Paul Edward Joyce interviews his longtime friend and legendary country music performer, Jeannie Seely, “Miss Country Soul,” on Wed., Dec. 4 at 2:00pm EST. Seely, a Grammy and BMI award winning songwriter and vocalist and a member of The Grand Ole Opry for over 46 years, will be talking with Joyce about her recently released and critically acclaimed album, Vintage Country: Old But Treasured. Due to the current holiday season, they will also be discussing Seely’s 1994 Christmas album, A Golden Christmas, which has long been a fan favorite. To purchase any of Seely’s recent recordings, please go to: www.jeannieseely.com/merchandise.cfm and to listen to any of Joyce’s past interviews (including his most recent interview with Country Music Hall of Fame Member, Merle Haggard, “The Poet of The Common Man”), please go to: www.youtube.com/pejcountry. Tune in at gwradio.com!
Torrey and I had the amazing opportunity to meet, interview, and experience The Lone Bellow (Zach Williams, Brian Elmquist, Kanene Pipkin, Jason Pipkin, and Brian Griffin) and Greg Holden at Sixth and I Synagogue.
And I can say without a doubt that it was the best show I’ve ever witnessed.
Take a minute to reflect on all of the great musicians Britain has given the world: The Beatles, Ellie Goulding, Elton John, and Adele are just a few. The UK is also home to much of the current resurgence of house music. London born Berlin based DJ George FitzGerald is an integral factor in spreading this movement to the US. He’ll soon be headlining his first US tour, with a show at DC’s own U Street Music Hall.
If you like your house music to mix elements of techno, dubstep, and garage, George FitzGerald expertly produces tracks with these elements to create a unique, cohesive sound. His new single “Magnetic” is taking over UK dancefloors and is expected to have the same effect in the US. Read the rest of this entry
On an incredibly cold Sunday night, I headed over to the 9:30 Club for a concert featuring the Kopecky Family Band and Lissie. Lissie, one of the more prominent singers in the recent folk revival, brought her blues flavoured folk rock to the venerable DC venue. Kopecky Family Band started things off and it was obvious by the second song that they were a great choice to open for Lissie. They got the normally stagnant crowd moving with their fun music and numerous crowd interactions. Their sound was what I’d imagine if ska music went on a date with folk music. Their sound was drum heavy, a fun and refreshing aspect of their live shows that allowed us to see the drums onstage right for a change rather than hiding behind the other instruments.
The dust has settled. The last of the overpriced beers have been consumed, the worst of the collective comedowns negotiated, the final cigarettes extinguished. The sixth annual Brooklyn Electronic Music Festival (BEMF) wrapped up a few weeks ago (November 8-10, 2013) and with its end, a whole host of established and rising musicians, all uniquely talented, made their presence known in New York City.
But that’s now. Time to go back a couple of weeks, and capture a few moments that made this festival experience special. Staff writers Joey Giaramito and Sarvesh Ramprakash bring you: the BEMF 2013 Experience.
Your first concert is an important experience in a young music aficionado’s life. It’s the first time you hear the thump of the drums, the flash of the lights, the cheering of the crowd. A concert is not simply about the music—it’s about the atmosphere. For me, that experience took place when I was in fifth grade and saw Avril Lavigne. Yeah, I went through this awesome pop punk phase when I was in middle school, dyed my hair pink, and bought any shirt with a skull on it. I was pretty cool back then.
Avril Lavigne, in my opinion, is one of the most influential artists out there. She has never for a second doubted who she was or changed her signature musical style to fit in with trends of today’s top hits. Although, Avril has never really been one to follow the crowd. She instead wears her hot pink hair and punk rock style with pride and tells it how it is. She again expressed her individuality through her newest self titled album, which dropped November 5th.
2013 seems to be the comeback year. Britney Spears, Lady Gaga, Katy Perry, and Eminem are just a few of the many artists who have chosen to drop albums to spark their inevitable and highly anticipated comebacks. Avril Lavigne falls into this trend, dropping singles to promote her upcoming album, including “Here’s To Never Growing Up,” which peaked at twenty on Billboard Charts. She also dropped a music video for the song, which showed off her punk side, depicting scenes at a high school prom, her wearing plaid pants and skateboarding down the hallway like the baller she is. Ironically, she brought back a similar outfit to that in her “Complicated,” rocking that loose tie over her white tank and black board shorts.
Her latest album repeats the same honest lyrics and pop-punk sound as her previous four albums. The fifth installment of her musical career of course has a few blemishes, because let’s face it, nobody’s perfect. Her two singles, “Here’s To Never Growing Up” and “Rock N Roll” discuss the topic of being young and having fun. Similar to “Sk8er Boi,” she sings about the importance of being your true self and makes it clear that no one can change her.
Other tracks on the album discuss love and pain, most likely derived from her 2010 divorce from Sum 41 singer, Deryck Whibley, and her new marriage to Nickelback frontman, Chad Kroeger. Her and her new hubby have a duet on the album titled “Let Me Go”. As much as it pains me to say this because I despise Nickelback, their duet is lyrically beautiful and their harmonization only adds to the eerie and painful sound the track possesses. One skill Avril has always been able to showcase is her ability to express her emotions with every word she sings.
Lavigne again dominates the pop-punk world with her passionate and relatable lyrics, her fun and quirky take on life, and her overall unique style of which no one can replicate. Each song punches you in the teeth and forces you to either smile and dance or make you tear up because her words have an honesty that makes you reevaluate your life.
Tracks to listen to: Hello Heartache, Bitchin’ Summer, 17
Labelmates, friends, and award-winning Australian electronic music pioneers Flume and Chet Faker have collaborated once more to create the three-song Lockjaw EP. Those familiar with either artist may know Chet Faker for his minimalist yet soulful rendition of Blackstreet’s “No Diggity” and his work on a track off of Flume’s debut album. Flume is known for his knack for creating downtempo-cum-dance-cum hip-hop instrumentals, and in fact, he recently released a mixtape featuring many up and coming rappers laying vocals over his tracks. To some, it may come as no surprise that these two artists have decided to work together again, combining their unique but complementary sounds to create the perfect collaboration. Many times when two artists work together, it’s easy for the listener to distinguish which components came from what artist. With this EP, it seems that the work was split equally, blending together so organically, that all three songs would all work well if they were individual releases by either musician.
It’s not often that you see a performer who truly gives her all on stage. Kate Nash is one of those artists. She doesn’t just sing her songs–she creates an environment in which concertgoers have an experience unlike any other. Between her Girl Gang, her strange yet relatable speeches, and her well coordinated crowd surfing skills, Kate Nash turned her November 11th concert into a night I’ll never forget.
You might ask, “What’s a Girl Gang?” It’s a group of three badass females who form the band backing Kate Nash. Nash has always been a fan of transferring gender roles and is adamant that her band be dominated by women. Her choice is not only inspiring, but also works in her favor. Her Girl Gang, sporting dope “Death Proof” tees, helps to convey Nash’s themes that women are awesome and guys suck. These women were especially inspiring to me because they didn’t need an extravagant wardrobe or the gimmicks that often come with female artists; they instead jammed out in t-shirts and jeans and looked really cool doing it. Read the rest of this entry
Although Charli XCX was headlining at U Street Music Hall, I had come especially to see LIZ, the newest talent to join Diplo’s Mad Decent Label. The LA native is young and fresh with vocals that are reminiscent of 90’s female divas. Her bio on the Mad Decent website does a great job of describing her style as containing a “breezy attitude and a sugary, sun-dripped voice that sticks in your head like a wad of pink bazooka bubble-gum.” She’s currently touring North America with Charlie XCX and Kitten.
The Rock and Roll Hotel might be a trek from campus, but it’s a funky little personal venue well worth it. While waiting for the Texas-based Midlake, Nicole Atkins took the stage to perform a solo set. Currently working on her 3rd studio record (Slow Phaser, due out in February), Atkins walked on stage with stunning bohemian flair, sporting a cape and a beaded choker. Fans who were lucky to make it to the very front of the stage struck up conversation with her before she began.
Her first song, “Red Ropes”, was interesting crossover of a deep, dark pop and folk music. Her music has a vintage touch and is hauntingly beautiful, and her outfit matched her style. Although her music isn’t the most uplifting, if you want to cry alone in your bedroom with incense (which everyone wants to do every once in a while), Nicole Atkins is definitely your girl. Performing alone on stage is difficult and she pulled it off with just two microphones (one for echo, one for reverb) and her electric guitar. Vocally, she resembles a mix of Stevie Nicks and Linda Ronstadt, with a soulful grace and rolling rise and fall best expressed in her performance of “The Way It Is”. Aside from her gruffer bluesy vocals, she performed a few songs stylistically more similar to those of Joan Jett with roaring rhythm guitar and passionate delivery. Her unique style lent itself well to Roy Orbison’s “Crying”, the theme of which seemed present in most of her songs.