roes like Black inventors. Because they didn't teach that in school. So we found out Dr. Drew invented the traffic light, and also blood plasma, and he was denied a blood transfusion. He's the one who invented it. That turned things around for me. But I spent most of my time as a child and teenager fishing and doing those kinds of things.
When I grew up earlier, I had a chance to work with Michael Jackson for three years. I was a decoy for him as well as in the movie, The Wiz, as an understudy. And I went on to do a lot of things [which] I could just name…
I’m not an impersonator, [and I’m] not trying to copy anybody, because I have my own style. So, after I got out of the Michael phase, after being on The Oprah Winfrey Show, I went on to the James Brown School of Performance. That was with a band and where I think the separation between myself and other entertainers—who they want to call impersonators—began. They [looked] like someone, but they didn't know how to sing. So I was like the only entertainer that actually [could] sing back in the day.
That catapulted me to the attention of other celebrities, including my godmother who happens to be none other than Martha of Martha Reeves and the Vandellas. The Chi-Lites I also received attention from. So, my mission has always been as you know, take all the cursing out of the music and all that kind of thing.
So I just came up with James Brown, did some movies, and have worked with one of the biggest stars in London, Gary Oldman (an English actor and filmmaker). He's like the biggest hit in Britain. I have my thing called thestrongestlinksavesboston.com. And we're putting the music teachers back into the elementary and middle schools because they took it out, I have no idea why. Yeah, I spoke with Senator Eldridge who's actually coming to my show. And he said it was money. And it's very [impactful what] he said— these kids are bringing knives and guns to school.
WHAT’S THIS WEBSITE?
TW: It's called thestrongestlinksavesboston.com… Our mission is to free the innocent. A person often wants to be acquitted, but they were totally innocent. They went to jail at 18, stayed in prison for 35 years. That's a long time. And then when they found the person that did it, it doesn't matter that the state gives them lots of money, because you got 400 men and women and children that were put in jail at 16, 17 and 18 years of age. They’ve been incarcerated for 25 years. They’ve missed out on [their] whole life.
WHY IS THIS ISSUE IMPORTANT TO YOU?
TW: It's important because… I grew up having opportunities, fun things to do. I didn't have to worry about going to the YMCA or Boys and Girls Club… For me, it was like, it's free. It’s the Chicago Park District, it's in every community. We had tumbling, basketball, dodgeball, the girls had tap dance, which my sister was an instructor. You got modern dance to intermediate, and then the ones who really know how to dance. So it was an opportunity for them to learn… dance, volleyball, football, you know, all of these different sports that you [can] go into. They had everything for everybody, and it was so cool. We didn't hang out on the street corners. And I know that that's not in a lot of communities. The trouble with Boston is: they don't have too many music programs, and if they do have music programs, [you have to pay for them].
When I was working as a music teacher, I taught master classes in China. And those are the ones [where] you can go to private school and they’ll [have you] pay $60,000 for a whole year. But what about these Black and brown children? What about the children who live in poverty and other neighborhoods? Those are ones that really need [music education]. Because they look to their bigger brother and they are too busy looking at hip hop and all that stuff. And then they can have guns and knives and think that is cool? And all that stuff starts on a school bus or after school stop. But, you know, we can’t do without music. Music surrounds us; it's a universal language. We live it, we breathe it, and I really don't think we can live without it. So how can these little kids?
WHAT DREW YOU TO IMPERSONATING MICHAEAL JACKSON AND JAMES BROWN, AND WHEN DID IT START FOR YOU?
TW: When I was 10 years old, I jumped on the stage with James Brown at a concert. And of course, I started hearing the Jackson Five, and when I heard them, I wanted to sing and dance like them. So I grew up following everything they did. Just kept on doing it, doing talent shows and contests all over the place. My mom and dad weren't into the music. My mother worked for the IRS, and my father was an Air Force pilot, you know, so I didn't have that music family to help. [That’s] until I met my godmother Martha Reeves and she changed my life.
So I just kept at my craft and kept doing music. And when I got to be a little older, that's when Don King, the boxer promoter, contacted me and said, “We need you and Michael likes you.” They needed a decoy. I did that for a while. And then, you know, James Brown was released from prison in 1991. And Butch Lewis, a boxing promoter, produced the pay-per-view event “James Brown: Living in America.” So it happened in ’91. James Brown took me [under] his wing. He knew that Martha Reeves was my godmother, and we were inseparable from that time.
I knew I wanted to be an artist that did clean lyrics, you know. I love hip hop and all that, but I just think they go too far lyrics-wise.
ARE THERE CERTAIN MUSIC PERIODS OF HIS CAREER THAT STAND OUT TO YOU MORE THAN OTHERS?
TW: Yeah, as a young Black boy in the ’60s, you know, we always used to be called this and that. So when he says, “Say it loud, I'm Black and I'm proud,” that made everybody be proud to walk around [in our skin].
CAN YOU PAINT A PICTURE OF WHAT IT WAS LIKE TO MEET JAMES BROWN FOR THE FIRST TIME?
TW: [I was] at the Regal Theater in Chicago, in 1968. My babysitter took me there. And at that time, you could go into a club if you were with your parents. So I go into this place, and I'm with my babysitter, and James Brown was up there. And some other kids got up to dance and [then] I went up there on the stage. And I was just doing my little thing, dancing and everything. Nobody pushed me off the stage.
As a matter of fact, I did that twice. That was ’68 And the other was ’71 [at] the High Chaparral in Chicago.
Then, he found out that one of the Chi-Lites was my godfather. So I always kept in touch with him. Anytime he came to Chicago or Detroit I was there.
SO WHAT WAS JAMES BROWN'S REACTION TO SEEING YOU PERFORM FOR THE FIRST TIME?
TW: The first time he actually saw me perform was when he got out of jail in ‘91. And they did a pay-per-view. At that time, they were running a contest with the best guys. And so I'm up there on the stage. He didn't look like he liked me at first but then [he] told his wife to come get me. She told me to get off the stage, she said “You're a professional. This is a contest.” So what they did at the after party at L.A.’s Wiltern Theater on June 10th was [they] had me perform for MC Hammer and guests at the tent party. She said, “this is where you need to be,” and then they paid me.
DO YOU HAVE ANY ANECDOTES THAT DESCRIBE HIM AS A PERSON?
TW: Which one? …He has three personalities. It all depends on who you are.
Let me give you a good example: if you're a band member, it's a totally different thing. He’d look at your shoes, you know, shirt. He’d be like, “I don't care if we ain't got a show,” if he saw you out and you're not super sharp… ‘uh oh’, you were in trouble. Okay, that's character one.
Character two is that he knows what he wants when he wants it.
Character number three, all hell breaks loose. If you’re not paying attention, if you miss a beat, he’d go crazy… he wasn’t mean, he was a militant. If you’re a band member; business guy… you cannot call him James. You want to call him Mr. Brown. If you called him James, the meeting [would be] over, and that happened in front of me.
IS THERE A LESSON YOU’VE LEARNED FROM HIM THAT STUCK WITH YOU FOR ALL THESE YEARS?
TW: Yeah: get your money first.
WHAT CAN THE AUDIENCE EXPECT FOR TOMORROW’S PERFORMANCE?
TW: High energy. Fasten your seatbelts; we hit it right from the beginning. We got three great acts: first Chanel Sugar, The Twins, they're gonna sing two songs, Leon Bill, everybody knows he's gonna do “A Change Is Gonna Come,” and then we have Tony Lenz, the one blues singer. And then the James Brown Band is gonna hit from 8:00 p.m., nonstop all the way to 9:20. High energy, flips, spins, everything.
THIS IS A BIG DEAL, YOU’RE PERFORMING A TRIBUTE TO THE GODFATHER OF SOUL AND REMEMBRANCE OF THE NIGHT JAMES BROWN SAVED BOSTON, WHAT WOULD YOU LIKE TO SEE COME OUT OF THIS PERFORMANCE?
TW: That lot of people join in and sponsor [the] mission to put these musical teachers back into schools, especially in the elementary and kindergarten schools. And if we can do that, that's something that will trickle down worldwide…So yeah, the mission is to do that. And that's why I call it “the strongest link saves Boston.”
AND WHAT’S NEXT FOR YOU AFTER THIS PERFORMANCE?
TW: I'm going to McDonald's. No (laughs). We're hoping that you all come out to Menotomy Grill & Tavern in Arlington at 9 p.m. to hear the full band. We're gonna have a fun dinner, and then I'm going to just get some rest for the show tomorrow.
By Avieana Rivera, Staff Writer
Artist: Lizzy McAlpine
Album: Older
Favorite Tracks: “You Forced Me To” “I Guess” “Come Down Soon” “Staying”
For Fans of: Tiny Habits, Phoebe Bridgers, Gracie Abrams, Noah Kahan
LIZZY MCALPINE GROWS WITH OLDER
Older, for Lizzy McAlpine, is an evolution. Her growth — both personally and professionally — has manifested itself into a brand new matured, and more confident sound. This album, unlike her previous two, strips down the sound and leans into indie-folk influences, straying away from the pop-rock songs her listeners are accustomed to.
Older comes two years after McAlpine’s sophomore album, Five Seconds Flat, where she broke away from the soft schoolgirl ballads of her debut album Give Me a Minute, which was released shortly after her time at Berklee College of Music in Boston came to an end.
Five Seconds Flat was a rebellion. With loud instrumentals and passionate vocals, McAlpine had a lot to say. Now, Older feels like a homecoming. Not all the way back to the sound listeners came to love in Give Me a Minute, but somewhere in between. Back to her roots in a way that feels authentic and matured.
REVIVING HER SOUND
In this album, McAlpine grapples with themes of loss in life and in love; finding yourself; fears of fame; regret; and taking accountability for your past. This album, in terms of emotions, is raw, and more vulnerable than any of McAlpine’s past projects to date. She lays it all out for the listener, and puts her fears on display in order to move forward and grow from them.
The sound of Older is calmer but the lyrics are just as heartbreaking; the compositions just as impressive. This toned down style seems to suit McAlpine more than those of her previous albums, and has provided her the comfort to get deep with her audience. This was quite the feat, as her last album featured some of her most popular songs. Her song “Ceilings” went viral on TikTok last year, with listeners fawning over the “plot twist” at the end, which revealed that the love story in the song was all a fantasy. Her new album delivers lots of lines that are just as disastrous to the soul, and does so in a way that feels much more authentic to herself as an artist.
BREAKING DOWN THE SONGS
"THE ELEVATOR"
The opening track, “The Elevator,” is short and sweet. In classic McAlpine fashion, it seamlessly blends into its successor, almost as if it was never there in the first place. It starts off slowly, with soft piano keys introducing the story she goes on to tell. At the end, she sings, “Can we stay like this forever? Can we be here in this room ‘till we die?” She pleads for the listeners to live in this moment with her, until the song erupts into full force. It isn’t until that burst of clarity that you realize how unclear the song was at the start. It’s almost like looking back on an experience and having it changed by time, and doubting your previous memories.
"COME DOWN SOON"
A similar sense of self doubt is the theme of the next song, “Come Down Soon.” McAlpine grapples with the fear that the love she is experiencing is too good to be true, and can’t possibly last very long. The song is upbeat and catchy, despite the fearful irony of its lyrics. She sings softly over a guitar melody. Waiting for the other shoe to drop, she assures herself that her love can’t be good for her.
"DRUNK, RUNNING"
Later in the album, she takes on heavier themes. In “Drunk, Running,” McAlpine sings about the guilt of loving someone who is struggling with sobriety. She sings, “What if it was all my fault? What if I drove you to it? I was only honest sometimes.” Replaying the entire relationship, she blames herself for staying when she shouldn’t have and for dreaming up an ideal version of someone in her head instead of seeing who they truly were. At the end of the song, there is a voice constantly echoing McAlpine’s, almost like she’s reassuring herself that these things are true.
"YOU FORCED ME TO"
Perhaps the most coveted song on the album, “You Forced Me To” is classic McAlpine. From the lyricism and storytelling to the melody, this song is a hit by a Lizzy McAlpine fan’s standard. The song is about the guilt of being trapped in a toxic relationship. Through its progression, McAlpine deals with complex feelings towards her lover. She knows she’s not being good to them, and she wants them to hate her, but she also hates them for creating this person she sees in the mirror. The chorus, “I want you to hate me. I deserve it for my crimes,” juxtaposes the later lines, “I am not the same as when you met me. I have changed because you forced me to.” The lines are sung atop an eerie piano ballad, played in a short, repeating melody. This song has been teased on McAlpine’s social media since the album was announced, and did not disappoint when it was released.
"OLDER"
The title track, “Older,” is a gut-wrenching ballad about coming to terms with growing up. McAlpine grapples with the version of herself she thought she would be as a child, as well as her wants to return to simpler times. Throughout the song, she repeats, “Wish I was stronger somehow. Wish it was easy.” This song is beautifully devastating in the way that its lyrics bring you back to a time you can never go back to. McAlpine’s vocals are strong and secure, and take the listener on this heartbreaking journey with her.
THE OLDER TOUR
Later this month, Lizzy McAlpine will begin The Older Tour for this album. She is kicking off the tour in Los Angeles, and will be touring across North America and Europe. She is set to stop in Boston at MGM Music Hall on June 21st and 22nd, so if you love this album as much as I do, be sure to see it live!
By Ash Jones, Staff Writer
Old-school meets new-school on this bluesy track that exemplifies the heart of melodious kinship. “What About the Children” is a zealous call to action in its own right. Gary Clark Jr. brings in soul brother Stevie Wonder, and they bellow into the mic like it's a bullhorn.
This new song off of Clark’s 2024 album, JPEG RAW, reiterates strife. It’s a reminder that the subsequent generation will endure the brunt of hardship, persisting a pattern of unresolved social issues in America.
Illustrating painfully true realities, ones that have been stuck in cultural-grown cycles, Clark and Wonder amplify the unrelenting boulders that have weighed down their communities for centuries. “What About the Children” is a song about changing the plagued narrative in the pursuit for salvation.
THE ARTISTS
Nurtured by the bucolic, lone-star roots of Austin, Texas, Gary Clark Jr. began jamming away on his guitar at the age of twelve. He became a real bluesman in his teens which solidified the grounded, ragtime nature of his artistry. Clark’s niche is country-personified. Mix that southern sound with the R&B soul of Stevie Wonder and you get a funky junction with dollops of churning melancholia.
Wonder is now a seasoned patriarch of the music industry; he needs no introduction. The former “Little” Stevie Wonder is now a 73-year old Godfather of Soul with a knack for infusing an eclectic array of lush harmonies into his discography. The span of Wonder’s career has been embedded with motifs of social issues intertwined with the Black American experience. Wonder’s feature fits like a glove. Though an ephemeral appearance on the track, Wonder’s voice soars the same way it did in his golden days. The rasp of his weathered, though fortified voice, seals the gritty narrative that reads throughout.
WHAT ABOUT THE SONG?
“What About the Children” opens with a guitar riff which one could imagine being echoed out of an Austin juke joint. A crying organ is then acquainted with the strings, and the seams of Clark’s and Wonder’s musical styles start to weave together.
The first line asserts an emboldened tone by promulgating the title of the song. It points a finger to the overarching issue that the song hammers away at. What follows is a portrait of Black life that examines the tumultuous dynamics continuing to affect today’s youth. Clark and Wonder punch through the wall of noise and caterwaul the unceasing adversities of poverty, broken families and criminalization within Black America.
CRIES FOR JUSTICE: THEN AND NOW
The song underscores similar sentiments of Wonder’s “Living for the City,” another reason as to why his feature makes sense. Wonder’s perspective is honest and genuine to the thesis of Clark’s “What About The Children.”
The civil concerns of America didn’t die out in the time of Wonder, and Clark isn’t afraid to talk about the same conversation that’s been perpetually circling laps around the world. Wonder and Clark are scaffolded, simultaneously chanting a winded, though necessary mantra that pertains to a pervasive reality for the unheard.
A seismic climax is ruptured as the song fizzles out. Clark and Wonder regurgitate lines that overlap with one another, creating a frayed, clamorous uproar that reflects the fervency of civil unrest. The ending’s succession of lyrics make for an outcry that’s wailed into the abyss. Lines such as “What about them babies?,” “What about the stabbing?,” followed by, “Why are you so heartless?” and “I can’t take it no more” is deeply visceral.
Clark and Wonder never get their despairing inquiries answered. Nor are they resolved. That doesn’t make their declarations any less striking, it rather holds a mirror to the apathetic. Clark and Wonder confront the people who are afraid to acknowledge the rawness of this common fate.
WHAT'S NEXT FOR GARY CLARK JR.?
The rest of JPEG RAW is brimming with zest, and approaches each track with a voltaic punch. Some soft, some rough around the edges, Clark’s catalog is undeniably patched by the flux of his individual musicality.
Country blues is often viewed as a dying art, but Clark proves that his artistry is spry. He nestles his way into the music scene with ease, especially wooing the Southern crowd with his suave charm.
This summer, Clark will travel across the Atlantic and touch down in Europe and South America. Additionally, the majority of his concerts will be held in Southern and Midwestern America. By the end of his tour, Clark’s guitar will be worn thin after spitting cosmic sparks into the crowd for nights on end.
Every Monday, our music staff brings you a new Pick of The Week, detailing some of our favorite songs. Check out our previous Picks of the Week here, and make sure to tune in to WERS 88.9FM!
Songwriter and producer Caroline Rose refuses to be pinned down. In over a decade of releasing music, they have put out four albums, all of which play with different sounds and elements, making it hard for anyone to place their music into a box. Now, a year after the release of their latest and most vulnerable album, The Art of Forgetting, Rose is taking it on the road. A week into their North American tour on March 31st,
our Blog Assistant Ella Mastroianni spoke with Rose about their writing process, becoming an uncle, and giving in to the Gods of rock.
PICTURE THIS. YOU'RE IN THE STUDIO RIGHT NOW. AND YOU'RE WRITING A SONG ABOUT THE WAY THAT YOU'RE FEELING TODAY. WHAT IS IT CALLED? AND WHY?
Caroline Rose: Oh, you're really putting me on the spot.
I AM. I AM.
CR: The title is a work in progress, but I feel like it would be a song about just being kind of grateful for life.
I mean, we're only a week into [tour]. Like, we had rehearsals, and then we had the first show just a couple nights ago, so it's still very fresh. And it's been the same amount of stress that it always is on tour, you know, constant fires being put out. But I still have this general sense of: it's the best job ever. So yeah, I think it would be kind of a funny song about everything going wrong, and it still being the best. Maybe it's called “The Best.”
AND DO YOU HAVE ANY IDEA WHAT IT MIGHT SOUND LIKE OR RESEMBLE? BECAUSE I KNOW YOU'VE TRIED YOUR HAND AT KIND OF DIFFERENT GENRES OVER THE YEARS.
CR: Yeah, everybody talks about this all the time. I don't find [my genre dabbling] that weird. But everyone's like, “You do so many different styles.” I'm like, “do you not?”
I think it would sound maybe like— something a little thrashy. I don't know, I got some pep in my step these days. Which is hilarious because I haven’t been sleeping well at all. I feel good. I feel like we have a teenage angst. So maybe it would just be a punk song called “The Best.”
I'D LISTEN TO IT. SO OBVIOUSLY, WE'RE NOT IN THE STUDIO RIGHT NOW, UNFORTUNATELY. BUT WHEN YOU ARE ACTUALLY IN THE PROCESS OF WRITING YOUR MUSIC DO YOU HAVE A SPECIFIC WAY THAT YOU USUALLY KICK OFF THE WRITING PROCESS OF SOMETHING NEW?
CR: I usually go through waves. I'll make an album, tour the album, and then when it's done—or really, as soon as I have free time again—the songs just kind of naturally come. And I think the day that they stop popping into my head is the day that I'll quit. They just keep coming! I don't know, I just— every time I'm like, “Oh, I'm retiring,” the songs just keep popping into my head and I'm like, “Oh, that's pretty good. I should write that down.” And then before I know it, it's like, well, now I have enough songs for an album. I might as well make another one.
YEAH, MIGHT AS WELL.
CR: Probably right after this tour is done, I’ll work on more songs.
AWESOME! SO IT [SOUNDS] LIKE YOU USUALLY START WITH LYRICS WHEN YOU'RE WRITING? OR DO YOU START WITH A SOUND OR SOMETHING?
CR: It really depends… To me, it's always like pulling a string… I could read something somewhere and be like, “Oh, that's a really beautiful concept. I really like that idea.” [The idea] could be something random, like some poetry line or something that I hear that I'm like, “Ah, I really like that; I'm gonna read this whole book of poetry,” or whatever…
And then it's like pulling a thread, where it's like, “Oh, this, this line reminds me of this color. And this color reminds me of this sound. And this sound reminds me of this one time I had this feeling… I want to write about this one time…”
You know, so [it] just depends. Sometimes I'll be walking down the street and I'll be like, “that’s a good melody,” and then I put it into my voice memos, forget about it for three years and then randomly open it up and it becomes a song.
MY NEXT QUESTION IS A LITTLE BIT OF A DIFFERENT DIRECTION. BUT I HAVE SEEN YOU BOTH REFERRED TO AND REFERRING TO YOURSELF AS UNCLE CAROL. AND THERE'S ALSO MERCH WITH THAT ON IT. AND I WAS JUST WONDERING WHERE AND WHEN THAT TERM BEGAN? AND WAS THAT SOMETHING THAT YOU CAME UP WITH OR SOMETHING THAT SOMEONE ELSE CAME UP WITH?
CR: I can almost guarantee it's something that someone else came up with. One of my friends called me Carol kind of as a joke because I'm just really not a Carol. I don’t really feel like a Caroline, but, you know, my parents named me that... So here we are. But yeah, somebody called me Carol and we all laughed about it because it's sort of a soccer mom name. And I think over the years, someone was like, you're way more of an Uncle Carol than a Carol. And it very much clicked. It just clicked so hard. I feel like it's on my Wikipedia page [now].
PROBABLY. IF IT'S NOT, I’LL WRITE IT.
CR: Yeah, and it is kind of funny. I dated somebody who had an uncle Carol from Texas. And I think that's another thing— it's like an old Texan name for a man. Which I find [it] like really funny that Carol's… a gender fluid name.
I DON'T KNOW IF I'VE EVER MET A GUY CAROL, BUT I’D LOVE TO.
CR: They usually spell it differently. They spell it was like two R's and two L's or something and that, you know, genders it.
SO, ASIDE FROM YOUR OWN WORK, YOU'VE ALSO DONE SOME RE-MIXING. DO YOU HAVE A SONG OR ARTIST THAT YOU WOULD ABSOLUTELY LOVE TO REMIX IF YOU WERE GIVEN THE CHANCE?
CR: I haven't really thought about it. I really like completely transforming a song. Sometimes it could be taking a dance track and turning it into an emotional ballad kind of thing. I did that with this band Overcoats once. They had this dance track that I got, and I was like, it's already a dance track, it's already a bop. What am I going to do, turn it into a different dance track? It just seemed kind of bizarre to do that. So I ended up like stupidly stripping it down and changing some chords around. And it ended up being really beautiful. So I imagine it would be kind of fun to do that with something really electronic, or… any EDM or techno.
ARE THERE SONGS YOU'VE BEEN LISTENING TO LATELY THAT YOU'RE LIKE, I JUST WANT TO [MESS] AROUND WITH THIS.
CR: I'm actually obsessed with this Mannequin Pussy record right now. I would love to remix one of their songs. I would have a lot of fun with that. They're all such great musicians and such great people, and I'm obsessed with their record. I think every song on it is perfect.
SO YOU'VE BEEN RELEASING MUSIC FOR SOME TIME NOW, AND I'M SURE YOU HAVE ENDURED A LOT OF CHANGE OVER THE YEARS. BUT I'M REALLY CURIOUS WHAT YOUR FAVORITE SONG [TO PLAY] FROM EACH OF YOUR ALBUMS IS?
CR: Yeah, that's always hard to choose...
I don't know, I'm kind of coming around to some songs on LONER. I think it's been like six years since it came out. So it's been long enough now that I'm kind of coming around to some of the songs that I have sort of been neglecting over the years. Like, I haven't played “Soul No. 5” in ages. It's been probably since 2018. And I heard it the other day, and I was like, “This is hilarious. This is a hilarious song.” So I'm like, “Maybe I'll resurrect that.” Maybe that'll be my favorite for a while. Kind of goofy and playful… I feel like I'm kind of getting my sense of humor back after being in the darkness for three years.
But yeah, I think “Someone New” on Superstars is a really good track. I can play it on piano and it sounds like a full song to me, so I like playing that one— there are a lot of fun changes in it.
And [off] The Art of Forgetting, I really like all of them. I think “The Doldrums” might be my favorite. It reminds me of The Carnival of the Animals, “The Swan.” [by] Camille Saint-Saëns. [Or], it's called “The Aquarium” or something, and it's got like an underwater theme.
CAN YOU SEE YOURSELF RELEASING MUSIC PUBLICLY FOREVER? OR DO YOU HAVE ANY OTHER ASPIRATIONS CAREER-WISE THAT YOU WOULD CHANGE PATHS TO OR DO IN ADDITION TO MUSIC?
CR: Yeah, I think about quitting all the time. Or not even really quitting, but just like pausing. But the songs keep coming. That's what's so annoying is [that] as soon as I'm like, “Alright, I'm gonna try something else,” then all these songs just keep popping into my head. And I'm like, “Well, you know, I should strike while the iron is hot. These are good songs, I should at least put them out.” And then before I know it I am on tour again.
IT’S JUST OUT OF YOUR CONTROL.
CR: It's out of my control. You know, I just gotta follow the Gods of rock, and the Gods of rock say write more songs. So I do what they say. But yeah eventually, I want to do something else. I have a whole degree in architecture— I'd love to build my own house. And there [are] a lot of things I want to do… I could see myself writing; I could see myself writing a screenplay; I could see myself doing a little part in a movie or something. And you know, writing film scores would be a true dream come true. So yeah, I think I’ll always be writing my own music. But at a certain point, I would love to do something else. Yeah, that’d be cool.
I CAN ABSOLUTELY SEE YOU WRITING A SCREENPLAY OR A FILM SCORE. I FEEL LIKE YOUR MUSIC IS JUST SO REMINISCENT OF THAT TO ME. MY FIRST INTRODUCTION TO YOU WAS ONE OF YOUR MUSIC VIDEOS, [SO] TO ME, THAT JUST MAKES SENSE.
CR: I'd say film is probably my number one influence in my music. So it makes sense to dabble in that in some way. But I don't know, it's gotta feel natural. And if it feels forced I don't want to do it.
Tickets for Caroline Rose’s North American tour are available here, including their stop at Royale in Boston on Sunday, April 7th.
Photography by Sofia Giarrusso (photo 1) & Campbell Parish (photos 2-6)
By Sofia Giarrusso, Staff Writer
Artist: Guster
Venue: MGM Music Hall at Fenway
When: Saturday, March 30th
WELCOME TO “GUSTERTOWN, USA”
Saturday night saw an eager crowd at Fenway’s MGM Music Hall in anticipation of the closing show of Guster’s “We Also Have Eras” Tour. Admittedly a spin on Taylor Swift’s successful “Eras Tour,” Guster promised to deliver a comprehensive and chronological look into their over 30-year history as a band, and they did not disappoint. The night was full of singing, cheering and laughs as the band took the crowd through a two-and-a-half-hour setlist of 28 songs. This, intermingled with skits, visual gags, an abundance of costume changes and even drummer Brian Rosenworcel in flight!
Guster has accumulated a strong cult fan base throughout their career, and there is nowhere better than Boston to witness this adoring community. Eric Johnson of Fruit Bats put it best: Boston is “Gustertown, USA.” This fact was apparent as decades of Guster merchandise were sported by fans old and new throughout the crowd. Arriving at the venue, fans were greeting each other and singing tunes in the street as if they’d known each other forever. The music of Guster connected everyone in the crowd in more ways than one, making this show extra sentimental.
Lead singer Ryan Miller voiced his appreciation for Boston and excitedly exclaimed, “we’re home.” Miller also noted that this sold-out show was the largest gig they’ve played since Radio City Music Hall 20 years prior, calling their work “a gift” in a heartfelt thank you to the audience.
FRUIT BATS SOAR
Opening the show was Fruit Bats, a one-man, indie-folk band fronted by Eric Johnson. Utilizing only a six-string and his voice, Johnson impressed the crowd with his dynamic stylings and agility. His performance filled the 5,000-capacity venue with just as much fervor as if there were a ten-piece band on stage. Despite the complex nature of his songs, Fruit Bats wasn’t afraid to casually interact with the crowd and joke around. When presenting his song “You’re Too Weird,” he admitted that “some people use this song for their wedding… If you listen to the lyrics, you should never use this song for your wedding.” The crowd laughed along with him, then was immediately pulled back into his melodic atmosphere when he started strumming once again.
As a long-time friend of Guster, Johnson took some time to fittingly reminisce; the show was about “eras,” after all. A short story about Miller sending a “fan email” to Johnson about 20 years ago, sparking their first hangout on Guster’s tour van, garnered admiration from the audience. The history between the bands showed during the halfway mark of Johnson’s set when he introduced his cover of INXS’s “Never Tear Us Apart.” He exclaimed that the fact that “Guster fans love covers” guided his choice to perform the song which he hadn’t covered in many years. Johnson’s appreciation, not only for Guster and their friendship but also for the adoring crowd, set the vibes even higher for the headlining event.
A GUSTER-TASTIC HISTORY LESSON WORTHY OF A BROADWAY RUN
Finally, it was Guster time. The lights dimmed and a narrator’s voice (of whom was Dave Butler, long-time drum tech and keyboardist of the band) cascaded over the venue. Butler proclaimed that tonight would be a “deep dive into the story of Guster, starting way back in 1991…” Suddenly, the two founding members of Guster, Ryan Miller and Adam Gardner, arrived on stage and arranged themselves in front of a comically small backdrop that mimicked a dorm room at their alma mater, Tufts. They performed a quick skit outlining an abridged version of the band's formation. The lighthearted tone for the night was immediately set as the crowd was instantly charmed by Guster’s characteristic goofiness that many have grown to cherish over their many eras.
After their opening performance of “Parachute,” drummer Brian Rosenworcel ‘joined’ the band. Rosenworcel is known as the “Thunder God” amongst fans (more on that later…) due to his unique approach to percussion by utilizing bongos and oftentimes playing with his hands instead of drumsticks. The group’s performances of “Happy Frappy” and “Airport Song” brought Rocky Horror-esque crowd participation, with fans throwing objects onto the stage. As each song ended and another proceeded, neither the crowd’s nor the band’s energy fell.
BITS UPON BITS: BREAKING INTO THE MAINSTREAM
Soon after Rosenworcel’s ‘addition,’ Guster dispersed from their centralized location in front of the backdrop into the entirety of the stage. The crowd felt the power of moving from an acoustic to more grandiose set, mimicking how the band’s sound and identity expanded through time. Songs like “Barrel of a Gun” and “Fa Fa” brought along audience participation in perfect synchronicity. One of their most famous songs, “Satellite,” featured softer vocals from Miller and a more relaxed approach from the rest of the band. While all bandmates were on their A-game, drummer Rosenworcel stood out for his percussion solos and nuances that directed the crowd’s dancing.
Smiles only continued to widen through various skits. They briefed the addition of former member Joe Pisapia as well as when Guster was dropped from Warner Bros. Records (garnering yays and boos, respectively). Right before their 15-minute intermission, Guster pulled off something only they could do; flight. Rosenworcel, tethered to the ceiling, flew upwards in true Godly fashion during a silly song about his “Thunder God” abilities. The audience gazed in amazement, probably collectively thinking, ‘nothing quite like a Guster show.’
ACT TWO BRINGS HEAVY EMOTIONS
The second act of the show kicked off with “Do You Love Me” as the band sported their paint-splattered coveralls from the music video. This portion proved to be focused more on the music rather than skits. But that didn’t mean the audience didn’t get their slice of Guster's history. Another comedic song detailed the departure of Joe and the subsequent addition of Luke Reynolds to the band, despite Reynolds playing the part of ‘Joe’ prior in the night.
As the years in the band’s timeline moved closer to the present, fans’ vitality remained invigorating. “Long Night” added an angstier edge to the evening as Miller switched from piano and guitar to a juxtaposed xylophone. Immediately following was “Doin’ it By Myself” where Miller hopped into the crowd, igniting a new spark within the venue. Guster continued to impress and immerse the audience in their world filled with rainbow hats, trumpet solos and ‘Great Dave’ montages.
Playing two songs off of their newest record Ooh La La—“Keep Going” and “Black Balloon”—Guster proved their future is bright. “Come Downstairs and Say Hello” completed the main set with its booming instrumentation and playful lyricism, which left the crowd in a standing ovation.
A SINCERE ENDING… BUT ONLY JUST FOR NOW
To close out the night, Guster joyously returned from offstage for two more songs: “Happier” and “Amsterdam.” The four members of the group sat in front of a wooded backdrop and behind a small faux campfire as they poured their hearts into acoustic versions of the fan favorites. The experience truly felt like a real campfire sing along with everyone’s voices coming together and a shared feeling of letting everything go. The feeling in the venue was palpable and nobody wanted the show to end. But, as all good things must come to an end, Guster took their final bow to enthusiastic applause and roars.
The band shows no signs of slowing down as their new album Ooh La La is slated for release this May. Guster is sure to be back and entertain Boston again, but in the meantime, we can reflect on and appreciate their many eras through plentiful music and laughs.
Here at ‘ERS, we love live music! That’s why we created the Uncommon Concert Calendar — your guide to the best concerts in Boston. Each week, our intrepid music staff picks out some upcoming concerts you won’t want to miss.
CAROLINE ROSE @ THE SINCLAIR
8:00pm, Sunday, April 7th
Alternative-indie singer-songwriter Caroline Rose is ready to get you grooving at the Sinclair this coming Sunday. Their music is filled with charisma, making it almost impossible not to get on your feet or at least bop your head and vibe to their electric sound. Their accompanying lyrics are deep and showcase the musician's fearlessness to delve into the personal. The first song of theirs I ever listened to was “More of the Same,” but I must say, they were unlike any other musician I had heard at the time— so they were, in fact, not more of the same.
- Isabella Kohn, Staff Writer
CHRISTIAN MCBRIDE @ ARLINGTON JAZZ FESTIVAL
7:30pm, Sunday, April 7th
Even if you're not a Jazz fan, you'll want to see Christian McBride's performance on Sunday at the Arlington Jazz Festival. The eight-time Grammy award winning bassist has appeared as a sideman on more than 300 recordings. He's played alongside Jazz greats like Herbie Hancock and Freddie Hubbard, as well as an impressive host of non-Jazzers from Sting, to Paul McCartney, to James Brown. McBride is also the venerated and versatile artistic director of numerous high profile jazz events, including Massachusetts's iconic Newport Jazz Festival. He's also got a new album out with fellow double-bassist Edgar Meyer called But Who's Gonna Play the Melody? His appearance at the Arlington Jazz Fest marks the events 17th year, and one you won't want to miss.
- Eden Unger, Staff Writer
NICKI MINAJ @ TD GARDEN
8:00pm, Monday, April 8th and Wednesday, April 10th with Monica
Barbz get ready, Nicki Minaj is performing at the TD garden on Monday, April 8th. If you can’t make it to her first show, the night will still be young at her second TD performance on Wednesday April 10th. Anyone who knows Minaj’s music will know that the audience can expect a top-notch rap performance, filled with her signature sass and recognizable music. These performances from the “Queen of Rap” herself are not ones the Barbz will want to miss!
- Caitlin Molloy, Staff Writer
THE STAVES @ THE SINCLAIR
8:00pm, Thursday, April 11th with Lomelda
Made up of sisters Jessica and Camilla Staveley-Taylor, the Staves are for sure going to entertain Cambridge this Thursday night with their indie-folk stylings. Their newest album All Out was released this year featuring strong tracks like the ritual “All Out” and “You Held It All” that show off the duo’s vocal chops and layered instrumentation. They will be opened by artist Lomelda, an indie folk musician from Texas. Lomelda is known for her short album full of short songs, M for Empathy (2019), and her LP Hannah (2020) which was named “Best New Music” by Pitchfork. Moreover, the full lineup of the night is perfect for fans of bands like Big Thief, Grizzly Bear, and Bon Iver. Don’t miss out on this female-led, folky night!
- Sofia Giarrusso, Staff Writer
PINK PANTHERESS @ ROYALE
7:00pm, Friday, April 12th With Bktherula
Do you miss her? If so, you’re in luck because PinkPanthress is coming all the way across the pond to play at the Royale this Friday Night. The English singer is stopping in Boston for one night only on her Capable of Love Tour, promoting her debut album, Heaven Knows, which was released in November. The album is fun, feminine, and relatable in its themes of heartbreak, obsession and self discovery. Her music takes notes from early 2000’s R&B, and brings a modern, electronic twist that is impossible not to dance to. She will be joined by Bktherula, a singer and rapper from Atlanta, who has been gaining popularity since her songs went viral online in 2020. Together, these artists are sure to bring the house down. If you like Doja Cat, Ice Spice, and having a good time, this is a show that you do not want to miss.
- Avieana Rivera, Staff Writer
FRIKO @ BRIGHTON MUSIC HALL
7:00pm, Friday, April 12th with WILLIS
I was listening to a Chicago radio station on my Midwest spring break road trip’ when I heard Friko’s song “Get Numb To It!” over the airwaves— an instantly catchy explosion of indie-rock bliss. The radio host introduced Friko as being local to the area, and referenced the talented band’s inevitable success. I was a little freaked out when I saw the band’s name suddenly popping up upon my return to the Boston area, but not overly surprised, for the duo of Niko Kapetan and Bailey Minzenberger bring a captivatingly fresh perspective to their music. Their songs like “Get Numb To It!” feel light and fun on the surface, but something much more sobering lurks underneath. Friko might just be your next favorite indie band, and luckily, you have the chance to be among the first to see them live on the East Coast. The duo will take the stage at Brighton Music Hall next friday!
- Nora Onanian, Web Services Coordinator
![The Kooks LIVE In Studio Performing “Bad Habit” [Acoustic]](https://wers.org/wp-content/uploads/2017/01/The-Kooks-3-280x280.png "The Kooks LIVE In Studio Performing “Bad Habit” [Acoustic]")
