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A photograph of the five members of Flipturn sitting against a white backdrop.
Photo courtesy of Amanda Laferriere

Flipturn, the Floridian-based group, have been delivering a fresh take on indie-rock since 2017. Following the release of their debut album Shadow Glow, Flipturn are set to perform at House of Blues, Boston on March 29th, 2024. The last time they were in town, our staff writer Eden Unger sat down with all five band members. The group talked about what it's been like to perform new material alongside older work, what they’ve learned from touring with acts like Rainbow Kitten Surprise and which season corresponds to each of their releases (hint: Shadow Glow may offer just the kind of warmth you’re looking for amid the gloomy March weather). 

 

SO OTHER THAN THE FACT THAT SHADOW GLOW IS YOUR FIRST FULL-LENGTH ALBUM, HOW HAS IT BEEN DIFFERENT FOR YOU GUYS FROM SOME OF YOUR PREVIOUS WORK?

Madeline Jarman: I think with this record, we were able to kind of take time to dive into what I think we wanted our first full-length thing to kind of be. [We] really [leaned] into just having more time in general. I know our EPs were just kinda written as— we wrote the songs, essentially. So with this, we were kinda able to curate it more, like take away things that weren’t fitting.

Dillon Basse: Yeah definitely, I’d say, the most work we’ve put into a project. I think you covered it.

MJ: We went to California to record this instead of, like, sitting around in Florida. [We] found a producer, his name is John Gilbert. And he was really awesome and super cool to work with. He helped, I think, [in] kind of shaking off some rust, I guess from [us]not having to write in a while. It was awesome to work with him on that.

Devon VonBalson: I think writing and working on that record helped us find our collective sound. It was the first project that this lineup worked on together, and I think it really solidified what we sound like together.

 

THAT’S GREAT! DO YOU THINK WITH THE NEW PRODUCER, YOUR PROCESS HAS BEEN DIFFERENT THAN IN THE PAST?

DB: I don’t know about the process… Definitely the recording process.

DV: The recording process, yeah. He was very in-depth. [He] had everything lined up, like how he wanted to do it, and that was really cool to see.

MJ: [We] went to a couple different studios, which felt very cool.

YEAH, I BET!

MJ: We ended up having a lot of instruments at our disposal that we wouldn’t have at home.

 

THAT’S AWESOME. SO IT’S BEEN HALF A DECADE SINCE “HEAVY COLORS” AND “CITRONA.” HOW DOES IT FEEL LOOKING BACK ON THOSE ALBUMS NOW, SO FAR REMOVED?

DB: It’s been cool to see that people are still finding that project. But definitely, I don’t know, it’s kind of like a little time capsule. Those songs, when we play them live now, I feel they even have different meanings, in a way, than they originally had. Every time you play it you kinda remember—

DV: — Where you were at.

DB: Where you were at, yeah, yeah. It’s cool to look back, it’s crazy.

 

HOW DOES IT FEEL, SPECIFICALLY, PLAYING SOME OF THOSE OLDER SONGS ALONGSIDE YOUR NEWER STUFF?

DB: I think they fit, you know? Like sonically, [with] the set, everything makes sense together, ‘cause some of those songs we play a little different now, live.

MJ: It’s fun to kind of mix the old stuff with the new stuff. 

…Now, people are learning the lyrics to the new songs. It’s cool seeing that excitement grow for the new stuff, like how people reacted to “August” for a while. Like, “Oh cool, you’re hyped for Playground, too!” It makes us happy.

 

I REALLY LOVE “HALFWAY,” THAT’S MY FAVORITE FROM THE NEW ALBUM… COULD YOU GUYS TALK ABOUT THAT SONG A LITTLE BIT, JUST WHAT IT MEANS TO YOU?

DB: When we wrote it, the meaning behind it was not really from the heartbreak side, it’s from the person who did the heartbreaking. When we were writing it, it was meant to be— It almost felt like it was meant to be this conversation between two people, really. About not wanting to be in love with somebody. And wanting good things for them, but knowing that maybe you weren’t… that person. Just being, you know, almost in love with someone halfway.

 

I KNOW YOU GUYS HAVE A LOT OF REALLY COOL ELECTRONICS ON THIS ALBUM. HAS THAT BEEN HARD TO REPLICATE LIVE?

DV: No, Mitch is crushing it.

DB: Mitch is crushing it!

All: (Laughing)

MF: There’s some keyboards that we don’t have, financially.

DB and MJ: The studio keyboards.

MF: We have, like, playback for those.

OH, OK!

MF: But I try my best to replicate everything that was in the studio live as much as possible.

Yeah it’s been really fun, it’s fun doing that.

 

THAT’S GREAT! SO THIS MIGHT SOUND A LITTLE BIT CONSPIRACY THEORY-ISH, BUT ALL OF YOUR PREVIOUS RELEASES HAVE COME OUT IN THE SPRINGTIME, EXCEPT “SHADOW GLOW,” WHICH IS LATE SUMMER. BUT IRONICALLY, I FEEL LIKE A LOT OF YOUR STUFF, LIKE ESPECIALLY “CITRONA,” HAS VERY SUMMERY VIBES. IF YOU HAD TO ASSIGN A SEASON TO EACH ONE OF YOUR RELEASES, WHAT WOULD YOU SAY?

MJ: That’s a good question.

TD: “Heavy Colors” is winter.

DB: I could see that.

MJ: Oh yeah, “Cold.”

DB: Especially with “Hypoxia,” “Beep,” and “Cold.” Yeah. Citrona is a spring album.

TD: Yeah, total spring album.

DB: And then I don’t know, I think Shadowglow is summer.

MJ: Summer, but I could kind of like, I could see fall a little bit too.

DV: It’s like, beginning of fall, end of summer. It’s easy to associate it with when you listen to it.

DB: We recorded, or we wrote a lot of the songs and the backbone of the album in the Phoenix area, Arizona.

TD: Right in August.

DB: Yeah, we almost released it two years exactly from when we started writing it.

REALLY? THAT’S SO COOL.

DV: I think within the day. Within a day, yeah.

.

SO, YOU GUYS HAVE TOURED WITH A LOT OF REALLY COOL ACTS — MT. JOY, RAINBOW KITTEN SURPRISE — WHAT HAS THAT BEEN LIKE FOR YOU GUYS?

All: (Overlapping) Great. So awesome.

DV: And they’re all just the sweetest people ever. So chill, and like accommodating, and down to earth. I mean, they’ve made it super easy for us, and we’re just so grateful…

DB: We get to learn from them too. It’s really cool to see, you know, [how] they’ve taken those next steps and reached the next level. Just to see what they’re doing that’s allowing them to be there. Just trying to follow in their footsteps.

MJ: We feel lucky, because their fans are super amazing and they’re open to listening to a band they may have never heard before. The crowds are always super fun to play for, so yeah, we just feel very lucky that they’re bringing us along.

 

Tickets for Flipturn's show at House of Blues on Friday, March 29th are available here.

Graphics of a simple house in a forest, with a shooting star and the album title, "Bright Future" above. In the bottom left, text reads: "Adrianne Lenker album review"
Graphics by Brigs Larson

By Avieana Rivera, Staff Writer

Artist: Adrianne Lenker 

Album: Bright Future 

Favorite Tracks: “Sadness as a Gift,” “Fool,” “No Machine,” “Already Lost”

For Fans of: Big Thief, Leith Ross, Mitski, Phoebe Bridgers

 

ADRIANNE LENKER BRINGS COUNTRY FOLK TO BRIGHT FUTURE

In her fifth album, Bright Future, Adrianne Lenker introduces her audience to new instruments and a twangier sound, a step away from her typical indie-folk style. 

With this album, Lenker brings her listeners with her into the past. But she does so not solely for the soul-crushing retelling of heartaches, loss and nostalgia the tracks hold. Lenker invites listeners to wallow in the past to rid themselves of the pain that lives there, and to be able to look ahead to the (bright) futures that lie ahead of them. 

This is a central theme in the second track, “Sadness As A Gift.” In this song, Lenker accepts and begins to heal from a breakup, viewing the heartbreak that comes along with it as a blessing rather than a curse. She acknowledges and appreciates the love and effort that goes into forming a relationship, but in the end decides to let go of that sadness and go on with her life. 

 

BREAKING DOWN THE SONGS 

Opening with the song “Real House,” Lenker fills the listener with instant nostalgia for a place they can never return to, and a love that only exists in childhood. The slow piano melody and smooth, somber vocals instantly portray Lenker’s authenticity to the audience. She is here because she has something to say, and she wastes no time saying it, no matter how crushing her tale might be. 

The first song to come from this album was released as a single in December 2023, and is now the final track on Bright Future. “Ruined” does just as the title suggests; the song is perfectly devastating. It’s a harrowing tale of remorse, and words left unsaid. With it, Lenker sings “Can’t get enough of you. You come around I’m ruined.” Stuck in this paradox, she brings the listener with her to the rock and the hard place. 

Another single that came weeks before the album was released in full was “Fool.” This song has a unique sound, and stands out from the rest of the album. Where the other tracks seem to be more stripped down, the production of “Fool” makes the backing music almost. In this song, Lenker sings about feeling foolish for being in a relationship and not knowing where it’s going. She talks about her friend’s achievements and wishes her partner would give her the clarity of knowing where they are. She sings, “We could grow old. You could come in from the cold. Oh, just say what it is that you want,” urging her lover to be forthcoming with her. This is a familiar tale for a lot of Lenker’s listeners, and I think the upbeat production helps soften the blow of having to consider what you are to someone else. 

 

CLASSIC LENKER LYRICISM

The most noteworthy thing about any of Adrianne Lenker’s songs are the perfectly stated lyrics. The beauty of Lenker’s songwriting lies in the simplicity. She can make almost anything sound interesting, and finds meaning in even the most mundane aspects of life. Her songs share common themes of heartaches, lovers quarrels, and words unsaid. In “Cell Phone Says” she sings about taking a call. 

Later, in “Donut Seam,” a play on words for the phrase “don’t it seem,” (much like Phoebe Bridgers’ “Demi Moore,”) Lenker opens with the words “This whole world is dying. Don’t it seem like a good time for swimming, before all the water disappears?” Joined by Nick Hakim, Lenker repeats that simple notion throughout the song while reflecting on a dying love. This song is a beautiful heartache, as she is trying to hold on to love, even for just a few more seconds before the end comes. In the end of the song, she sings “Now our love is dying. Don’t it seem like a good time for kissing? One more kiss, one more kiss to last the years.” 

Another song where Lenker’s lyrics shone through was “Evol.” In the song, she plays with the spelling of Love, opening with the line “Love spells Evol, backwards people. Words back, words backwards are lethal.” She uses this coincidence to acknowledge the evil possibilities that come with being in love. She repeats “Teach, cheat, part, trap. You have my heart, I want it back”. This song expresses the regret stage after a breakup, where you’re so full of pain, you wonder why you even went through all the trouble in the first place. The song itself has a gloomy, almost dangerous tone to it, making the listeners weary of love, and all its possibilities. 

 

“VAMPIRE EMPIRE” REIMAGINED 

On the sixth track of Bright Future, Lenker reimagines “Vampire Empire.” She wrote and released the song with her band Big Thief in September of 2023, after a video of the band performing it live gained massive popularity with fans online. In the original version, Lenker delivers powerful vocals, screaming at the receiver for their deceit, and for turning her inside out for their love, though it’s never enough in the end. She sings, “You turn me inside out and then you want the outside in. You spin me all around and then you ask me not to spin.” The original version is a true rock hit, and fans have anxiously awaited what this version of the same name will have in store for them. 

On Bright Future, the song takes on a new life. Lenker takes on a much calmer tone, and drags out her notes. She even opts for a lyric change that goes back to the viral unreleased version, singing “In her Vampire Empire I'm a fish and she’s my gills.” The new version also has completely different production. I like to think of it as “Vampire Empire (Rodeo Version).” It features a violin and a banjo where there was a bass guitar, and lots of funky percussion. The western-country sound gives the song a much lighter feel, as if it’s an old folk song that’s been passed down for generations. 

 

WHAT’S NEXT FOR LENKER?

The release of Bright Future marks Lenker’s first solo album since her album songs and its companion instrumentals were released in 2020. In the fall, Lenker will be touring this album across North America and Canada, with her first three stops right here in Massachusetts. She’ll be playing the Academy of Music Theatre in Northampton on November 11th, and will be in Boston at the Boch Center - Shubert Theatre on November 12th and 13th.

A graphic of a white circle with a red cardinal on a tree branch within the circle. The background outside the circle is green with text that says "Kacey Musgraves, Cardinal, WERS 88.9 FM Pick of the Week"
Graphics by Sarah Tarlin

By Claire Dunham, Music Coordinator

On her stunningly fresh sixth album, Kacey Musgraves rekindles her connection with the natural world. Deeper Well intertwines themes of loss, beauty and balance with lush, acoustic instrumentation and sugary sweet vocals. Its lyrics glow with a unique clarity and resonance, on par with songwriting legends Dolly Parton and John Prine. “Cardinal,” the record’s opening song, transports listeners to a world of mystical signs and uninhibited grief. 

 

DIVING INTO THE SOUND OF “CARDINAL”

Prefaced by a heavenly guitar riff, the instrumentation of “Cardinal” paints a rich dreamscape of sound. This sonic utopia — with its overlapping acoustic guitars (including a luxurious-sounding 12-string) and steady rhythm section — aids Musgraves’s lyrical storytelling. 

Throughout the song, she dips into a spiritual realm. Musgraves’s magical descriptions are mirrored by haunting harmonies, intersecting vocalizations and an ever-present acoustic guitar. Specifically, the song’s bridge oozes with this fantastical energy— the musical accompaniment slows and recedes as Musgraves softly warbles out the lyrics. She sings, “Are you just watchin’ and waitin’ for spring? Do you have some kind of magic to bring?” Eventually, the musician builds off these questions with nonsensical musings about a “pretty bird.” Stepping into the role of a spellcaster, Musgraves entrances listeners with her luminous, flowing melody. 

However, despite its whimsical qualities, “Cardinal” remains grounded in the natural reality. Melodically, this is represented by its consistent percussion and rich, blooming bassline. Standard drums are supplemented by the distinct, woodsy sound of claves, and a traditional bass guitar dances alongside a resounding double bass. 

 

DIVING INTO THE LYRICS OF “CARDINAL”

“Cardinal” not only embodies the mastery songwriting techniques of a classic John Prine ballad, but it was also inspired by the musician’s passing. In the Deeper Well zine, which Musgraves released with the album, she describes seeing cardinal birds following Prine’s death in 2020. 

The two musicians were friends and frequent collaborators who occasionally performed duets together. Musgraves’s admiration for the late musician also inspired “(Burn One With) John Prine,” an unreleased song from 2015 that she wrote shortly after moving to Nashville. 

In some cultures, cardinals are seen as signs from the afterlife, and Musgraves described Prine’s particular fascination with the birds in her Deeper Well zine. Utilizing the cardinal as a symbolic reference, Musgraves expertly articulates her own personal experience with grief, while also creating a narrative that is both poignantly universal. “Cardinal” vibrates with an insatiable longing that will resonate deeply with anyone who has lost a loved one. 

Despite the melancholy pain Musgraves details in the song, an undercurrent of peace runs throughout the track. The cardinal serves as a reminder of Prine’s death, yes, but it also symbolizes the heartfelt connection the two musicians once shared— a connection so strong that it surpasses death. 

 

WHAT’S NEXT FOR KACEY MUSGRAVES?

The Deeper Well World Tour kicks off in Ireland next month. Joined by singer-songwriter Madi Diaz and ‘ERS favorites Father John Misty and Nickel Creek as her opening acts, Musgraves is bringing new songs like “Cardinal” to eager audiences around the world. 

On September 6th, Musgraves will play at Boston’s very own TD Garden. Tickets are available now.

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!

Banner that says "Uncommon Concert Calendar 3/29-3/22"
Graphics by Sarah Tarlin

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. 

 

THE LAST DINNER PARTY @ ROYALE

8:00pm, Sunday, March 24th with Miss Grit

Hot off of their recent BRIT win for Rising Star, The Last Dinner Party is going to get Boston singing and dancing at the Royale. The band is fully made up of female and non-binary musicians who have quickly gained critical and mass acclaim for their debut album Prelude to Ecstasy. Their hit song “Nothing Matters” is a roaring track that blends rock and baroque sounds that will for sure get stuck in your head and on your playlists. With an unmatched stage presence and discography of bombastic songs, The Last Dinner Party’s show is an opportunity not to be missed!

- Sofia Giarrusso, Staff Writer

 

ARLO PARKS @ ROYALE

7:00pm, Thursday, March 28th with Chloe George

In honor of her second studio album’s release, Arlo Parks is back on tour. In this album, the singer navigates life during her 20s, highlighting its challenges as well as its perks. The album was recorded sporadically between 18 months and Parks herself has categorized it as “far more collaborative” than past records. The result is a deeply personal piece that, once combined with Parks’ soothing voice, one can’t help but be mesmerized by. Therefore, if you’re in for a good cry, this is the show for you! 

- Jimena Cieza, Staff Writer

 

GROUPLOVE @ ROADRUNNER

8:00pm,Friday, March 29th

Following some well-received albums of the 2020s, Grouplove hits the main stage and parades their new music in a dynamic jamboree that’ll excite longtime listeners. A tight-knit collection of five musicians, Grouplove continues to create upbeat indie hits that mirror the camaraderie of their band. Popular earworms such as “Tongue Tied”, “Ways to Go”, and from Netflix’s Bojack Horseman, “Back in the 90’s”, will surely inflict a communal, jubilant energy that’ll surge through every venue on their tour. Smiles cease to fade when Grouplove is on stage, spreading the love with their infectious ebullience. Catch Grouplove front and center at Roadrunner this March!

- Ash Jones, Staff Writer

 

FLIPTURN @ HOUSE OF BLUES, BOSTON

Friday, March 29th with Richy Mitch & the Coal Miners 

Hailing from Fernandina Beach, Florida, the alternative indie rock band Flipturn is bringing a bit of warmth to the cold Boston night on Friday, March 29th at the House Of Blues. The members of Flipturn have been playing together since 2015, and their sound has stayed memorable and fun over the progression of their EP “Citrona” to their first studio album, “Shadowglow.” Since the album's release in 2022, the songs have only grown in popularity and still have a crisp spring feel that can get anyone excited for the summer. If you love a high energy concert and music that gets your foot tapping and hips shaking, make sure not to miss getting to experience Flipturn live!

- Caitlin Molloy, Staff Writer

 

ELIZA MCLAMB @ THE SINCLAIR

Friday, March 29th with Mini Trees

On Friday, March 29th, Eliza McLamb will be taking the stage at The Sinclair. Finding fame in early 2022 after amassing a following on TikTok, McLamb is journeying on her first headlining tour. Her recently released debut album, Going Through It, varies in styles from the upbeat indie “Modern Woman”, to lowkey, anti-love ballads like “Mythologize Me”. As a longtime fan of McLamb, her music isn’t the only reason to see her live: she’s known for her dry witted humor as seen on her podcast Binchtopia. The Anything You Want Tour is also supported by Mini Trees, also known as Los-Angeles based artist Alexis Vega Koch.

- Ren Gibson, Staff Writer

Photography by Nora Onanian

By Eden Unger, Staff Writer

Artist: Bombay Bicycle Club

Venue: Royale

When: Monday, March 18th

 

WHAT’S ON THE MENU TONIGHT?

“Mustard Service” sounds like one of those courses in a fancy dinner they’d serve at a place called “Royale.” This is somewhat appropriate, seeing as they were something of an appetizer to Bombay Bicycle Club’s set on March 18th.

But names aren’t everything: Royale is more or less your standard, no-frills concert venue, and Mustard Service is a five-piece Floridian indie rock band that sounds like something the Beatles and the Beach Boys might dream up together if they all met up in some lounge in the 80s that played nothing but garage rock and Japanese jazz fusion. Their songs “Your Cat Don’t Stand a Chance,” “Oh, Honey Baby,” and “Always a Shame,” stood out to me as their best of the night, and well worth checking out.

 

EAT, SLEEP, WAKE

But on to the main course: Bombay Bicycle Club, who are from London, not Bombay. Fronted by Jack Steadman, whose infectious smile hardly left his face for the duration of their set, the band put on a tour de force that weaved its way through each one of their albums. “Since we don’t come often,” Steadman told the crowd, “we thought we’d do one song from every record.” Bombay Bicycle Club is a group with range; they’ve trafficked in a number of genres from folk, to straight ahead rock, to electronica, and have made each genre a well-worn stomping ground. 

With six albums and four EPs, the band had a lot of territory to cover, but as the night went on and the crowd sang along to more and more of the songs, it became apparent that their fans were more than willing to come along for the ride. This was in spite of the audience being, “The most hungover crowd we’ve ever played to in our career,” by Steadman’s estimation (being it day one post-St. Paddy’s).

The first two songs of the set, “Just A Little More Time,” and “I Want to Be Your Only Pet,” which happen to be the first two songs of the band’s most recent album, My Big Day, set the tone for the night. “Just A Little More Time” seemed pretty lowkey, with Steadman’s slightly distorted voice singing the song’s title on loop, that is, until the last minute of the song when BAM! The rest of the band shifts into high gear, and Steadman is joined by a chorus of voices that propel a wordless refrain to stage-filling proportions. “I Want to Be Your Only Pet,” features loose and floaty, almost vocoded vocals, over a steady, driving drum beat, and a saucy yet powerful guitar riff.

 

EVERYTHING ELSE HAS GONE WRONG

Usually, the band is made up of four members — Steadman, guitarist Jamie MacColl, bassist Ed Nash, and drummer Suren De Saram. Monday night at The Royale however, things were a little bit different. Due to a family emergency, Saram had been called away over the weekend, so the band’s drum tech, Josh P. Gale, subbed in. In spite of the lineup change, the band still felt cohesive, and despite their scattering across the stage, like equal components of a music machine greater than the sum of its parts.

Bombay Bicycle Club is quick to give credit where credit is due. While prefacing their song “Tekken 2,” Steadman talked about how they had played the demo to Damon Albarn, who told them they should get Chaka Khan on the song. It sounded easier said than done, but Albarn made some calls, and it turned out to be “the craziest thing that’s ever happened” to the band. Of course they couldn’t take Khan on tour with them, but Olive Jones helped the band perform it live. Jones, who toured with the band in 2019, also sang backup vocals and accompanied Steadman on two stripped-down duets “Flaws” and “You Already Know.” 

 

I HAD THE BLUES BUT BOMBAY BICYCLE CLUB SHOOK THEM LOOSE

This show was a bit of a full circle moment for me. I fell in love with Bombay Bicycle Club’s song “How Can You Follow So Much Sleep” in my senior year of high school, and have had it on repeat ever since. Finally seeing it live, as well as the rest of the band’s discography, was both personally and musically satisfying. It helps that it’s also just an objectively great song, and I wasn’t the only one in the crowd who thought so; after the big finale, Steadman held out the microphone towards the audience, and we all sang “Could you back me up,” as the song faded out.

Another crowd favorite was “Eat, Sleep, Wake (Nothing But You),” off of 2020’s Everything Else Has Gone Wrong. The song revolves around repeated choruses where Steadman sings the title over and over. Before beginning, he invited the crowd to join him, “We want to hear those three words!”

The show was over far too soon for anyone’s liking, but for the encore they played “Shuffle,” a fan favorite from the same 2011 album as “How Can You Swallow So Much Sleep.” When they walked back out, they were joined by Mustard Services’ Leo Cattani, who played along on trumpet. “This is our last chance to sing together,” Steadman warned the crowd.

“Shuffle” has this sort of jaunty, chopped and screwed piano riff that underscores the whole song, giving it a bounce that had people moving, even as they willed the band to keep playing. As much as we might wish it was “Always Like This,” the show had to end eventually, and then it was “Lights Out, Words Gone.”

Photography by Eden Unger

By Nora Onanian, Web Services Coordinator

Artist: Sleater-Kinney

Venue: Paradise Rock Club

When: Sunday March 17th

Nothing says St. Patrick’s Day in Boston quite like a live Sleater-Kinney performance. Well, not exactly... There was certainly more black clothing in the crowd than green. But, similar to how the holiday invigorates Irish pride like no other, one thing that can be said about their show on the 17th is that Sleater-Kinney and opening act Black Belt Eagle Scout own their identities in their songwriting, and inspire their audiences to do the same.

 

RIOT GRRL ROYALTY

Sleater-Kinney are one of the biggest groups to come out of riot grrrl, a subgenre of punk music — or more broadly, a subcultural movement combining feminism, punk and politics — which formed out of Olympia, Washington and the greater Pacific Northwest in the early 1990s. Combining emotionally, politically and socially-charged lyrics with fiery instrumentation, it’s easy to see why Sleater-Kinny found such great success when they started in the ‘90s— they filled the niche for what was missing in music: a voice for the people, and for women, more specifically. You can hear these qualities all the way from listening to their debut self-titled album (released in 1995), to listening to Little Rope, their album which came out this January. 

With the pile of Little Rope vinyls available at the merch stand shrinking quickly before the show even started, it was clear that the crowd was eager to hear the new record live. Not to say that they weren’t equally thrilled to hear deep cuts like “A Quarter to Three” from The Hot Rock (1999), though, or the opening act’s set… 

 

BLACK BELT EAGLE SCOUT OPENS THE NIGHT WITH A MOVING SET

Katherine Paul, who proudly claims the labels of “radical” “indigenous,” “queer” and feminist,”  has released music under the moniker Black Belt Eagle Scout since 2018. Her and her two bandmates produce a sound that is esoteric at times, then largely grounded at others. Paul’s vocals hone a deep rasp similar to an artist like Palehound, though often breathier, and with the melancholic sweetness of Mazzy Star. 

As with any artist that writes from a firsthand perspective, bits of Paul’s identity come out through her lyrics. Songs like “Treeline” expressed her deep connection and appreciation for the land; and her track “Indians Never Die” powerfully was written in response to the Dakota Pipeline protests at Standing Rock and gentrification she has witnessed where she lives in Portland. But it wasn’t until after singing her fourth song, “My Heart Dreams,” that she began to share her identity through her ‘stage-patter.’ “That song we just played was about growing up on the rez and having dreams,” she said after sharing her Swinomish/Iñupiaq roots.

Immediately, I was enraptured by Black Belt Eagle Scout’s sound. Paul had impressive lead guitar moments, and her drummer and backing guitarist oozed talent. Soon, I realized that the bits of Paul’s identity that were apparent in her lyrics were apparent in the instrumentation, too, such as the spaced out singular drum beats in “Sam, A Dream” (which transitioned the song from just Paul and her guitar to the three musicians that were on stage performing as one).

Her last song, “Soft Stud,” she dedicated to indigenous and queer youth. She put a lot of heart (and rocking out hair flips) into the entire performance, but this song especially. The amount of pride Paul held in her identity was palpable and transferable. 

 

SLEATER-KINNEY'S SET: THE LONG-STANDING DUO RADIATE POWER ON STAGE

The applause was thunderous when Corrin Tucker and Carrie Brownstein took the stage. Though Sleater-Kinney has not always been a duo (they lost, regained and then discontinued a third member at different points), Tucker and Brownstein have been a constant in the band’s history. The two are venerable — as I called them in a heading above, “riot grrl royalty” —, a sense that was palpable as they grabbed hold of the audience’s undivided attention and didn’t let it go until the Paradise’s house lights came on, signifying the show’s end. 

Beginning with “Hell,” the two musicians and their backing instrumentalists radiated power. Hearing, for the first time, their songs performed live, I noted that it would be fitting for the written notation of most of their lyrics to end in a defiant exclamation mark. 

Throughout the setlist, they swapped off on who took lead vocals, each shining in their distinctive ways – Tucker, for her nasally and pugnacious vocals like in “Stand Up,” and Brownstein for her incredible guitar skills and relatively even-keeled lines of vocal delivery. All the while, I don’t think there was a single song where the two didn’t begin by facing each other with big smiles before turning towards the audience, a sign both of their friendship and enjoyment at performing.

 

HIGHLIGHTS FROM THE NIGHT

As I mentioned earlier, fans were eager to hear both the new material and classics. This meant that as the crowd fed off Tucker, Brownstein and their bandmate’s energy, some of the best moments of the night came from various eras of the band. 

Off of The Woods and onto the setlist came “Jumpers” and “Modern Girl,” two of Sleater-Kinney's most well-known songs. Everyone in the audience sang along for the ladder. It was a welcome contrast to the rocking out we had done for the rest of the setlist. Though not as harsh as songs like “Say It Like You Mean It” (off Little Rope), “Modern Girl” packs an equal (or I’d argue, greater) lyrical punch as it reinforces the complexities of female emotion. During the former song, “Jumpers,” Carrie Brownstein went down on her knees while shredding the guitar, leading to an eruption of cheers.

The duo also had something special in store to take a newly released track to the next level. For “Untidy Creatures,” Corrin Tucker stepped down from the stage and onto the barricade’s platform. A spotlight shone down as she sang the vulnerable lyrics  — “Could you love me if I was broken?” — to the determined — “I’ll find a way, and I’ll pick your lock.”

A final big hit, “Dig Me Out,” capped off the night. The album the song came from (also called Dig Me Out) is widely regarded as not just Sleater-Kinney’s best release, but also one of the greatest records ever— in 2021, Rolling Stone ranked it #189 in their top 500 albums of all time. 

 

THE IMPACT

I didn’t feel as connected with the rest of the crowd as I sometimes do at other concerts — perhaps a result of the crowd being mostly about a decade older than me, or possibly of being roped off from GA as I sat in my wheelchair in the ADA section. Though not as social of an experience, the show more than made up for it in other areas. The way that I connected with the music and both Sleater-Kinney and Black Belt Eagle Scout’s unabashed owning of their identities felt almost spiritual. Walking (rolling) out, I felt proud to be a “Modern Girl.”

Banner Mitch-Rowland-Lead-Press-Photo-c-Luke-Atkinson.jpeg-scaled

Mitch Rowland is no stranger to a recording studio. Over the past seven years, the indie songwriter has collaborated with artists like Harry Styles and Kurt Vile, perfecting his songwriting chops and refining his exhilarating guitar skills. Now, Rowland has embarked on a new adventure: launching his solo career. “Come June,” his charmingly tender debut album, hit the shelves on October 6, 2023, and in February, he kicked off a North American tour. 

Our Music Coordinator, Claire Dunham spoke with Rowland about his musical influences, performing live, and those magical moments during songwriting sessions when everything just clicks. 

CONGRATULATIONS ON THE NEW ALBUM. IT'S AWESOME. IT'S REALLY WONDERFUL. YOU FIRST STARTED WORKING ON IT IN 2019—AM I CORRECT IN SAYING THAT?

Mitch Rowland: Technically, yes. The first song that happened was “Come June,” but nothing followed it. So I started intentionally making this record maybe a year, or year and a half, after that. And the version that I had of “Come June,” I had to redo it. It wasn't working, and it was actually the last song that went on the album. Rob Schnaf, who produced, was scraping the bottom, seeing if there's anything else, and I said, “Well, I got this song.” So we reapproached it, and it went last. Ironically.

HOW DID IT FEEL TO COME BACK TO THE ALBUM AFTER TAKING A LITTLE BIT OF A BREAK?

MR: Well, the recording happened more recently, so in a way I’ve never really been away from the music. I took all the finished demos into Rob's. I thought that for the longest time this was just going to be a minimal vocal and guitar record, and I gave up control when I showed up to his door step. That's when the songs started becoming more filled out, and exactly what you hear now. So it's been a constant thing for a while.

AWESOME. WAS THAT YOUR FIRST TIME WORKING WITH ROB?

MR: Yeah, or with with any producer on my own.

AND THAT EXPERIENCE WAS GOOD?

MR: Yeah, I got lucky. I didn't have to do any speed dating. My wife Sarah came home and said, “You should work with Rob. I think you'll like him.” So we got it right the first time, luckily.

I WANT TO TALK A BIT ABOUT SONGWRITING. YOU'VE BEEN WRITING WITH HARRY FOR YEARS NOW AND WORKED WITH A LOT OF INCREDIBLE PEOPLE. CAN YOU TELL ME A BIT ABOUT HOW YOU FIRST GOT INTO IT? CAN YOU REMEMBER THE FIRST SONG YOU EVER WROTE?

MR: Yeah, it was the spring of 2016, and a guy I was living with at the time was engineering the sessions. I think Harry was going from one guy to another, trying to figure out who was gonna produce the record. And when he landed on Jeff Bhasker and that team, that's where he felt the most friction. So there was a guy that was gonna be there who was already a part of the music industry world, and he couldn't make it. So my roommate, the engineer, said, “Can you come in tomorrow?” and I had to make sure I could get my shift covered. So yeah, it clicked right away. 

I think it it helped us get to the point faster, because I didn't really know who Harry was, and he definitely didn't know who I was. So we were just a bunch of lads in the studio hanging out and having fun. I think one of the first songs that made our heads turn and think, “Oh, I think we could be on to something,” was “Meet Me in the Hallway.”

DO YOU STILL HAVE THAT FEELING WHEN YOU GO INTO THE STUDIO TO WRITE WITH HARRY OR WITH ANYONE ELSE? IS IT STILL JUST ABOUT FEELING IT OUT OR DO YOU THINK YOUR SONGWRITING HAS SHIFTED IN A WAY?

MR: I think you're always kind of feeling it out no matter who you're doing it with. But yeah, with that said, there are songs that live and songs that get put away. So we've definitely gone through a lot more. And I think I know how to write for him a little bit better, but at the same time he surprises me, and he’ll latch onto something that I wouldn't have expected him to. Everything's fair game—in a nice way. I think, no matter how long you've known someone or how much you work together it's nice to just go to unexpected places. 

WAS THERE ANYONE SPECIFIC YOU WERE LISTENING TO DURING THE SONGWRITING OR RECORDING PROCESS? WERE THERE ANY ARTISTS THAT INSPIRED THE SOUND OR THE LYRICS?

MR: It wouldn't make sense now, because they've gone through a bit of production. But at the time when I thought I was definitely gonna put out an acoustic record, I was relying on early José González records—I had those on all the time. Bert Jansch’s Rosemary Lane was another one that was my compass. I love all that stuff, and that's what fueled a lot of the songs. I just wanted a very digestible record. I was aiming for under 30 [minutes], so I missed it by about 7 minutes. But yeah, I looked to those people a lot, and still do. 

It's important for me to circle back around to what was inspiring to me, because I have gone through the whole process of filling the songs out, and I've landed somewhere else, where I didn't expect. So yeah, I need to go back and think small again.

YOU JUST PLAYED THE SHOW AT THE TROUBADOUR. HOW DID THAT GO? HOW DID IT FEEL TO PLAY THOSE NEW SONGS?

MR: It felt great. It was a sold out show, and everyone there had a lot of love to give. So it was the best case scenario for all of us. That's the only thing you can hope for walking on stage, is to just be received from beginning to end. 

IS THERE A SPECIFIC SHOW ON THE UPCOMING TOUR THAT YOU'RE REALLY LOOKING FORWARD TO?

MR: Well, I never thought I'd play the Fonda Theatre. That's next to the Troubadour, not on the map, but important places to me in LA. And in the last seven years or so since I've been in Harry's bubble, I haven't played Columbus. So I’m going there for the first time, and that will be a homecoming show so that'll be good too.

Art by Sarah Tarlin and Riley Vechionne
Graphics by Sarah Tarlin and Riley Vechionne

This April at WERS, we're gearing up to celebrate our 75th birthday! Since 1949, we have been serving the Boston community with music and joy. In our “Drive for 75” we'll be raising funds to help us continue bringing you the music you love and throw an awesome birthday party. We can’t wait to begin the festivities!

When you make your donation today, you're supporting local artists, our specialty programming, awesome music and contributing to the future of Boston's UnCommon Radio

You’ll be entered to win an amazing summer concert experience at Fenway Park! 

THIS EXPERIENCE INCLUDES:

  • Pairs of tickets to the 4 most exciting shows at Fenway Park this summer
  • We'll announce a new shows every week by putting artists on the scoreboard!
    • JUST ANNOUNCED: Noah Kahan

Our grand prize winner will be drawn at 6 PM on Friday, April 26th, 2024, so don't wait - make your donation today!

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Graphic of a calendar that reads: "Uncommon Concert Calendar: March 15-22: Jon Batiste, Sleater-Kinney, Bombay Bicycle Club, Patti Labelle and more"
Graphics by Sarah Tarlin

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. 

JON BATISTE @ ORPHEUM THEATRE

8:00pm, Saturday, March 16th

Jon Batiste is stopping by the historic Orpheum Theatre on his very first headlining tour to support his seventh studio album, World Music Radio. The Juilliard jazz alumni is a multi-talented singer, songwriter, and producer and the winner of five Grammy awards, including Album of the Year for his 2021 LP, We Are. Batiste continues to blend the lines between traditional soul and pop music that have garnered him both a unique style and a loyal fanbase. This performance is sure to entertain with Batiste’s lively vocals and live instrumentation–check out his 2024 Grammy set for just a taste of what’s in store! 

- Sofia Giarrusso, Staff Writer

 

FORT NIGHTS: A CELEBRATION OF GARY SMITH & THE MUSIC OF FORT APACHE STUDIOS @ CRYSTAL BALLROOM AND SOMERVILLE THEATRE

Friday and Saturday, March 15th and 16th (with Buffalo Tom, Juliana Hatfield, Billy Bragg, Tanya Donnely and more…)

Rhode Island native Gary Smith was the co-owner of Fort Apache Studios in Cambridge, Mass., and an influential figure in the careers of musicians locally and beyond. He advised Newport, Rhode Island group the Throwing Muses to move to Boston, joining an alternative scene that they flourished and eventually outgrew. He produced early works for the Pixies and Juliana Hatfield, soon gaining acclaim and expanding his clientele internationally to artists like Billy Bragg. Smith unfortunately passed away last year at the age of 65. Now, on Friday and Saturday, many of the artists he produced for and managed are coming together in his memory. The all-star lineup will include Buffalo Tom (and their frontman Bill Janovitz), Juliana Hatfield, Tanya Donnely and Kristen Hirsh (of Throwing Muses), Billy Bragg, Fuzzy, Arc Iris and Thalia Zedek. It’s sure to be a beautiful, can’t-miss celebration of an influential figure who nurtured many of Boston’s strongest musical acts. 

- Nora Onanian, Web Services Coordinator

 

SLEATER-KINNEY @ PARADISE ROCK CLUB

Sunday, March 17th with Black Belt Eagle Scout (Annie)

Sleater-Kinney will take the stage at Paradise Rock Club on March 17th! The band recently released their newest album, Little Rope, a record full of raw emotion that is sure to move audiences lucky enough to see it live. Throughout their discography, the band consistently delivers amazing music filled with impressive drum fills, catchy guitar riffs, and the impressive wailing vibrato of vocalist Carrie Brownstein. The band was heavily influenced by riot grrrl bands like Bikini Kill and Bratmobile, and their energetic punk sound and stage presence truly carries the spirit of those artists. Don’t wait “One More Hour” to get your tickets to see Sleater-Kinney in Boston! 

- Annie Sarlin, Staff Writer

 

BOMBAY BICYCLE CLUB @ ROYALE

Monday, March 18th (Isa)

Based on North London, Bombay Bicycle Club are an adventurous guitar driven band, whose music is experimental, explosive and all-around rich with emotion and energy. Known for their bubbly sound and its accompanying profound and relatable lyricism—the band added more joy to their discography with their 2023 album My Big Day. With guest collaborations and appearances like Damon Albarn, Holly Humberstone and Jay Sam, the band builds on the excitement set throughout their 17 years of music-making and performance. Are you down for some fun? Bombay Bicycle Club is bringing joy to Boston’s Royale this March 18th! 

- Isabella Kohn, Staff Writer

 

PATTI LABELLE @ CHEVALIER THEATRE

Friday, March 22nd

She’s called the “Godmother of Soul” for a reason. With a career that has spanned over 50 years and a voice that doesn’t quit, fans across the country are still lining up to see Patti LaBelle jive on stage like it’s the seventies. Performing rich songs such as “On My Own” and a rendition of Judy Garland’s “Over the Rainbow”, LaBelle keeps setting the bar high even as she plans to settle down. She still, however, makes it known that this tour isn’t the last we’ll hear from her. Her extensive accomplishments have proved that she’s an icon that will never fade in the shadows. Catch this powerhouse of a woman in Medford this March—the Godmother won’t let ya down!

- Ash Jones, Staff Writer

Graphics with a pail orange background, orange text that reads the main title "Unexpected Combebacks" overhead, and "Artists Who Caught A Second Wind" at the bottom. Black and white headshots of The Cranberries' Dolores O’Riordan, Jeff Buckley, Billy Joel and Kate Bush are in the center along with a cassette and earbuds.
Graphics by Celia Abbott

Whether it’s a cross-genre cover that brings new attention to the original, or movie features that bring on a resurgence, or a seemingly random TikTok trend, many artists have had their songs make unexpected comebacks recently. Our music team is here for the second wind they’ve caught. Read on as we unpack examples, from Sophie Ellis-Bextor’s “Murder On the Dancefloor” to “Linger” by the Cranberries.

 

SOPHIE ELLIS-BEXTOR — “MURDER ON THE DANCEFLOOR” 

Originally released in 2001 on Sophie Ellis-Bextor’s debut album Read My Lips, “Murder on the Dancefloor” is the pinnacle of early 2000s disco pop. The song was beloved across the UK and the United States when it was released, and remained on the UK charts throughout 2002. This hit song was lost to the tale of time until the release of Emerald Fennell's Saltburn, in November of 2023. The psychological thriller focuses on themes of wealth, power, and eccentricism. The ending scene features the main character dancing to the 2001 hit. Many viewers left the theater stunned, and with a newfound love for a long-lost hit. Filmmaker Emerald Fennell also aided an unexpected comeback in 2020, when she gave new life to Paris Hilton’s “Stars Are Blind” with her film Promising Young Women. 

Since the release of Saltburn, “Murder on the Dancefloor” has soared back up the charts, re-entering charts in the US, UK, and the Billboard Global 200. This song has also gone viral on Tiktok, despite it being removed shortly after when Universal Music Group pulled their catalog from the platform. Still, the film has managed to bring a whole new life to this song, introducing it to new audiences who weren’t alive to hear it in its prime. Ellis-Bextor has since performed the song at the film’s premier, and more recently the 2024 BAFTAs, where Saltburn was nominated for five awards. Upbeat, catchy and fun, this song will surely be loved for generations.

- Avieana Rivera, Staff Writer

 

TRACY CHAPMAN — “FAST CAR”

In what many (rightfully) called the best moment of the 2024 Grammy Awards, musical legend Tracy Chapman made her first televised appearance in close to a decade to perform her song “Fast Car” alongside country star Luke Combs. Combs had released a more straightforward country take on the song, which originally leaned more into blues rock, in 2023. And as he breathed new life into this 1988 classic, a whole new audience discovered Chapman’s voice — whether her literal voice if they took the extra step of listening to the original, or at the very least her masterful songwriting. When the two came out together at the Grammys, it was clear that Combs had nothing but a deep admiration for Chapman and had no intention to overshadow her. The day after the awards show broadcasted, U.S. streams on Chapman’s original version of “Fast Car” tripled, measuring at close to 637,000 streams according to Luminate. 

Chapman has broken barriers across her career, in the country industry in the wake of Luke Combs’ “Fast Car” cover, and beyond. She was only the second Black woman to win Best New Artist when she did so in 1988, and more recently, she became the first Black person to hold sole songwriting credits on a number one song on the Billboard country charts, and first Black person to win the Country Music Awards’ Song of the Year. 

Chapman’s narrative in “Fast Car” about a working class couple hoping for a better future despite challenges, holds a message that’s just as relevant today as it was in ‘88. But this song is just the tip of the iceberg in her wonderful catalog, and it is hopefully inspiring a new appreciation of all of her musical contributions 

- Nora Onanian, Web Services Coordinator

 

THE CRANBERRIES — “LINGER” 

The Cranberries were first introduced to the music scene branded as ‘an alternative’ to alternative rock during the ’90s. With clever lyricism, dreamy instrumentals and Dolores O’Riordan’s beautiful vocals, the Irish band established an unapologetic feminine sound to a genre that was populated by male singers. Between their most notable albums, No Need to Argue (1994) and Everyone Else Is Doing It, So Why Can’t We? (1993), the ladder stands out as it includes two of their most famous songs, “Linger” and “Dreams.” 

In recent years, the Cranberries have attracted fans from newer generations. This is linked to the rise of TikTok, which helped popularize the track “Linger” with memes surrounding the “letting-it-linger mindset.” Likewise, their songs have been featured in plenty of media, such as Derry Girls (2018-2022) and Pen15 (2019-2021). With this continuous usage, it is clear the band is not saying goodbye anytime soon, but we are not complaining. Afterall, when it comes to being wrapped around someone’s fingers, who could possibly be better up for the job than the Cranberries? 

- Jimena Cieza, Staff Writer

 

BILLY JOEL

When I picture Billy Joel, I think of moments when I was little. Maybe my dad held the wheel and drove me somewhere. Probably while home, and at night time too, when Billy Joel’s voice felt the most comforting after a long day at school. He is the epitome of the magic of '70s-’80s rock — an ageless and endearing nostalgic figure and sound. He is a legend who has captivated the music industry and audiences across generations. After all, with iconic songs like “Zanzibar” and “Vienna” trending every now and then on platforms like TikTok, Billy Joel’s music has transcended the ever-changing music industry. It has captured the hearts of Gen Z and beyond. 

With 33 Top 40 hits, 23 Grammy nominations, 6 Grammy wins, and being recognized by Madison Square Garden as their first “music” franchise, Billy Joel is surely an accomplished musician. Since the start of his career in 1971, he has sold over 150 million records, performed about a 100 times in Madison Square Garden alone, won several awards and recognitions, and been deemed an “icon,” a “legend,” and a musician whose impact within the music industry is “incomparable.” If you are a fan of his and think his trending on TikTok is unexpected, you may be more surprised (and excited!) to know he released a new single, titled “Turn The Lights Back On.” It’s been 17 years since he last released music, leaving many fans moved and stoked for what’s to come from this famed “Piano Man.”

- Isabella Kohn, Staff Writer

 

MARINA DIAMANDIS 

Most well-known for tracks like “Primadonna” and “How To Be A Heartbreaker” from Electra Heart (2012), Welsh singer-songwriter MARINA (previously Marina and the Diamonds) has been an active force in pop music since 2009. Marina Diamandis pioneered a hoard of Tumblr teens and angsty fans in the mid-2010s, and her reputation lives on through a mass of 20-somethings today. 

Though MARINA never fell into obscurity or out of rotation for adoring fans and pop heads alike, her popularity has uniquely surged past Electra Heart fame in recent years due to the use of her songs on TikTok. Particularly, tracks from her debut album, The Family Jewels (2010), have received fresh admiration and reached a newer generation by way of the social media app. Songs like “Hermit the Frog” and “Are You Satisfied?” are the soundtracks to various, addictive trends. Possibly the most successful rebirth of one of MARINA’s tracks is the 2010 single “Oh No!” — even the official music video’s title was changed to match the snippet most used widely on the short-form video platform. MARINA herself has invited, and played along, with these trends, posting her own TikTok content and lip syncing along to her own voice. 

- Sofia Giarrusso, Staff Writer

 

JEFF BUCKLEY — “LOVER, YOU SHOULD’VE COME OVER”

The American rock musician Jeff Buckley rose to fame in New York in the early 1990s, and is once again coming back into the spotlight. Buckley was a singer, song-writer and guitarist. He was originally from California but reinvented himself and moved to New York City in 1990. At the start of his time in New York, he gained his fame from playing mostly cover songs. Buckley slowly started transitioning to performing his own written music, amassing a large following across America. Buckley unfortunately passed away in 1997 after releasing only one full studio album in 1994, titled Grace

While there are multiple songs that Buckley became known for during his time, including his cover of “Hallelujah” by Leonard Cohen, and his own songs “Last Goodbye” and “Grace,” there is one song in particular that has come back and taken the internet by storm. “Lover, You Should’ve Come Over,” the seventh track on Grace has made a prominent resurgence on TikTok after sound clips of the song went viral, including Buckleys live performances and the studio version of the song. Buckley’s lyricism and striking voice are prominent in this song that is full of heartache and yearning, and it is truly not a surprise that it has gained a new following in the 20th century. Though “Lover, you Should’ve Come Over” is one of Buckley’s most popular songs right now, a few other of his songs have also gone viral on TikTok, contributing to the new growth of fans for his music. As can be seen from Buckley’s return to fame from beyond the grave, appreciation and enjoyment of heartfelt and bittersweet music really is ‘never over.’

- Caitlin Molloy, Staff Writer 

 

KATE BUSH — “RUNNING UP THAT HILL”

(Quoted from our 2022 Pick of the Week amid the song’s resurgence. By Tatum Jenkins, former Music Coordinator)

“37 years after its release, “Running Up That Hill (A Deal With God)” from Kate Bush is receiving the attention it fully deserves. We have the popular Netflix series Stranger Things to thank for the resurgence of this song. Nora Felder, the music supervisor of Stranger Things, was who first reached out to Bush about using “Running Up That Hill.” Bush reportedly agreed because she's a fan of the show. After “Running Up That Hill" was featured in a critical part of the plot in the first volume of season four, people have flocked to listen to the track. Because of Stranger Things, “Running Up That Hill” has found itself on top charts in Britain and the US with streaming numbers that would make the average person’s eyes boggle. 

Bush has since commented on the attention the song has received. She wrote, “I want to thank [the Duffer Brothers (the creators of Stranger Things)] so much for bringing the song into so many people’s lives… I have to admit I feel really moved by it all.” As an artist who has hidden from the spotlight, this message proves just how wild the streaming phenomenon around this song is.

She’s already broken quite a few records with this song. These include Bush becoming the oldest female artist to score a no. 1 hit and the longest time a song has taken to reach no. 1 on the charts. But there may be more in store if fans continue to listen. While Bush doesn’t do much press or live performances, I think we can only expect more love for Kate Bush from the attention garnered by “Running Up That Hill.” As more and more young people discover her discography, her genius and contributions to music will be recognized even further.”

SOPHIE ELLIS-BEXTOR — “MURDER ON THE DANCEFLOOR” 

Originally released in 2001 on Sophie Ellis-Bextor’s debut album Read My Lips, “Murder on the Dancefloor” is the pinnacle of early 2000s disco pop. The song was beloved across the UK and the United States when it was released, and remained on the UK charts throughout 2002. This hit song was lost to the tale of time until the release of Emerald Fennell's Saltburn, in November of 2023. The psychological thriller focuses on themes of wealth, power, and eccentricism. The ending scene features the main character dancing to the 2001 hit. Many viewers left the theater stunned, and with a newfound love for a long-lost hit. Filmmaker Emerald Fennell also aided an unexpected comeback in 2020, when she gave new life to Paris Hilton’s “Stars Are Blind” with her film Promising Young Women. 

Since the release of Saltburn, “Murder on the Dancefloor” has soared back up the charts, re-entering charts in the US, UK, and the Billboard Global 200. This song has also gone viral on Tiktok, despite it being removed shortly after when Universal Music Group pulled their catalog from the platform. Still, the film has managed to bring a whole new life to this song, introducing it to new audiences who weren’t alive to hear it in its prime. Ellis-Bextor has since performed the song at the film’s premier, and more recently the 2024 BAFTAs, where Saltburn was nominated for five awards. Upbeat, catchy and fun, this song will surely be loved for generations.

- Avieana Rivera, Staff Writer

 

TRACY CHAPMAN — “FAST CAR”

In what many (rightfully) called the best moment of the 2024 Grammy Awards, musical legend Tracy Chapman made her first televised appearance in close to a decade to perform her song “Fast Car” alongside country star Luke Combs. Combs had released a more straightforward country take on the song, which originally leaned more into blues rock, in 2023. And as he breathed new life into this 1988 classic, a whole new audience discovered Chapman’s voice — whether her literal voice if they took the extra step of listening to the original, or at the very least her masterful songwriting. When the two came out together at the Grammys, it was clear that Combs had nothing but a deep admiration for Chapman and had no intention to overshadow her. The day after the awards show broadcasted, U.S. streams on Chapman’s original version of “Fast Car” tripled, measuring at close to 637,000 streams according to Luminate. 

Chapman has broken barriers across her career, in the country industry in the wake of Luke Combs’ “Fast Car” cover, and beyond. She was only the second Black woman to win Best New Artist when she did so in 1988, and more recently, she became the first Black person to hold sole songwriting credits on a number one song on the Billboard country charts, and first Black person to win the Country Music Awards’ Song of the Year. 

Chapman’s narrative in “Fast Car” about a working class couple hoping for a better future despite challenges, holds a message that’s just as relevant today as it was in ‘88. But this song is just the tip of the iceberg in her wonderful catalog, and it is hopefully inspiring a new appreciation of all of her musical contributions 

- Nora Onanian, Web Services Coordinator

 

THE CRANBERRIES — “LINGER” 

The Cranberries were first introduced to the music scene branded as ‘an alternative’ to alternative rock during the ’90s. With clever lyricism, dreamy instrumentals and Dolores O’Riordan’s beautiful vocals, the Irish band established an unapologetic feminine sound to a genre that was populated by male singers. Between their most notable albums, No Need to Argue (1994) and Everyone Else Is Doing It, So Why Can’t We? (1993), the ladder stands out as it includes two of their most famous songs, “Linger” and “Dreams.” 

In recent years, the Cranberries have attracted fans from newer generations. This is linked to the rise of TikTok, which helped popularize the track “Linger” with memes surrounding the “letting-it-linger mindset.” Likewise, their songs have been featured in plenty of media, such as Derry Girls (2018-2022) and Pen15 (2019-2021). With this continuous usage, it is clear the band is not saying goodbye anytime soon, but we are not complaining. Afterall, when it comes to being wrapped around someone’s fingers, who could possibly be better up for the job than the Cranberries? 

- Jimena Cieza, Staff Writer

 

BILLY JOEL

When I picture Billy Joel, I think of moments when I was little. Maybe my dad held the wheel and drove me somewhere. Probably while home, and at night time too, when Billy Joel’s voice felt the most comforting after a long day at school. He is the epitome of the magic of '70s-’80s rock — an ageless and endearing nostalgic figure and sound. He is a legend who has captivated the music industry and audiences across generations. After all, with iconic songs like “Zanzibar” and “Vienna” trending every now and then on platforms like TikTok, Billy Joel’s music has transcended the ever-changing music industry. It has captured the hearts of Gen Z and beyond. 

With 33 Top 40 hits, 23 Grammy nominations, 6 Grammy wins, and being recognized by Madison Square Garden as their first “music” franchise, Billy Joel is surely an accomplished musician. Since the start of his career in 1971, he has sold over 150 million records, performed about a 100 times in Madison Square Garden alone, won several awards and recognitions, and been deemed an “icon,” a “legend,” and a musician whose impact within the music industry is “incomparable.” If you are a fan of his and think his trending on TikTok is unexpected, you may be more surprised (and excited!) to know he released a new single, titled “Turn The Lights Back On.” It’s been 17 years since he last released music, leaving many fans moved and stoked for what’s to come from this famed “Piano Man.”

- Isabella Kohn, Staff Writer

 

MARINA DIAMANDIS 

Most well-known for tracks like “Primadonna” and “How To Be A Heartbreaker” from Electra Heart (2012), MARINA (previously Marina and the Diamonds) has been an active force in pop music since 2009. Marina Diamandis pioneered a hoard of Tumblr teens and angsty fans in the mid-2010s, and her reputation lives on through a mass of 20-somethings today. 

Though MARINA never fell into obscurity or out of rotation for adoring fans and pop heads alike, her popularity has uniquely surged past Electra Heart fame in recent years due to the use of her songs on TikTok. Particularly, tracks from her debut album, The Family Jewels (2010), have received fresh admiration and reached a newer generation by way of the social media app. Songs like “Hermit the Frog” and “Are You Satisfied?” are the soundtracks to various, addictive trends. Possibly the most successful rebirth of one of MARINA’s tracks is the 2010 single “Oh No!” — even the official music video’s title was changed to match the snippet most used widely on the short-form video platform. MARINA herself has invited, and played along, with these trends, posting her own TikTok content and lip syncing along to her own voice. 

- Sofia Giarrusso, Staff Writer

 

JEFF BUCKLEY — “LOVER, YOU SHOULD’VE COME OVER”

The American rock musician Jeff Buckley rose to fame in New York in the early 1990s, and is once again coming back into the spotlight. Buckley was a singer, song-writer and guitarist. He was originally from California but reinvented himself and moved to New York City in 1990. At the start of his time in New York, he gained his fame from playing mostly cover songs. Buckley slowly started transitioning to performing his own written music, amassing a large following across America. Buckley unfortunately passed away in 1997 after releasing only one full studio album in 1994, titled Grace

While there are multiple songs that Buckley became known for during his time, including his cover of “Hallelujah” by Leonard Cohen, and his own songs “Last Goodbye” and “Grace,” there is one song in particular that has come back and taken the internet by storm. “Lover, You Should’ve Come Over,” the seventh track on Grace has made a prominent resurgence on TikTok after sound clips of the song went viral, including Buckleys live performances and the studio version of the song. Buckley’s lyricism and striking voice are prominent in this song that is full of heartache and yearning, and it is truly not a surprise that it has gained a new following in the 20th century. Though “Lover, you Should’ve Come Over” is one of Buckley’s most popular songs right now, a few other of his songs have also gone viral on TikTok, contributing to the new growth of fans for his music. As can be seen from Buckley’s return to fame from beyond the grave, appreciation and enjoyment of heartfelt and bittersweet music really is ‘never over.’

- Caitlin Molloy, Staff Writer 

 

KATE BUSH — “RUNNING UP THAT HILL”

(Quoted from our 2022 Pick of the Week amid the song’s resurgence. By Tatum Jenkins, former Music Coordinator)

“37 years after its release, “Running Up That Hill (A Deal With God)” from Kate Bush is receiving the attention it fully deserves. We have the popular Netflix series Stranger Things to thank for the resurgence of this song. Nora Felder, the music supervisor of Stranger Things, was who first reached out to Bush about using “Running Up That Hill.” Bush reportedly agreed because she's a fan of the show. After “Running Up That Hill" was featured in a critical part of the plot in the first volume of season four, people have flocked to listen to the track. Because of Stranger Things, “Running Up That Hill” has found itself on top charts in Britain and the US with streaming numbers that would make the average person’s eyes boggle. 

Bush has since commented on the attention the song has received. She wrote, “I want to thank [the Duffer Brothers (the creators of Stranger Things)] so much for bringing the song into so many people’s lives… I have to admit I feel really moved by it all.” As an artist who has hidden from the spotlight, this message proves just how wild the streaming phenomenon around this song is.

She’s already broken quite a few records with this song. These include Bush becoming the oldest female artist to score a no. 1 hit and the longest time a song has taken to reach no. 1 on the charts. But there may be more in store if fans continue to listen. While Bush doesn’t do much press or live performances, I think we can only expect more love for Kate Bush from the attention garnered by “Running Up That Hill.” As more and more young people discover her discography, her genius and contributions to music will be recognized even further.”

Phil Jones holding a WERS 75th Birthday coffee mug in front of the on-air light

Our afternoon host, Phil Jones is leaving WERS after Friday March 22nd.  Don’t worry, it’s all good for him!  He’s moving on to bigger things as the Operations manager at WCRB (oooh, fancy!)

THE HISTORY OF PHIL

Even though we’re sad to be losing him, we’re proud of him and his journey: starting as student  “You Are Here” reporter, then an over-enthusiastic (his words) part-time Sunday night host, eventually becoming a member of the professional staff in 2018 as Afternoon Host, Content Coordinator.

He provided mentorship to so many students and was the swiss army knife of the station. If you had a question (especially about Standing Room Only), you asked Phil.  We are so thankful for his 10(!) years of passion and commitment to WERS and proud of him becoming another media success story of our first 75 years of broadcasting at Emerson College.

Thanks Phil!  Your “true North” compass will be remembered and carried on by all of us!

ALL THE PHILS!  SPECIAL PROGRAMMING MARCH 15-22

We're sending him off in style during his last week (March 15-22)

Afternoons at 2: Phil-hosted archive sessions from Studio 88-9

  • Monday: Bombay Bicycle Club live before their show at Royale!
  • Tuesday: Amanda Palmer
  • Wednesday: Steve Earle from 2017!

Thursday morning he’ll join George to talk ‘ERS music and memories

Friday: It’s a “Phil for All” where he plays his favorite songs and artists one last time!

Join us in wishing Phil the best in his next adventure.  Leave your well-wishes, goodbyes, or memories in the form below.

Leave Your Goodbye Message for Phil Jones!

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Graphics with a black border and bright pink background with text that reads "Good Together" in the center and "Lake Street Dive" along the bottom. A guitar pick in the top left corner says "WERS 88.9 Pick of the Week"
Graphics by Sarah Tarlin

By Mason Standish, Staff Writer

Hailing from Boston, Massachusetts, Lake Street Dive delivers a soulful and captivating track with their latest release "Good Together." True to their signature sound that has garnered them a dedicated fan base, the smooth blend of jazz-infused instrumentation and powerhouse vocals creates an irresistible groove that hooks listeners from the first note. With a masterful combination of bass, drums and trumpet, the band crafts an easy-listening landscape that is both rich and dynamic. 

"Good Together" showcases the band's ability to whip-up infectious melodies while also delving into poignant lyrical themes. Penned by bandmates Rachael Price and Mike Olson, the lyrics explore the complexities of relationships and the struggle to maintain a sense of unity amidst adversity. Through vivid storytelling and heartfelt vocals, the song captures the bittersweet essence of companionship. 

 

THE INTERESTING CONTRAST STRUCK BETWEEN THE LYRICS AND SOUND

The instrumentation in "Good Together" serves as a perfect complement to the emotional depth of the lyrics. From the soulful piano riffs to the pulsating rhythm section, each element contributes to the song's infectious energy and undeniable charm. The seamless harmonies between Price and the band members further elevate the emotional resonance of the track, drawing listeners into Lake Street Dive’s musical world. 

Despite the melancholic undertones of the lyrics, "Good Together" maintains an uplifting spirit throughout. The recurring motif of resilience and hope shines through, reminding listeners of the enduring power of love and connection. It's a testament to Lake Street Dive's artistry and good vibes that such woeful lyrics are made to be deliciously digestible. 

 

WHAT’S NEXT FOR LAKE STREET DIVE?

"Good Together" showcases Lake Street Dive's prowess as musicians and storytellers. With its infectious melodies, soulful vocals and poignant lyricism, the song is sure to resonate with listeners of all backgrounds. For a soul-stirring journey through the complexities of love and relationships, be sure to give Lake Street Dive's latest single a listen!

Plus, be on the lookout for more singles as the band gears up to release a new album — also titled Good Together — on June 21st. 

 

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!

in studio performances

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