Swim Deep Shimmer, Letting the Water Soak Up the Euphoria

Maybe the 90s really are coming back. Proof of this was documented in the Monday night set of Birmingham bums, Swim Deep. Opening for the fellow Brits and honorary American heartthrobs, The 1975, the five-piece channeled the paleness and opiate-driven dream pop of the days when the Gallagher brothers ruled the indie scene.

Lead singer and tambourine swinger, "Ozzy" Williams, might have been a less boorish Oasis frontman, outfitted in a gray, long sleeve tee crisply tucked into a pair of dad jeans. A hoop dangled from his left earlobe, which swayed to the raucous shoegazing of the set. To his left, was bassist Cavan McCarthy, who also took the form of another 90s great: Billy Corgan, if Corgan decided it was again okay to wear a red silk shirt with velvet pants.

Even without their keyboardist, Swim Deep was still confident, making Ohio's capital their own little British dive bar for the night. Each of their songs was simply a cheaper alternative to LSD, making the audience spin with wailing guitars and tempestuous shrieks from Williams' microphone. Their shadows danced on the walls of the venue, sending the room into a euphoric experience suitable enough for an Irvine Welsh novel.

Set standouts, "She Changes the Weather" (from 2013's Where the Heaven Are We) and "Forever Spaceman", attracted young girls in winged eyeliner and striped crop tops to squeal, some holding signs in adoration of the band's cheekiness. The latter, which Williams introduced as a song about "wanting to do something then actually doing it", was accompanied by an appearance from his Lake Placid Blue Fender. The band abandoned all virtuosity at this point, letting their instruments duel over the loudspeakers.

After they swept themselves off the stage, some fans shoved their way out of the crowd, obviously impressed enough to go home. Swim Deep held themselves with both a tripping and dripping confidence and an air of deserving to be there, and it's quite safe to say that they do.


//Angelia//

The Blues Were Nowhere to Be Found: Against Me! Deliver with a Message

Florida's punk rock outfit, Against Me!, has had anything but a regular story, particularly marked by singer guitarist Laura Jane Grace's transition to a female in 2012. With this came shifty eyes throughout the industry, along with doubts that the band could continue their ascent without faltering. Since then, the fourpiece has released Transgender Dysphoria Blues (Total Treble), a story of a transgender prostitute - obviously rooted in Grace's own emotions - and embarked on tours to support. On Sunday, Against Me!, with pals frnkiero andthe cellabration and Annie Girl and the Flight, rocked the always sweaty House of Blues in Cleveland to a crowd who were looking for maybe a little more than just a good show.

After about an hour long wait, San Francisco psychedelics Annie Girl and the Flight took the stage. Through a set of strongly placed weak moans by lead singer, "Annie Girl", and ethereal whines that entranced the audience as they zoomed around the room, the fourpiece seemed to be a band of misfits - with their guitarist being considerably older than the others - thrown into some sort of drug-induced dream (in nearly the best way possible of course). "Swans" and their finale, "Bodies", wreaked havoc on the sound system as the crowd swayed and bobbed, still probably anticipating the two following bands instead of paying complete attention to the current act. It seemed that Annie Girl and her rag tag flight might be more suitable for background noise than music that can command any room. 

As Annie Girl and the Flight left the stage, the room began to buzz and sweat for who came next, as it seemed that some fans were only there to see Frank Iero (ex-My Chemical Romance), a tattooed emo icon of course. The band's crew was quick with their set-up and the Cellabration took the stage to Iero's voice whining about evil and mundaneness (along with screams from isolated groups of adolescent girls). As the frontman walked onstage with his hood up and coffee in hand, the guitars wailed into their 2014 debut Stomachaches' (Staples Records) opener, "All I Want Nothing". It is evident that he spent most of his music career not as a flashy singer of a prolific, theatrical band like his ex-bandmate Gerard Way, but as the heart, as his passionate grit never faltered throughout his entire set. The front of house booth was constantly adjusting sound levels to produce the most flawless of the three bands' delivery. 

Fan favorites, "Weighted" and "Joyriding" - the latter lacking the blood that doused its accompanying video - led the crowd to rush to the stage and jump as if they were watching the headliner. Iero said few words, and let the sobs and roaring of his and guitarist Evan Nestor's instruments do the talking, namely in his ode and true story about his wife ("She's the Prettiest Girl at the Party, and She Can Prove It with a Solid Hook"). And thus, as the last of the drum hits of "Joyriding" rang out to the back of the club, the aforementioned groups of girls left the pit, as they nudged each other and grinned, briskly remembering that they had just seen THE Frank Iero.

Now, the crowd bustled as Against Me! prepared to take the stage. Some begged the question of which songs off of their six studio albums they would bring out tonight. Others discussed Grace's prized Rickenbacker six-string, which now sat pristine on its stand. But as soon as the four took the stage to "Unconditional Love", everyone now did the same: scream. Dressed in all black, Against Me! played as if nothing had ever changed the band, but at this point, it is fair to say that nothing ever did. Even the boys in the collared shirts danced next to the girls in spiked denim vests and pink mohawks as they yelled back "They just see a faggot" - a word that, if yelled in any other setting, would be spit upon - as Grace strummed through "Transgender Dysphoria Blues". 

The song has become an anthem for transgender youth, a handful of who stood in the crowd, and Laura Jane Grace a transgender icon. To be one of the only members of any rock band to confront gender dysphoria and transition, especially in a scene that was once homophobic, is still a difficult thing to do. Grace is a commanding beauty, even as her long, reddish hair covered her twinkling eyes for most of the set. During a break, she triumphantly reminded the crowd of the Supreme Court decision to allow same-sex marriages nationwide that had been announced just two days before. The crowd cheered, naturally. 

The strongest of songs, which made the crowd continue their night-long moshing and the security to bob their heads, was "Thrash Unreal", the poppier song of 2006's New Wave. Even through her veil of hair, Grace smiled the whole time, exchanging silent banter with James Bowman, who has been the guitarist since 2001, and newcomer Inge Johansson. She is happy and shows it. 

"Thrash Unreal" was quickly followed with two more crowd favorites, "Black Me Out" and "True Trans Rebel Soul", before the fourpiece exits the stage to breathe in the moment as the crowd chanted "One more song! One more song!". Grace suits up with an acoustic to cover The Replacements' "Androgynous", which she had recently performed as part of Miley Cyrus's Hippie Foundation Backyard Sessions along with Joan Jett. And as Against Me! all hovered around Atom Willard's drum kit for the final few notes, gratitude for the music and the message rang even louder than any amp could ever supply. 

Laura Jane Grace and the rest of Against Me! are still one of punk's most punctuated statements, and as the sweaty pit thinned out and the last drinks were served, the inescapable feeling that comes with the most earnest music still was in everyone's bones.

//Angelia//

If you are struggling with your gender identity or aren't sure if you are transgender or not, feel free to reach out to the Transgender National Hotline: (877)-565-8860

We Moved Like The Ocean

May 5, 2015 // A&R Music Bar in Columbus, Ohio

In the cramped pit of the LC Pavilion in the heart of the Arena District as I anxiously awaited The 1975 was the first time I experienced Bad Suns. And to be completely honest, I was underwhelmed. Their set was subpar compared to the first opener and they seemed rushed and showy. Later that summer, the band released their debut album Language & Perspective (Vagrant Records) which impressed far beyond my initial impressions. Exactly one year later, the Southern California quartet returned to the Arch City to headline their own show and I'm honored to say they killed it.

The night began with local group Indigo Wild, who charmed the crowd with their indie rock sound and meaningful lyrics that made me feel nostalgic about things I have never experienced. The real gem of their set was the power anthem "Rowboats" which highlights this group's strengths, their dynamic harmonies, smooth rhythm, and strong percussion. Indigo Wild is genuine through and through with songs that are full of spirit and unique to the core. Their energy was infectious and a solid way to begin the evening.

Second to perform were Californian alternative rockers Kiev. Gracing the stage with a set from their latest Falling Bough Wisdom Teeth, their music was hypnotizing and intricate with an obvious attention to detail. Kiev also performed their song "Be Gone Dull Cage", written for the fifth season premiere of The Walking Dead, a song of grit and nostalgia. This five piece, led by singer and guitarist Robert Brinkerhoff, organically combines psychedelic funk, indie, and jazz styles with effortless ease.

As the main attraction, Bad Suns, finally rolled out to the stage, the crowd was ready for them. These Los Angles indie rockers took the stage with power, eager to perform. Lead singer Christo Bowman, along with bandmates Miles Morris on drums, Ray Libby on lead guitar, and Gavin Bennet on bass, took the audience on a whirlwind trip through their debut album. Language & Perspective is the epitome of an indie rock love child, with clear inspiration from the hits of the 80's and the early 00's alternative scene, a hint of dance-punk, and hits it's highs in it's catchy lyrics and funky smooth melodies. 

Opening with the ever angsty and upbeat "Transpose", Bad Suns transitioned swiftly through their set to the rhythmic and "Dancing on Quicksand" and the anthemic and groovy "Pretend". Bad Suns are performers at heart and truly know how to entertain. Bowman, an alternative age heartthrob, indulging the crowd with enviable falsettos and roaring guitar solos. 

This show's high points were in their last three songs, their first single "Cardiac Arrest", "We Move Like The Ocean", and "Salt". With their set drawing to a close, Bad Suns let out all of the stops. Bad Sun's fanbase is small but mighty, their voices near drowning out the sounds of Bowman and his crew. In those last few songs, those in the crowd truly did move like the ocean, jumping and swaying to the sounds of the Los Angeles natives. Their west coast roots ran deep from beginning to end, the guys exuding that endless summer vibe all night long. With such a 360 improvement from our last encounter, I expect nothing but great things in Bad Suns' future. 

xx. Sheridan

So Far (It's Alright for The 1975)

In mid-2012, The 1975 released their first EP, Facedown, despite the fact that they had started the band eight years before. Fast forward two years, three more EPs, and a debut album, The 1975 are now playing the final show of their headlining tour in Cleveland on December 16th.
The foursome nearly filled the city's historic Masonic Auditorium with a crowd of screaming girls, begging to get their hands on a floppy-haired, Manchester-raised Matty Healy.

But while they waited, the opening bands, Young Rising Sons and CRUISR, took the stage to entertain. Young Rising Sons (Interscope Records), an alternative rock bunch from New Jersey jammed through a set filled with dance-inducing songs, including a cover of Modern English's 80s hit, "I Melt With You". Vocalist/guitarist, Andy Tongren, kept each song soulful, while he and guitarist Dylan Scott teamed up to create a more poppy sound. While Steve Patrick pounded the kick drum, the crowd danced and raised their arms to the whistling "High".

CRUISR (Vagrant Records) cruised through their set, rarely speaking to the crowd, except to introduce themselves and gauge the excitement for the main attraction. Their two strong points, "All Over" and the finale, "Kidnap Me", made the crowd bob their heads and sway as the electricity in the theatre mounted. This four piece is the quintessential opener (this was their first time out on the road) that will soon be making their way to many headliners of their own.

After ten minutes of an ambient ringing that started as a hum but soon rang out onto E. 36th Street, The 1975 came onstage to the piercing screams of an auditorium brimming with girls, while drummer George Daniel beat away on his drums. The five, neon boxes behind them glowed and flashed through each of their 80's pop-infused, ethereal rock tunes. The lights and smoke made it seem as if the entire crowd was dancing in the clouds and that they were never coming down.

Perhaps the showstopper was saxophonist John Waugh, who has been referred to as the fifth member of the band. He made several appearances throughout the night, including "Heart Out" and "Me". He can wow a crowd into a mesmerized lull without ever uttering a word; the sweet notes speak for themselves.

The band's setlist was a constant ebb and flow of poppy dance tracks, countered by a few dreamy songs that induced a few hands to wave their lighters. Their hit, "Girls", was the last song to move the crowd as they made their way off the stage, but not before Matty had shared his thoughts on the constant touring they had put themselves through. "Ever since we've been a band, we haven't stopped this. It's brilliant," he delivered, perhaps making it too obvious throughout the night that they were relieved to finally have a break.

Waugh returned for a somber "Is There Somebody Who Can Watch You", as the band stepped back onto the stage for the five song encore. They continued the celestial vibe with their new single, "Medicine", but perhaps the crowd felt most alive during "Robbers", as a few held up bandannas as they bellowed, "Babe, you look so cool," to the sky. For the second time during the night, Healy asked the crowd to put away their phones, but not in the act of some "arbitrary designation". Guitarist Adam Hann initiated the band's possible most well-known single, "Chocolate", as the crowd squeezed against the barrier to dance.

After saying their goodbyes to both the crowd and the tour, The 1975 broke out into "Sex", Healy ironically wailing, "And this is how it starts." As the final note rang out, Healy, Daniel, Hann, and MacDonald threw their arms around each other and bowed. The metaphorical curtain had just closed on a tour that had made them rivals of today's greatest British rock AND pop groups. As they rest and prepare to make a sophomore album, it is safe to say that The 1975, even at moments when they fall short, are ready to take on the world.

//Angelia//
photos by Sheridan

Tonight, You're Perfect: A Night with New Politics

Being from Cleveland, the likes of House of Blues, Grog Shop, and Agora are my venues of choice. But finally, after two months of residing in Columbus, I finally took my first trip to the lovely Newport Music Hall for the New Politics show (with Bad Suns and SomeKindaWonderful). 

As soon as I stepped foot onto floor and took in my surroundings this past Friday night, I was taken back by the chipping beauty of the interior. It is grand and dark and dirty, but that is exactly how I like my venues. It is the perfect place to forget about everything and enjoy art in its rawest form. 

The first opener was SomeKindaWonderful, who happen to have found their voice (and home) in Cleveland. I had heard of them through the scene up there, but I had never taken a listen. And I am kicking myself for waiting so late. They are a strange crew of genre-bending musicians, each bringing their own sound and voice to the group. Vocalist Jordy Towers brings a brash electricity on stage, bouncing around but then getting closer to the crowd for the Vaudevillian "Devilish Man", in which guitarist Matt Gibson flaunts around stage with a 6-string. Their song "Reverse" is written in exactly the way the title implies: the story is told backwards. And that is something truly special. The shining star of this five-piece, however, is percussionist/vocalist Sarah Dryer, a Columbus native. Her moves are calculated, yet flawless. Her style is off-center, but it works. It all works. This band is going somewhere.

Up next, were Bad Suns, hailing from indulgent and arid Los Angeles. They are an eclectic rock band who can both move and make the crowd move. The band glided through their album, Language & Perception (Vagrant Records). Lead vocalist Christo Bowman is a suave crooner, possibly the closest thing this generation will get to Jim Morrison. Perhaps the most special thing was that I overheard many in the crowd say that they were here only for Bad Suns, and it is always beautiful when an opening band garners that strong a fanbase at a show. Their three strong points were "We Move Like the Ocean", "Cardiac Arrest", and the final song, "Salt", all in which their sound really echoed off the balcony and the 1920s movie theatre architecture. It looks as if Bad Suns can only continue to rise and become a mainstay in current alternative rock.

The main attraction, New Politics, came out to pulsing lights and sounds and into "Tonight, You're Perfect". The crowd wasted no time in screaming back the lyrics, setting the tone for the rest of the night. I have been to plenty of concerts in Ohio, and I know that we always bring the noise and 

passion. The band's faces read clearly that this crowd was louder than most. Throughout the set, vocalist David Boyd would take a breather by dancing, naturally, while American drummer Louis Vecchio pounded away on his kit. With a break dancing background, Boyd can slide and roll his way through any pause or lyric, something many lead singers cannot even dream of doing.

With a setlist littered with debut album favorites ("Yeah Yeah Yeah" and "Give Me Hope", sophomore album hits ("Goodbye, Copenhagen" and "Stuck on You", performed by guitarist/vocalist Søren Hansen), a Beastie Boys cover, and a hint at their upcoming 2015 album paying homage to their Scandinavian roots, Vikings (DCD2 Records), they gave no chance to any audience member to yawn. At one point, Boyd, dressed for part of the night in a Columbus Crew jersey, attempted the traditional "OH-IO" chant, commenting, "I love that you guys do that." He also took a minute to give a dramatic, inspiring monologue, telling the crowd that anything can be a dream and anything can become a reality. As the encore neared and their newest single "Everywhere I Go (Kings & Queens)" roared and abused, he shed his shirt and climbed onto the speakers, making him eye-level with the crowd in the balcony.  At that point, New Politics was running the world. 

When the three-piece returned for their two-song encore. the crowd turned on their phone flashlights (with the help of a few vintage lighters) to sway their way through "Fall Into These Arms", and it was obvious that the band was dripping with emotion, smiling at each other and taking the moment in. "Harlem", the raucous, quintessential dance-punk song had the honor of being the final song of the night, as the crowd jumped high and screamed loud. It is in those moments that music is the only thing that matters, along with the opportunity to share it with other people that just "get it". They took a bow and the show was over, but the room was still electric long after they left the stage. 

New Politics knows how to put on a show and make the pit seem like a strobe-light-driven dance floor. You can expect 2015 to be their year, with a third album set for release, along with another probable headlining tour to support it. As their fanbase grows and their music gets louder and they dance a little faster, this band is going to be able to connect with a hell of a lot more music lovers in the near future. Expect big, big things.

//Angelia//

Dreaming My Life Away

November 6, 2014 // A&R Music Bar in Columbus, Ohio

One of my favorite things is getting to see an artist evolve. Getting to witness an act move from an opener to a headliner tour is such an awesome thing. This year I've been fortunate enough to see that happen with James Keogh, better know by his stage name Vance Joy. From opening for Young The Giant, to playing the This Tent at Bonnaroo, to finally headlining his own tour, Vance Joy is clearly making his way.

Keogh opened with one of my favorite songs off his EP God Loves You When You're Dancing, "Emmylou", directly followed by one of my favorite songs off his debut album Dream Your Life Away, "Red Eye". Good start thus far. At this point, he pulled out the ukulele to perform "Play With Fire". I started learning how to play the ukulele right around the time that I discovered Vance Joy, so I love me some ukulele.

Vance Joy's setlist had the perfect mix of ballads, like "Georgia" and "Best That I Can", and folky upbeat songs, like "Who Am I" and "Mess Is Mine". With falsettos to make all women and men alike swoon and the kind of genuine quality to his songs that people crave, this man is a perfect performer package. (I went to this concert with my mom- one of my best concert companions- and we were both feeling some kind of way by the end.)

While I've never performed live, I'm sure there are few greater feelings than taking a step back from the mic and hearing the audience sing your song without you. During "Riptide", you could see the satisfaction on his face to hear the crowd doing just that.

I would've gladly sat and listened to Vance Joy sing a grocery list for another hour, but unfortunately the show had to come to an end. I think it's safe to say that Vance Joy's career will only continue to grow over the next few years. I fully expect him to keep cranking out chart toppers in the near future. Most recently he announced that he will be opening for Taylor Swift on her world tour next year. Consider me stoked.

xx. Sheridan