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jucyfruit · 15 days

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Lucy Dacus Brings It All Back Home

by Hilary Saunders | 9/2/16

Back in March, when Lucy Dacus and her band passed through Boise, Idaho to play the opening night of Treefort Music Festival, every single member of the group—rolling four deep—wore shirts and caps that bore a variation on their home state’s motto: “Virginia Is For (Music) Lovers.” Before their set, they had stopped in Bleubird, locally considered Boise’s best sandwich shop, and while they waited in a line that stretched out the door, Dacus and the boys chatted eagerly and earnestly with those around them—especially if they asked about their shirts.

Four months later at the Harrison Street Café, one of her favorite sandwich shops in her hometown of Richmond, Virginia, Dacus remembers the festival fondly. Her debut album No Burden had only been out for about a month at the time, courtesy of Richmond indie EggHunt Records, and Boise was the farthest west the band had ever performed.

A lot has changed since then. Dacus has toured with indie-rock darlings like The Decemberists and Lord Huron, and impressed festival audiences at South by Southwest and Lollapalooza. On September 9, Matador Records will re-release No Burden, with the hopes that its eight songs will catapult the 21-year-old further into the scene’s fickle mainstream.

Comprised of Dacus’ first recorded works, No Burden showcases the singer/songwriter at her most revealing. Her contralto, which she manipulates from a whisper to a cry, conveys both self-awareness and self-deprecation. Meanwhile, the band, comprised of a traditional guitar-bass-drums set-up, stretches its volume and dynamics to parallel extremes, allowing Dacus to transform from demure chanteuse to rock band leader—sometimes even within the same song. Case in point: on lead single “I Don’t Want To Be Funny Anymore,” Dacus laments “being the odd man out” and “being the biggest fan,” right before the song erupts into a guttural roar. The album’s seven-and-a-half-minute centerpiece, “Map On A Wall” opens with Dacus acknowledging her physical flaws and begging, “Oh please, don’t make fun of me / of my crooked smile and my crowded teeth / of my pigeon feet, of my knobby knees,” but the song eventually builds to a tense crescendo, Dacus repeating similar lyrics with more force and tenacity.

Sitting in a corner booth upstairs in the café, Dacus explains, “I make an effort to voice what I’m most sensitive about, because I know everyone else feels that way, too. The biggest hold-up, when it comes to insecurity, is when you think you’re alone in it. When you realize that you’re not, it’s easier to deal with. It’s just that somebody has to be the first person to break the ice of internal anxiety.”

Dacus grew up in Richmond’s neighboring town of Mechanicsville (its most famous export is Jason Mraz). She didn’t necessarily suffer from “extreme internal anxiety,” but she did drift in and out of the precarious social structures of the popular crowd in elementary and middle school. By the time she got to high school—the prestigious Maggie L. Walker Governor’s School, which is coincidentally located just down the street from the Harrison Street Café—she had found like-minded creative friends, and Richmond started to feel more like a home.

Although Dacus initially enrolled at Virginia Commonwealth University—also located near the café—to study film, she left after her second semester sophomore year to travel in Europe. Before leaving the country, she recorded what would become No Burden to help out now-bandmate Jacob Blizard on one of his college recording finals at Oberlin. It never occurred to either of them to release the recordings. “We were just going to put it on Bandcamp for our friends and family to see,” she says. “It’s the only accessible place for start up musicians to put their work.”

When Dacus returned, EggHunt Records’ co-founder Adam Henceroth saw her opening for his label’s own signees, Manatree. As Henceroth remembers, he only intended to watch Dacus for a few minutes.

“I sat in the front row like, ‘Hey lemme catch a few seconds of this before I meet this other guy backstage.’ Well, I forgot about whatever I was doing. Forty minutes later after being glued to her set, I was speechless,” he says. “The thing about Lucy is that, literally within 60 seconds of listening to her, you’re immediately drawn into her world. You’re caught in a tractor beam of sorts. She hits you square in the head and speaks to your heart.”

Both in person and on No Burden, Dacus radiates that emotional authenticity that Henceroth describes. Part of that stems from her Richmond upbringing—specifically, the fact that Dacus was adopted. That fact is a bit oblique on the record; she never sings about her experience directly. But the lessons she learned reveal themselves in certain places—the album title itself is a reminder that we are not a duty to those who love us. They reflect Dacus’ desire to seek meaningful connections, especially when we are at our most vulnerable.

“[Adoption has] totally impacted what I write, because one of first things I learned as a philosophy was that life is worthwhile,” She says, “So much so that a bunch of people had to sacrifice a lot so that I would have one. As a four-year-old, that’s what I already knew.”

The most impressive element of Dacus’ debut is that while so much of No Burden resulted from growing up in Richmond, its messages transcend the city that raised her and embraced her. And everyone from EggHunt to Matador to the fans she’s gained in the meteoric past nine months seem to realize it. “It’s real cool how Lucy has seemed to stay true to her roots,” says Henceroth. “She talks about Virginia a lot, and she never had any obligation to include [EggHunt] in her story, but she did. She comes across as really honest. You can hear it in her music. There’s no pretense. She’s not trying to be something she’s not. It’s all coming from her. That’s the magical part of it.”

(x)

#lucy dacus #ld #interview #bandcamp #2016 #september 2016 #archival

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scotianostra · 8 months

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youtube

Happy Birthday singer Maggie Reilly, born in Glasgow September 15th 1956.

Maggie’s professional career began in 1970 when she recorded her first single ‘Imagine Me’. Shortly after, she met keyboard player Stuart MacKillop and formed the band “Joe Cool” and later "Cado Belle". In the mid-seventies they swiftly transformed from an insider act into a Scottish pop phenomenon.

After a time living and working in Ireland, Maggie Reilly formed her much acclaimed partnership with Mike Oldfield in 1980, producing such great songs as ‘Moonlight Shadow’, ‘To France’ . "Foreign Affair" and the Hall & Oates hit ‘Family Man’ for which she received an ASCAP writers-award in 1984. Worldwide hit albums include "QE2", "Five Miles Out", "Crises", "Discovery" and "Earth Moving"

After parting with Oldfield and taking time out to start a family, Maggie Reilly resumed her solo career and awards came with increasing frequency. She joined forces with the major German publishing house Mambo, producing the Album ‘Echoes’ in 1991 for which she wrote the massive worldwide hit ‘Everytime we Touch’ alongside the European hits ‘Wait’ and ‘Tears in the Rain’. The album went gold in several countries.

1996 saw the first of three albums for EMI, ‘Elena’ was a move away from the breezy pop songs of the Mambo period towards a more insightful songwriting style as shown on the atmospheric title track.

There and Back Again in 1998 gave Maggie a chance to re-record a selection of her best known songs to that date, including ‘Everytime We Touch’ & ‘Foreign Affair’.

The release of ‘Starcrossed’ two years later picked up the threads from Elena and provided more evidence of her subtle songwriting skills, particularly on the stunning single ‘Adelena’ (including an electrifying guitar solo by Chris Rea) and the beautiful ‘Half-light’

In 2003 Maggie Reilly took the opportunity to record an album of songs she’d long wanted to sing. ‘Save it for a Rainy Day’ was the first album recorded by Maggie to provide a download hit with the achingly beautiful Cyndi Lauper song ‘True Colors’ as well as other great classic songs by James Taylor, Chicago, Dusty Springfield, Neil Young and Heart.

2006 saw the return to her Scottish roots with the release of ‘Rowan’. This is an album of original songs, mixed seamlessly with traditional Scottish and English folk songs with the Reilly twist. The album won her much praise.

Maggie has had the opportunity of working with some fantastic musicians including her longstanding musical collaborator, Stuart Mackillop, who has now contributed to all of her albums since that first Cado Belle album in 1976.

2013 saw Maggie Reilly releasing her 10th album “Heaven Sent” to great success. Both singles “Juliette” and “Cold The Snow Clad Mountain” hit the airplay Top 20 in Germany while the album itself is hailed to be her best so far. A tour followed where Maggie played at sold out venues and festivals.

Maggie is due to perform a gig onight in Noventa di Piave a town in the Venice area of Italy, she is alos lined up for a 7 night tour of Germany, where she remains popular, the tour is in the last week in Fbruary.

Here she is at Dino Top Festival in Poland earlier this year

#scotland #scottish #Singer #singer songwriter #happy birthday #Youtube

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miashyperfixations · 10 months

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RETROVISION - HONEY REVENGE ALBUM REVIEW

23.06.2023 • Pop/Rock • 12 songs • 36 minutes• 2023 Thriller Records

★★★★★

FAV SINGLE: Distracted

TOP 3 : Sensitive • Seeing Negative (Disappointment) • Worst Apology

IMMEDIATE 5 STARS

I don't even need to listen to it to know it, Honey Revenge's debut album is easily one of my most anticipated albums of 2023. Their gorgeous pop melodies paired with funky guitar riffs, clear heavy drums & powerful basslines pave their sound as a prominent band with a bright future ahead of them. Devin & Donny have outdone themselves with this masterpiece. It’s easy to see why they’re described as a new-age Paramore - I genuinely thought that ‘Distracted’ was a riot!-era demo leak when I first listened to it.

The band emerged in 2021 with their debut single 'Miss Me' and have grown exponentially from that point onwards. I only discovered them this year, and it's safe to say that they'll be one of my top artists at the end of the year. Shortly after that, they signed to Thriller Records and released their single ‘Ride’ to announce it. Thriller is an independent record label created by Bob Becker, in partnership with Nick Moore. They’re a team of passionate industry innovators focusing on discovering, developing, and breaking a diverse new generation of rock and alternative talent, based in California.

I love that their songs don’t just focus on heartbreak & romantic relationships but also how friendships can go sour - which are equally important. They also focus on mental health in songs such as ‘Are You Impressed?'’ which is about trying too hard or coming off as eager/cringey but not caring anyway or 'Seeing Negative (Disappointment)' which focuses on self-doubt & never feeling good enough, both of which I love & relate to. Additionally, they aren’t just in the pop/rock genre. They dabble into dance-type beats and synthesiser riffs to add depth to their songs.

Something I didn't realise until listening to the album in full, is the fact that Devin’s vocal range is so wide & she pulls it off amazingly, it's clear to see in songs such as ‘rerun’ & ‘worst apology’ where she stays in higher regions for most of the song with little breath breaks. I absolutely love the key change in ‘Worst Apology’, when everything is pulled back for a few bars to focus on Devin’s vocals and then everything comes back in with no build up - just all of a sudden - it’s beautifully executed. My personal favourite song off of the record is ‘Sensitive’. Written by Devin, Donny & KJ Strock, the song’s lyrical genius takes over its heavy-rock style drums & guitar. It isn’t just the instrumentation & lyrics but the production too. I also love the way this bridge/refrain in this song has been produced, especially how (similarly to ‘Worst Apology’), it’s stripped back to just the guitar & vocals & there's echoes before the drums kick in but i’s still stripped back until a line of vocals with added distortion & a cut-off of high-end EQ right before the beat drop into the final chorus where all instruments return to their normal heaviness. It really adds to the my interpretation of the song - that things can happen all of a sudden & hit hard, but there’s still build up you can’t see. To top it all off, the echoes return & end the song perfectly.

The duo worked with one of my favourite songwriters on this album - Kanner has worked with the likes of Maggie Lindeman, Scene Queen & Mckenna Grace alongside recently launching her career as a solo artist. She’s an amazing musician involved in writing 7/12 songs on this album, all of which are bangers. The band have also collaborated with producers such as Josh Strock (LiL Lotus, Thousand Below), Zach Jones (AS IT IS, Nova Twins), and Kris Crummett (Dance Gavin Dance, Issues.)

This band just has a good vibe in general & the duo have a great relationship with their touring band. It seems like it’s just fun to be with them & doesn’t even feel like a job which, inevitably, is what everyone wants. They currently have plans to be on tour as a support act for bands such as Broadside & Arrows In Action for all of 2023 as well as recently announcing a one off show at Camden Assembly, London in December. I truly believe this band has the potential to be the next big act in the scene and can't wait to see them headline a tour here in the UK one day when they take over the world.

They deserve all the popularity they'll undoubtedly gain in the coming years off the back of this absolute masterpiece of an album.

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a-strange-inkling · 1 year

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so i saw this TikTok

and maggie popped in my head. I feel like she would do this in like the year 2021 on fathers day! 😂

and livvy on the other had would post a serious appreciation post 😂😂😂

Lmao! Yes! Yes! Yes! Maggie totally would! She’d play this for him too on a guitar with an amp outside her parents’ house. Set up a concert lol Most of her affection for her father comes out in humor (she just loves to troll him 🤣) 💖

Livvy would be so much more sentimental. Like make a quilt out of his old tour shirts or make a scrapbook for him out of photos and all the little pieces and tokens of her childhood. 💜

#hellcheer #eddie x chrissy #eddissy #munningham #chrissy x eddie #hellcheer fanfiction #hellcheer fanfic #old haunts #ask answered

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corijamison · 2 years

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“I KNOW WE’RE ALL FUCKING EXHAUSTED; AM I IN MY HEAD OR HAVE WE ALL LOST IT?”

INTRODUCING…

NAME: Coraline ‘Cori’ Loretta Jamison

GENDER & PREFERRED PRONOUNS: Cis woman {She/Her}

AGE: 26

BIRTHDAY: January 10

ZODIAC: Capricorn Sun, Leo Moon, Scorpio Rising

SEXUALITY: Bisexual

FACE CLAIM: Maggie Lindemann

HOMETOWN: Brooklyn, NY

OCCUPATION: Actress (Francesca Gillian on Unashamed) & Musician (Quickswitch)

CHARACTER PLAYLIST: HERE.

UP NEXT: “DEBBIE DOWNER” BY LØLØ

BIOGRAPHY: tw drugs, overdose, death, mental illnesses, runaway, homelessness, hospitalization, suicide attempt, homophobia / biphobia

Coraline Loretta Jamison was born at 1:10 AM on 1/10/1998 in Brooklyn, NY (she’ll pull her birth certificate out to prove it). Her mother was a teenager and couldn’t take care of her, so she was given up. Her adoptive parents being a young couple who couldn’t have a child, so it wound up working out perfectly. Cori grew up in a loving household. Her father being a homicide detective whilst her mother a preschool teacher. Though her father was rarely home, she adopted a lot of his traits.

Her curiosity for the world and everything around her was one of those traits. Her mother, though sweet, restricted most if not all of Cori’s freedom. But that’s expected when you live in an area that contains 90% of crime for the whole state. With her father having such a dangerous job, it only made sense for her mother to be overbearing on her. But overbearing parents made rebellious kids. Cori would always sneak off to Manhattan for as long as she could remember.

Cori was always intelligent, but she’d swear up and down that she hated school. The truth of the matter is that everything was too easy for her, so she would just skip classes or not show up, altogether. It did get progressively worse as she got older, especially in high school; If it weren’t for her grades and her family’s name, she would’ve been dropped. It just..... didn’t hold her attention, and she would rather be in a record store in the East Village than have to sit in a room with people who took an hour to comprehend two lines in a book.

Cori had a lot of mental obstacles she didn’t quite understand. Most of it was rooted in her identity - feeling like a stranger in her own skin, constant disassociating. People would say her name and she wouldn’t feel as though it was her. She was suppressing her bisexuality for the longest time, mostly due to her mother thinking it was a ‘made up’ sexuality. In Cori’s mind, she was a girl who went to school - but what else?

She never really voiced these feelings, fearing she would seem crazy to others. Instead, she found music. Now, Cori already had fond moments with music; Most being the jam sessions with her father in the car. Her taste of old-school punk actually came from her father, his favorite band being The Sex Pistols. She also had her city friends, when she would sneak out at night and crash concerts of more underground bands all throughout the AMs. But, on her 15th birthday her father took her to see Green Day on their 99 Revolutions Tour. Billie Joe Armstrong actually pulled her up to play guitar, and it was that moment that she knew she wanted to pursue music.

Her father gave her his old guitar from back in his high school days, and she would go to school (or skip) and just practice for hours. This created a distance between her and her parents, which made her mother even more controlling. The pressures from her mother to focus more in school and pushing this pre-established path her mother created for her, made Cori push back. Feeling as though she couldn’t breathe nor have the freedom to grow and develop into who she was meant to be, she ran away at age 16.

Cori couch surfed between her friends in the city, also being sucked even further into the night life. She dabbled within her sexuality as well as drugs. Though, being so young, she didn’t understand the extremities of her actions. She was brought home after being hospitalized due to an overdose and she wound up moving back in with her parents.

Her parents wound up telling her about her adoption when she hit 17, which pushed her over the edge and mentally destroyed her. This strained her relationship with her parents, marking no trust and a blame she put on them for her identity crisis. She always felt there was something wrong and that she didn’t fit, and unloaded that blame on her parents (mostly her mother). It was around this age that she became very ‘fuck you, and YOU, AND YOU’ towards everyone. It was also around this time that because she couldn’t be a voice for herself, she became a voice for her friends and those who were dealt the short end of the stick in life.

She was hospitalized again at age 18, but due to depression. To this day, she’ll swear she didn’t know you weren’t supposed to take that many sleeping pills. Through the program in rehabilitation, she gained a support system from those going through the same shit she has. She had a newfound confidence that was built so high that once she was out, she announced that she wanted to be a musician. Her father was disappointed in her choice and well as her mother. They still pushed her to go to a community college to gain a degree as a backup, where she dropped out within the first semester. Her parents wound up kicking her out because they weren’t going to house someone who was ‘going nowhere’ in their life.

Being kicked out had her back on her friend’s couches, and back in the nightlife scene more than usual. She was a merch girl for one of her friend’s bands, and that introduced her to harder drugs. She lost one of her friends to an overdose and swore she’d stay away from any of it, ever since. Seeing that NYC held more negative memories than positive, Cori packed her bags and wound up wandering around the country with only $60 to her name. This is the point in her life where she claims she found her home; her people with whom she banded together with in order to conjure up a crazy band - banking everything on her dreams and the kooky family she found for herself: Quickswitch.

Quickswitch was created as a way to bring feminine power to the punk-pop/alt scene. It was not by their own doing that they blew up on TikTok; fans posting videos, which landed Cori and the band to migrate to California. With the lack of a record label, Quickswitch was on the rise but was on the lookout for that vital piece in order to reap any benefit financially. Cori wound up being ‘discovered’ by a casting director who popped into the record shop where she worked double-time to make her part of the rent. Basically being handed the part of Francesa Gillian due to the interaction they had, Cori knew it was a dream but not her dream. She took it for the sake of the money. With the success of Unashamed, Cori and her band were able to attract enough attention from record labels. Ultimately, they utilized a majority of Cori’s income to create their own label for themselves; Not wanting to fall into a binding contract and fucking themselves over by the blood-sucking management of a big label. In honesty, they didn’t need much of PR with the success of Cori’s show. Now, if only she could quit the acting gig. Unfortunately, there’s no way she can without black-balling herself. So, she kinda is just waiting for the network to stop renewing her show so she can give all her time and energy to her genuine passion in life.

EXTRA-EXTRA, READ ALL ABOUT HER!

Cori is heavily extroverted. You can’t tell, based on how closed-off she appears. But, she would go crazy if she had to go the day without conversing with people. She loves late night adventures, horror films, and last minute plans. She’s impulsive and reckless when bored, and takes a liking to thrill-seeking activities mostly because she’s numb on the inside and wants to feel something, ya know? Cori is very just. This comes from being raised by someone in the law enforcement field, but also from the music she was raised on. She’s very quick to defend and root for the little man. She’s also very passionate about people being themselves and throwing social norms out the window. Cori is sarcastic; She’s a Capricorn, okay? She calls other people out for their shit (but god forbid you call her out), and keeps her circle very small (fear of rejection if she shows people the real her). If she does see you as a friend, she will 10/10 be loyal: call her up at 2 AM if you need her for anything, she’ll be there. She’s always down for debates and will play devil’s advocate for the fun of it. She loves conspiracy theories (totally thinks Courtney Love killed Kurt; loves joking about simulations). She has a problem sleeping, and her sleep is just all around fucked? She can sleep for 3 hours and be good for 72. She loves food (Taco Bell for the win). Uh, idk what else to say - oh, she doesn’t trust people. She’s also very secretive about her past and no one knows about it besides the fact she’s from NYC. She also hates the fame and wishes she could give it up - but it’s far too late for that; Definitely thinks she shouldn’t be someone who has fans.

HEADCANONS

Cori has a padlock necklace she wear religiously from her father. It’s a replica of Sid Vicious’ who is both of their favorite band member from The Sex Pistols. She wears it as a salute to her father, because even though he kicked her out, he was the one who was always there for her and who she viewed as her best friend. He’s part of the reason she got so into music (introducing her to bands via jam sessions, the Green Day concert). To this day, she never talked to her parents.

Cori goes by ‘Cori’ because she watched Coraline as a kid, and it scared her shitless. Now the movie is one of her favorites, but still goes by Cori for signature sake.

Cori is vastly educated in music due to her extensive obsession and research growing up. Her knowledge on vinyls comes from her dealing with vinyl specialists in the city when she was younger and hungry for inspiration. Due to this, she was hired as a vinyl specialist for a short period when Quickswitch was gaining their footing in LA.

Cori isn’t medicated. This is mostly because she’s too stubborn to see a therapist, but she also uses her humor? Basically, she is like every other comedian you see on Netflix who make other people laugh and happy because they can’t make themselves happy. She’s also really good at hiding her unhappiness, because of her comical trait.

Her favorite pun of all time is the scene from ‘Cloudy with a Chance of Meatballs 2′ when the boat goes off the cliff and the guy goes ‘AH! THERE’S A LEAK IN THE BOAT!’ and then it pans to a LEEK AND THE LEEK SCREAMS. She laughs for a good 5 minutes at that.

She is the lead singer, rhythm guitarist, and main songwriter for her band; Though, she can play upwards of five instruments, total.

PERSONALITY:

+ Comical, Open-Minded, and Adroit

- Self-Destructive, Enigmatic, and Outspoken

#pwshqintro #ayyyeee look at what i did !

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sixthemusicalextras · 2 years

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2022-23 UK Tour Swalt Q&A (minus Leesa)

@/natpilk1 on Instagram, 11 June 2022

Q: If you could be one of the ladies-in-waiting, which one would you be and why? Natalie: I think I'd be Maggie on the guitar! Grace: I'd be Maria on the drums! Harriet: I think I'd be Joan so I'd get to shout in peoples' ears Natalie: Nice. I think Maggie 'cause she's cool, but they're all cool!

Q: If you could relive any moment with SIX, what would it be? Natalie: I've got a few for this... I would relive my engagement 'cause that was amazing, probably my debut, 'cause that was amazing, probably the last night with the old cast 'cause that was also incredible, and West End debut!

Q: Were you interested in the Tudors before you got the role? Grace: When I got the job, ehrm, someone got me a secret Santa present - and got me a Catherine of Aragon book. Natalie: 'Cause you were interested in them - Grace: 'Cause I was interested in them - Natalie: They're all well interesting [They then proceed to sing the Horrible Histories Wives of Henry VIII song]

Q: If you had a different colour alt costume, what colour would you pick? Grace: I wouldn't change mine. Mine's the best. Natalie: Rude! I wouldn't change mine, 'cause *mine's* the best. Harriet: *joking scoff* Mine’s the best...

Q: Best palce you have toured with Six? Natalie: I would say probably that Dublin and Belfast, but for the theatre this place is pretty good. Grace: I really liked Edinburgh 'cause I made my debut there! Harriet: Edinburgh for debut, but I had a really lovely time in Kingston! Natalie: Yeah, Edinburgh was really good - buzzing for Glasglow, as well.

Q: Favourite track you've played? Harriet: (whispers) Aragon! Grace: I dunno. I like them all. Natalie: I like Catherine Parr, I think. And Cleves.

(The queens answered a lot more questions than this, but these were the ones I wanted to keep for reference)

#six the musical #six 2022-23 uk tour #natalie pilkington #harriet caplan-dean #grace melville #q&a

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nerdsbianhokie · 2 years

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If you vibe with any of these for "strike us like matches 'cause everyone deserves the flames": 1 (I wouldn't have thought to skip over describing the dancing but liked how it worked and especially am curious how you decided on that), 5, 9 (I know you already mentioned Lucy's coming out, anything else?), 11, 15? Also, I dunno if you have anything for 3 or 4, but I'd love to know if you do!

What inspired you to write the fic this way?

Not describing the dances had a few motives.

The first came from me not knowing how to describe them in a way I liked lmao. I know next to nothing about dance, so wouldn't know how to write it.

I also felt like if I described the dances in a feeling way, getting into Alex's head during it instead of the movements, if would get repetitive, especially once you hit the chapters with more than one dance.

And, finally, it was a challenge in another way. I wanted to see if I could not describe the dances directly, and still get across what the dances were like, especially stuff like Alex passing the jacket to Lucy in the Girl Group that tied into the character arcs.

3. What’s your favorite line of narration?

I think this part

Alex let herself just watch Lucy for a few moments. The movement of her body to the music. The grace and power in her body.

Then Alex stepped out onto the floor, keeping her pace right to reach Lucy at the moment when the music shifted to the guitar and drums and horns.

With the light arrangement, nobody noticed her, and the audience reaction when she stepped into Lucy’s light just in time to catch her controlled fall out of a hold at the first drum beat was the last thing Alex was really aware of before diving fully into the dance.

It's probably the closest I get to describing the dance and it's just Alex focusing on Lucy

4. What’s your favorite line of dialogue?

Not a single like, but this exchange.

“I’m bi.” “Cool.�� “Cool? That’s it?” “I have never claimed to be the person to come out to if you want a good reaction.” “Your girlfriend is really hot, by the way.” "Damn right she is."

Alex's 'I have never claimed...' is prob my favorite line overall

5. What part was hardest to write?

The tweets and instagram posts lolol. I do not use either site much, if at all, so trying to figure out how they would be worded, on top of trying to word them in the pov of 'this character's celebrity social media persona'

9. Were there any alternate versions of this fic?

Other than Lucy's coming out, some other differences were Alex opening up about her father earlier (this one changed at the same time as Lucy's when I moved around the themes), and Maggie not coming back from the tour until the epilogue.

There were also a bunch of different ways the dance themes could have landed in the timeline.

11. What do you like best about this fic?

I think it's playing in the space of 'we know and recognize there's attraction here but have to wait' with the triad instead of it taking most of the fic for them to figure it out, and possibly having a freak out from one of them over it

15. What did you learn from writing this fic?

One of the biggest is probably that I don't have to get in and write out every detail. There's a broader amount you can leave up to the reader if it's done right

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wewerepromisedsomuch · 2 years

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Album Review: Maggie Rogers

Artist: Maggie Rogers

Title: Surrender

Record Label: Capitol Records

Release Date: 29th July 2022

Rating: 8.0/10

Serendipity can be ironic at times can’t it? After a bout of non-stop touring in support of her superb debut album ‘Heard It in a Past Life’, that came to a halt in early 2020, Maggie Rogers craved solitude and a chance to recalibrate. Although Rogers sought her own form of isolation, it would appear fate had other plans and, we all know what happened next. With Covid spreading across the globe, Rogers retreated to the coast of Maine with the view of shutting out the world for as long as she needed to. After a period of deliberate stillness Rogers felt the urge to create music once again, as ideas began to manifest into what would eventually become her sophomore record ‘Surrender’.

‘Surrender’ is a record of raw intimacy, and raw intensity, and despite its conception occurring in Covid-times, this is by no-means a Coronavirus themed album. However, there are references to the world at large but more-so from a societal point of view, which is echoed in ‘Horses’ and closing number ‘Different Kind of World’. Both tracks find our protagonist in a ponderous frame of mind while being accompanied by a subtle acoustic lilt. The former contains the contemplative “you said you wondered about the world/well I have since I was a little girl”. While the latter bristles with a relatable anxiety as Rogers confesses that her “palms are sweating thinking about the state of the world”….you and the rest of us Maggie. Elsewhere ‘Surrender’ focuses on friendship, mostly from what seems a platonic place, although there are occurrences that recount the sentiment of love being rebuffed from the other party. Sonically the Maryland resident’s latest offering is a wonderfully constructed record (Rogers co-produced the album with Kid Harpoon) as it straddles musical borders between contemporary pop, R ‘n’ B and soft-rock. For the most part it’s an LP that’s built layer-upon-layer of subtly nuanced aural nuggets, with wordless vocal ticks creating beat-like textures as plumes of fuzz coalesce with a defiant energy. Then of course there’s Rogers’ impeccable voice which effortlessly skips from subtle and tender to full-blown powerhouse.

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All the time spent secluded in Maine appears to have centred Rogers’ focus on the themes of support and companionship which are frequent occurrences that weave their way through ‘Surrender’. ‘That’s Where I Am’ maybe slightly tinged as a love story that never quite happened but the sense of connection and fondness can’t be ignored when Rogers trills “you’re the only one I ever wanted/all I ever really wanted was you” without a pang of sadness. All of this is wrapped up in juddering, nuanced pop that’s underpinned by a thumping bass drum. ‘Anywhere With You’ follows a similar pattern but this time the singer/producer is coming to the aid of a friend who’s going through some rough times. Starting off as a sombre piano ballad the track eventually erupts into a wave of triumphant noise as our figurehead grabs her buddy by the hand while bellowing “if I’m going to lose my mind/I’m going to lose it with you” as they journey off into the horizon, leaving all bad vibes behind. ‘Be Cool’s watery textures and shuffling beats wash over Rogers as she, again, utters words of unfaltering reassurance “I’ll promise I’ll be there/to cover you with love/just be cool”. On the other end of the spectrum is the immediate staccato propulsion of ‘Shatter’ which is pitched somewhere between 80s pop quirkiness and driven rock. Suffice to say Rogers’ vocal display here is breathless and wholeheartedly cathartic. When the singer hollers “I’ll do anything just to be with you” you can feel the sentiment. ‘I’ve Got a Friend’ is stripped back to just a plucked acoustic guitar, a jangly piano and that outstanding voice Rogers is blessed with. It’s a touching ode to unwavering friendship, one “that’s been through it all”, the good times and the bad, the kind of friend “when I’ve been through shit/she’s the first one I call”. The kind of friendship that lasts a lifetime.

Vulnerable yet unflinchingly powerful ‘Surrender’ is the kind of record that stops you from “thinking about the state of the world” for a while and transports you to a place of compassion, love and friendship. Right now, that sounds pretty perfect right?

#Maggie Rogers #Surrender #Music #Album Review #Music Review #Pop #Indie #RnB #Heard It In a Past Life #Maryland

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chorusfm · 2 days

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Maggie Rogers – Don’t Forget Me

The third major label studio album from Maggie Rogers, called Don’t Forget Me, showcases the singer-songwriter’s continued growth in more ways than one. While I originally saw Rogers in the same realm of pop artists like Kacey Musgraves, Phoebe Bridgers, and Julien Baker, it turns out she may just be this generation’s Joni Mitchell. With crisp production that Rogers and Ian Fitchuk co-produce on this outstanding record, Maggie Rogers quickly cements herself as one of the marquee pop acts in the world. Having recently announced a comprehensive arena tour, that is selling extremely well, Rogers takes full advantage of her time in the spotlight on this breezy collection of ten songs that blend pop, country, and captivating storytelling in her most fully-realized album to date. The artist that once had a starry-eyed vision of headlining the places she grew up attending, has come full circle and seeing her hard work come to fruition. Don’t Forget Me is a record that breathes new life into the singer-songwriter genre by displaying what makes Maggie Rogers instantly relatable, yet her artistic development is exploding at an alarming trajectory. The cautious opener of “It Was Coming All Along” puts herself into the story of her songs as she sings in the second verse of, “And she’s saying, hold your temper / ‘Hey there, Maggie, slow your roll / And I know that you still hate him / For the way he hurt you back at school,” and the songwriting continues to get better from there. “Drunk” has an alt-country twang to it, while Rogers’ vocal cadence commands the song from the first notes, and never lets up. The song remains a standout on repeat listens, and this young artist’s ability to captivate her audience remains top notch. The casual unfolding of “So Sick Of Dreaming” plays out like a Sheryl Crow tune paired with the pop bliss of Fiona Apple, and I enjoyed the section where Rogers talks over the instrumental mix about being stood up by her date in favor of him getting Knicks tickets, as she explains, “So he calls me up fifteen minutes before the reservation and says he’s got Knicks tickets instead / I mean, I was at the restaurant! / So I took the steaks to go, I had two martinis at the bar / And went to meet my friends down the street / What a loser!” This relatable feeling of finding out that someone isn’t worth your time is heartbreaking, yet Rogers takes it all in stride. The current single of “The Kill” is a great mix of vibrant synths paired with cool-sounding guitars to lend themselves as a canvas for Rogers to put her sensational vocals over. The breezy-soothing second verse of, “Remember the days we used to drive upstate / Singing indie-rock songs in the car / You wore your fresh leather / And blamed it on the weather / For being the reason you were / So difficult, but so invincible,” put firm focus on Rogers’ unique ability to vividly explain the world around her in a picturesque fashion. The front half closes out with the steady beat found on “If Now Was Then” than finds Rogers effortlessly swaying from her normal vocal register to a falsetto with veteran ease. The piano-laced ballad of “I Still Do” is pop perfection in its purest form, and she conveys a wide range of emotions in her vocal delivery. The cool jazz-pop of “On & On & On” breaks up some of the similar-sounding songs found on the front half of the record, and remains a standout in this LP that is filled with so many thrilling moments from front-to-back. The slow-build of “Never Going Home” may just be my favorite song that Maggie Rogers has penned to date, and the shimmering chorus of, “I can’t behave, but I don’t want to be alone, but / You kept me waiting, now I’m never, ever going home / Never going home,” paint a picture of an artist and person fulfilling their musical destiny. “All The Same” reminds me of the early recordings that Rogers put together before she was signed to a major label, yet the thoughtfulness of the lyrics continue her artistic growth in new and exciting ways.… https://chorus.fm/reviews/maggie-rogers-dont-forget-me/

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krispyweiss · 4 days

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Sarah Jarosz at Memoriał Hall OTR, Cincinnati, Ohio, April 26, 2024

Touring behind Polaroid Lovers, Sarah Jarosz is leaning heavily into the album, culling more than half of her 19-song set from the 2024 LP.

This makes the shows - like the album itself - more pop- and rock-learning than anything Jarosz has done as a solo artist or as a member of I’m with Her. As such, Jarosz, clad in leather pants and a black top April 26 inside Cincinnati’s Memorial Hall OTR, stuck exclusively to the mic on a late-show cover of Massive Attack’s “Teardrop” and played banjo only once, on “Green Lights.”

“Even Beyoncé’s doing it,” she said of the clawhammer. “I’m here for it.”

Backed by a three-piece band and mostly playing octave mandolin and acoustic guitar herself, Jarosz opened the show with four Polaroid Lovers cuts that set the tone for the evening. Bassist Daniel Kimbro provided an early highlight with an exquisite electric-bass solo on “The Way it is Now;” many of Jarosz’s own instrumental showcases, however, were blunted by Fred Eltringham’s drums, which overpowered much of the interplay between Jarosz, Kimbro and guitarist/harmony vocalist Seth Taylor, with whom the frontwoman struck some rock ‘n’ roll poses, throughout the 90-minute performance.

The unfortunate drum mix made Jarosz’s solo-acoustic rendering of “Jacqueline” and a trio rendition of “Morning” all the more sweet. And when Eltringham used his hands and/or bushes on his kit as on the stunning country ballad “Days Can Turn Around” - a Polaroid highlight - it was a reminder that the show’s relative weaknesses had more to do with the material and the mix than the people on the stage festooned with candles, mic stands with braided greenery and a big red heart on the kick drum.

Nods to Jarosz’s back catalog, including “Build Me up from Bones;” “Maggie,” on which Taylor handled John Leventhal’s acoustic guitar parts on electric; and Jarosz’s interpretation of Bob Dylan’s “Ring Them Bells” reinforced the fact.

Canadian singer-songwriter Le Ren warmed up the sold-out house with a well-received 30-minute set in a duo format that found her acoustic guitar accompanied by lap steel and hollow-bodied electric guitars. The playlist included George Jones’ “The Day I Lose My Mind;” Townes Van Zandt’s “Colorado Girl;” and such originals as “Diane,” a paean to the singer’s mother.

If I could look into the center of the sun, I think I’d see her there, Le Ren sang in a voice flecked with bits of early Joni Mitchell.

Grade card: Sarah Jarosz at Memoriał Hall - 4/26/24 - B-

4/27/24

#sarah jarosz #2024 concerts #I’m with her #john leventhal #bob dylan #massive attack #beyoncè #le ren #joni mitchell #george jones #townes van zandt

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thejoyofviolentmovement · 12 days

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Virginie B is a rising, Montréal-based self-taught singer/songwriter, multi-instrumentalist, producer, and self-described “extravagant mess” influenced by a wide range of music, including experimental electronic music, classical, old-timey jazz, 90s R&B, art pop, art rock and more. The French Canadian artist and her collaborator and co-produced Louis Jeay-Beaulieu have received attention across the province and elsewhere for crafting a unique take on hyper pop that incorporates elements of nu-jazz, funk and R&B with a refined conceptual approach informed by art pop. Thematically, her work is informed by her studies in psychology and sees her exploring her psyche, femininity and her relationship with technology and nature. For the rising French Canadian artist, her work is an outlet which she expresses her desires and excesses with an unvarnished honesty that reflects her vulnerability and confidence, while not taking herself too seriously. The rising Montréal-based producer and artist collaborates with a number of local acts including Super Plage, Maggie Lennon, Georgette, Félix Dyotte and Marie-Gold among others. Her full-length debut, 2022’s INSULA garnered praise from ICI Première, Le Devoir, La Presse, Montreal Rocks!, and PAN M 360, which led to a nomination for Pop Album of the Year nomination at 2022’s GAMIQ. Adding to a growing profile, Virginie B played sets across the provincial festival circuit, including Francofoiles de Montréal, Coup de Cœur Francophone, Le Phoque OFF, Santa Teresa Festival, Taverne Tour, 2022’s M for Montréal — and last year’s SXSW. The Montréal artist’s latest single “hana” is a slinky and slow-burning bit of 80s synth funk-like pop featuring glistening synth arpeggios, wobbling bass synth, acoustic guitar and skittering yet relaxed beats. The production is a lush synthesis of organic and futuristic textures serving as a silky bed for Virginie B’s equally sultry vocal. Deriving its title from hana, which translates to flower in Persian and Japanese, the rising Montréal-based artist refers to that etymology in the song, using it as a metaphor to symbolize femininity. Throughout the song, she expresses her unconditional love of women — especially those who are irreverent, who party, who stay out late, and who go against what is expected of them. The result is a playful yet defiantly feminist anthem.

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#electro pop #hana #indie electro pop #indie pop #Montréal QC #New Audio #New Single #Single Review #Single Review: hana #Single Review: Virginie B hana #Virginie B #Virginie B hana #Virginie B INSULA #women who kick ass #world music

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519magazine · 2 months

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newmusicradionetwork · 3 months

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Ships Have Sailed Team Up with Abby Posner for Rock Anthem ‘Get Loud’

Los Angeles based alt-rock band, Ships Have Sailed teamed up with indie-folk artist, Abby Posner and released their foot-stomping single, ‘Get Loud’ this past fall. Ships Have Sailed is the brainchild of vocalist and guitarist Will Carpenter, generally configured as a duo with drummer, Art Andranikyan. The music they create together is uplifting and buoyant. The lyrics reveal a thoughtful and conscientious perspective. And over the years the sound has evolved into sincere indie rock with an unabashed pop structure. Carpenter describes the band’s moniker not as a pessimistic reference to the renowned idiom “that ship has sailed,” but instead a fresh, positive perspective on the unexpected outcomes of unforeseen circumstances. They’ve recorded and released a diverse collection of albums, EPs, and singles that consistently evoke an unrestrained cathartic desire to be heard and enjoyed. Either through crescendoing ballads or indie rock alacrity, their music always captures a uniform sense of sanguine sensibility. By combining an ardent work ethic with an impressive range, the band has maintained a well-earned buzz that has led to international tours, impressive industry showcases, and awards honoring their independence. During the height of the global pandemic, the band released their album ‘Ages’, most of which was co-produced by Dan Sadin (M, Joy Oladokun). It was a testament to the band’s progressive journey. As a follow up, the duo took matters into their own hands while patiently waiting for tours to start back up again when they decided to host a high-quality live virtual album concert for their close friends, fans and followers which resulted in a live album being born. Their single, ‘Silence’ was released in May of this year and had the honor of being featured on the Season 19 finale of Grey’s Anatomy. Longtime friend and fellow collaborator, Abby Posner has been twisting genres, and pushing the boundaries of folk, roots, electronic, and pop music since she can remember, making her “Genre Fluid”. As a CalArts music grad, Posner has composed and produced music for TV, film, and commercials including Hulu’s Maggie, The Fosters, This American Life, The Art of More, Last Tango in Halifax and more. Posner can be spotted in GLEE Season 4 playing banjo and guitar, and the Freeform show Famous In Love playing banjo. Posner has also scored music for multiple films including Across Land Across Sea, Through Their Eyes, Elizabeth Sees, and recently scored the award-winning documentary Lady Buds while playing and touring all over the US. Posner is an official Showcase Artist at Americana Fest 2023, and her music video “Quiet On Sunset” was recently featured on CMT. Ships Have Sailed partnered up with Posner to create a rock-heavy anthem that has captured the ears of many. On the surface, the track itself is a foot-stomping, slightly twangy, rootsey rock anthem that screams for attention and speaks to overcoming adversity and standing up for everything the band believes in. Beneath the obvious, however, there’s always a deeper story which all began when the U.S. Supreme Court made the controversial and unprecedented decision to overturn Roe vs. Wade. Carpenter gives us the gritty details on how the idea initially came to be, “My first instinct upon hearing of the decision was to be angry, so I sat with that for a moment, and then reflected on all the times throughout history when the powers that be attempt to strip away the rights of many to appease the few. A thought popped into my head: “ok, so it’s about to get loud”. I wanted to bring a different perspective into the writing process, so I immediately reached out to a dear friend of mine, Abby Posner, who is an incredibly talented artist and producer and who I felt would bring an important lens to the song. I explained the idea and where it came from and she jumped in immediately.” Posner chimes in on the track, “We wrote this song during a very raw and vulnerable time, and we were feeling angry, and frustrated. We wanted to write a song that embodied all of these complex emotions. A song that felt like a movement. When you take rights away from human beings…it gets loud, and I hope this song motivates people to get even louder.” Since the release of ‘Get Loud’, the duo has not only captured the attention of fans and followers across the globe, but to their joyous surprise, it also captured the ears of the USA Songwriting Competition. ‘Get Loud’ won the grand prize the world’s leading international songwriting competition. While the track continues to gain momentum, it has received support from major publications like Billboard Argentina, Wonderland Magazine, Grimy Goods and more. Additional Artist/Song Information: Artist Name: Ships Have Sailed w/Abby Posner Song Title: Get Loud Publishing: Ships Have Sailed Publishing Publishing Affiliation: ASCAP Publishing 2: Abby Posner Music Publishing Affiliation 2: BMI Album Title: Get Loud Record Label: Ships Have Sailed Record Label: Ships Have Sailed Will Carpenter 617-650-0799 [email protected] Radio Promotion: Loggins Promotion Paul Loggins 310-325-2800 Contact LP Publicity/PR: EEK Management Erin Kintzer 515-771-7417 [email protected] Manager: EEK Management Erin Kintzer 515-771-7417 [email protected] Booking Agent: EEK Management Erin Kintzer 515-771-7417 [email protected] Read the full article

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brn1029 · 7 months

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Time for your Rock Report

Bob Dylan made a surprise appearance at Farm Aid on Saturday night, performing three songs with three members of Tom Petty's Heartbreakers. Dylan made the surprise appearance at Farm Aid 2023 in Noblesville, Indiana. He played guitar and was joined by Mike Campbell, Benmont Tench, and Steve Ferrone for a performance of three songs from 1965: "Maggie's Farm," "Positively 4th Street," and "Ballad of a Thin Man." Dylan performed on the Farm Aid stage for the first time since the inaugural event in 1985. Dylan is credited with inspiring Willie Nelson to launch Farm Aid. During a 1985 performance at Live Aid, Dylan wondered whether a similar event could be put to support American farmers.

Bruce Springsteen has announced that out of an abundance of caution, all of his remaining 2023 tour dates with The E Street Band will be postponed until 2024 amid his recovery from peptic ulcer disease. The rock legend has continued to recover steadily from peptic ulcer disease over the past few weeks and will continue treatment through the rest of the year on doctor's advice. Rescheduled dates for each of the 2023 shows, including those postponed earlier this month, will be announced next week, all taking place at their originally scheduled venues. ‘ When the new 2024 dates are announced, those unable to attend the shows who purchased their tickets through official ticketing companies have 30 days to request a refund. All tickets for postponed performances will remain valid for the newly announced dates.

"Thanks to all my friends and fans for your good wishes, encouragement, and support. I'm on the mend and can't wait to see you all next year," said Springsteen.

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nashvillehq · 10 months

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name: Margaret "Maggie" Devereux gender & pronouns: Cis Woman | She/Her age & date of birth: 34 years old | May 29th, 1989 where do they live: West End time living in nashville: 34 years (whole life/native) occupation: Rock/Country Singer signed to Deverocks Records

BACKGROUND.

TW: child neglect, alcoholism, drug use

The child of a country music empire that started with her grandfather in the 50s before he passed it down to his son, her father. She remembered seeing her dad perform, his cowboy outfit on with his spurs on his boots shining so bright that you could probably see your reflection in them. His guitar was his prized possession and eventually he passed it down to her. He was more of the performer than the performer and businessman that his father had been… the main one who had kept the family record label running was Maggie's mother.

When her father would be on tour, her mother would be either working or doing her own tours since she was also a singer, though she was more folk than country. Maggie greatly admired her mother and wanted to be like her growing up. Despite greatly admiring her parents, Mr. and Mrs. Devereux were far from being good parents towards Maggie and her siblings. When their parents were home, they wouldn't take care of their own kids, they would either be in the living room getting drunk, arguing in their bedroom, or one of them would be locked in the bathroom getting high off of whatever drugs were at their disposal. Needless to say, Maggie doesn't have fond memories of a home, she has memories of a gigantic mansion that her parents were miserable in when they were even home which wasn't often… and this in turn had different effects on the Devereux siblings later on.

As the eldest daughter, her mother was the most cutthroat with her. She expected her to follow in the musical legacy of the family, and Maggie certainly followed through on that. She signed a contract with her family's label when she turned 22 and began her music career, making hit after hit, though despite her success since then, her mother for some reason has never really praised her for her work and the lack of recognition and attention from her own mother drives her nuts. Because of this, she's done some things in her life just to spite her mother and piss her off, like skip out on a nationwide tour to marry her then boyfriend for instance… or scrap a whole album in order to go on an expensive trip with her husband… or even cancel an album press and promotion tour in order to have a baby (which really pissed her mother off).

When it comes to her siblings, she loves them but her and her four siblings all have intense music rivalries with each other, especially because their mother dangles the future of the record label in front of their faces like a carrot. This fuels a lot of tension between the siblings, though they still like each other and still hang out… but none of them completely trust each other because so much drama has happened within the family that they have a certain idea what each of them is and could be capable of when times get tough and when they need to do what needs to be done in order to come out on top.

The only person in the family that Maggie is closest to without a shadow of a doubt is her father. She loves him unconditionally and he listens to her without judgement, he loves her and his other kids without question and he doesn't have favorites, their mother unfortunately does and Maggie is quickly losing her favor.

Maggie's husband is a musician as well, though he introduced her to rock and the two have formed a musical duo and is set to release their first single soon as well as make their first album together, and her mother can't stand it.

Maggie is feisty and goes after what she wants no matter what it is and she doesn't care who gets upset by what, she just wants to have it all. She's very stubborn and hates being told no when it comes to her music career. She loves her husband and their daughter, and she hates going on her solo tours and being away from them. To cope, she either pops pills or does coke but sometimes these habits follow her home, especially when her mother and her siblings get to be too much to deal with.

Overall, Maggie is a kindhearted woman who just wants the world to hear her and see her, she just wants to make people happy at the end of the day… but sometimes you can't make everyone happy, not even your own family. Maggie knows this and she's close to being extremely fed up and leaving her toxic family behind and finally being happy with her daughter and her husband… but she also doesn't want to see the family legacy die out and fade into obscurity… in a nutshell, Maggie is stuck between a rock and a hard place.

#a.#w.#f.#riley keough #maggie devereux #child neglect tw #alcoholism tw #drug abuse tw

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