heartsleevemag

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All Good Things: Hot Mulligan at the House of Blues

by Krystina Alfonso

My first time back at the House of Blues in Anaheim, California, was a sweet treat because I was there to see the Choose Your Fightour presented by Hot Mulligan for the first time. When the lights dimmed, the crowd roared as a country song played, and I knew it was time to party! Fans surfed the crowd, including a 14-year-old kid who continued throughout the night, clearly having the time of his life. What a trooper.

The band was immediately greeted by screaming fans who shouted lyrics right back at them. I was aware of Hot Mulligan but had never listened to their music before — which is definitely going to change after this show. 

With a sold-out venue and the energy pulsating through the room, I could see why these guys claim to be the “#1 Hot New Band.” Their midwestern sound is very catchy, and I found myself bobbing my head while shooting in the pit a few times. I even played their 2023 album Why Would I Watch on the drive home. Needless to say, they have a new fan!

During the show, singer Chris even gave a shout-out to local music venue Chain Reaction and said, “If you live here and haven’t been to Chain, go fuck yourself!” Well said, Chris, that got a good chuckle out of me. They’ve played Chain a few times over the years, and thanked the crowd for constantly coming out to see them play in Orange County, one of their favorite places to play. They ended the night with “OG Bule Sky” from their 2020 album You’ll Be Fine, and what a song to go out on! Though I hadn’t been a fan prior to the show, they sure had me dancing with the crowd and wanting more, but all good things must come to an end. 

#hot mulligan #house of blues #anaheim #live music photography #music photography #music #music publication #heartsleeve magazine #rock music #entertainment #live music #by krystina alfonso

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Friday Five is back!

Whether you're new to the mag or you've been following Heartsleeve for some time now, you ought to know this about us: music gets our blood pumping. So we're bringing back our biweekly soundtrack of staff picks, the Friday Five, a playlist of new – or new-to-us! – tracks that we've been vibing with lately. This week brings us emotion, danceability, reflection, and life. This is Friday Five.

1. "Cinderella" – Remi Wolf (Cassidy's Pick)

Hearing this track for the first time, while on public transit at 9am was terrible; all I wanted to do was get up and dance. Remi just makes you feel good. She uses this sort of R&B beat with a disco horn section that makes you want to get up and move. There’s also what I like to describe as “fun little treasures,” hidden in the production. For example, a little whistle pops up throughout the chorus along with a desk bell signifying that we are, in fact, meeting Remi “and the boys in the hotel lobby.”

Remi’s 3rd LP Big Ideas releases on July 12th.

2. "Wretched" – Bartees Strange (Jude's Pick)

"I was trying to be something wretched, something I saw on TV," Bartees Strange shares with listeners in the bridge of "Wretched," the third song on his 2022 LP Farm to Table. The entire album is a personal reflection on life and behavior, but this track sticks out to me because of its brutal honesty and its narrative; it thanks one of the singer's loved ones for being there for him even when he was in a tumultuous, lost period of his life. It's also sonically engaging, the pre-chorus building a bridge between the soft verses and the fun, almost chaotic chorus that culminates in an assertion of hope regardless of one's past. I'm obsessed with the entire album, but this one is at the top of my On Repeat this week. Last month, Bartees Strange released a deluxe edition of his latest album, Say Goodbye To Pretty Boy, and I'm excited to delve into it. If it's anything like Farm To Table, I'm sure it'll be gripping, reflective and masterful.

3. "Cocoon" – Bjork (Elise's Pick)

This song is one of my favourites of all time, but one that I’ve recently revisited. The production is quintessential Björk experimentalism; subtle yet undeniable mastery of her craft. Lyrically, the song is completely discrepant to the media’s image of her as naive and childlike. It’s a bold reclamation of desire in the form of a gentle love letter, almost invasive to listen to because of its intimacy. The microbeats which softly patter through the whole album, Vespertine, characterise this song as a paean to a vulnerable love Björk is sharing with her lover, and now with us as listeners. It’s a product of that Tori Amos, PJ Harvey era of 90s alternative, unapologetic in its depictions of a sexuality that had not been explored by many women due to taboo. The title feels perfect, too, the beats and layers of production evoking a feeling of being blanketed in the music as though in a cocoon. A track that never gets old, despite the 13 years that have passed since its release.

4. "B2b" – Charli XCX (Cassidy's Pick)

Wake up, angels! Charli is back! In February, Charli XCX emerged with a new single Von Dutch that spread across TikTok like a plague. Then a remix of the track featuring Addison Rae and production from A.G. Cook, it was clear that this new album cycle would be a hit.

Before the album, BRAT, drops on June 7th, Charli graciously released two more singles to obsess over, “Club classics” and “B2b.” As much as I love “Club classics,” “B2b” is it for me. The addictive synth beat, mixed with the infectious hook, creates a track you don’t want to put down and I haven’t. Charli has a special way of bringing meaningful lyricism to a genre that is usually viewed as completely void of it, and “B2b” is a great example. Suffice it to say, I am beyond excited to hear the album of the summer on June 7th.

5. "Good Luck, Babe!" – Chappell Roan (Elise's Pick)

I don’t typically listen to pop, but this upbeat exploration of queer love and heartache is one of my favourite recent releases. The vocals are grandiose, heavenly in their high pitch and almost reminiscent of Kate Bush in their drama. Roan is an artist completely dedicated to the ‘image’ and the art that comes with her music; her recent appearance on Tiny Desk included lipstick on teeth, bouffant scarlet wigs and tiaras. She is one of my favourite rising artists at the moment, opening many of Olivia Rodrigo’s US shows and portraying the multifaceted beauty and ache of sapphic desire through the journey of her debut album, The Rise and Fall of a Midwest Princess. This is her first release since this album, and she doesn’t disappoint. ‘You’d have to stop the world just to stop the feeling,’ she sings, as the ending of the song slows, slowing and distorting her voice and eventually stopping. She doesn’t shy away from explicit queer desire, and it’s not all innocence: it’s “a sexually explicit kinda love affair.” I’m enamoured with Roan’s eccentricity and originality, and this track only serves to reinforce it - the fun beats, flamboyant strings, and her hypnotic vocals render this a must-listen track.

Check out the Friday Five playlist on Spotify below, and be sure to follow us so you don't miss future updates!

#bjork #Chappell roan #Bartees strange #Charli xcx #remi wolf #friday five #music #by cassidy byrnes #by elise buckingham #by jude mcdonald #heartsleeve magazine #music publication #journalism #indie music #entertainment #Spotify

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Newness and Nostalgia: Fall Out Boy in Raleigh, NC

By Jude McDonald

Like countless other teenagers grieving the loss of their youth as they navigate the turmoil, heartbreak, and insecurity of adolescence, I found my comfort in music – specifically, Fall Out Boy. The pop punk band from Chicago stood out to me from the moment they ended their hiatus, giving me words to describe abstract feelings I'd never been able to articulate. (After all, Pete Wentz can "write it better than you ever felt it.") Fall Out Boy's brilliantly bold artistry shifted over time as the band changed, bending and defying genres, and their fans followed them along the way. But I always found myself coming back to the classics, hoping that one day I’d get to hear my favorite songs live. And last Tuesday night at PNC Arena in Raleigh, North Carolina, I did. 

Raleigh was one of the earlier stops on Fall Out Boy’s current tour, So Much For (2our) Dust, in support of their most recent album, 2023’s So Much For Stardust. The band came with three phenomenal opening acts and the promise of a night to remember. The first opener was Games We Play, a new three-piece addition to bassist Pete Wentz’s record label. Games We Play’s infectious energy and endearing humility charmed the crowd without effort. Even though the arena was barely full, the three musicians played their hearts out, giving all their energy to the audience. Following Games We Play, Hot Mulligan took the stage. Their heavy, deep sound and emotional energy filled the room as the lead singer made the stage his own. No member of the audience was immune to the deep, reflective vibe. The third opener was crowd-favorite Jimmy Eat World. An undeniably classic band, they prepared the audience for the type of nostalgia that Fall Out Boy brings to the stage, oozing an enthusiasm that brought the whole crowd to their feet. 

My first thought once the curtain dropped and I heard those first heart-stopping notes of “Love From The Other Side,” was that Fall Out Boy’s production is breathtaking. With giant moons framing the stage, and lighting in all different colors, and the flamethrower bass (yes, you heard that right), there is no shortage of spectacles to be entertained by. And while the band generally keeps the show consistent in style and structure, there are a few surprises fans can expect to… unexpect. On the first SMFS tour, fans were tortured and delighted by Fall Out Boy’s newest addition: the portion of the set known as the “magic 8 ball.” The 8 ball, which they brought back for (2our) Dust, is a surprise song. In this slot, the band chooses a deep cut to revisit that usually shocks the audience – some of these songs are finally getting their live debut despite having been released almost twenty years ago. There are also other places in the set for them to shake it up, like lead singer Patrick Stump’s nightly piano medleys and the infamous fifth song, where “A Little Less Sixteen Candles, A Little More Touch Me” is on the official setlist but is sometimes delayed in favor of a surprise track. Either way, it’s apparent that the band knows we adore the new album, but also want the chance to hear our beloved favorites. Raleigh was graced with “Dead On Arrival,” “The Pros and Cons of Breathing” – its first live performance since 2007! – and “What A Time To Be Alive” during the piano medley (that one, I was extremely excited about). 

Overall, there was something communal about the entire experience; from the dad one row above me that had obviously been dragged along (and was endlessly amused by my hype and lyrical knowledge), to the really tall guy somewhere in the floor seats who seemed to pump his fists everytime I did, everyone in the room shared something special that night. Concert culture has changed profoundly in recent years, but this show took me back to when audiences looked out for each other and strangers became friends, just by loving the same music. If I ever see Fall Out Boy again – and let’s be real, I’m hooked now – I won’t hesitate to jump around and sing until my lungs give out. 

Fall Out Boy will be touring through early April, before taking a break and then jetting off for festival season. You can find the list of So Much For (2our) Dust dates HERE. And don't forget to check out our highlights gallery from the show below!

#fall out boy #patrick stump #pete wentz #joe trohman #andy hurley #so much for stardust #so much for 2our dust #games we play #hot mulligan #jimmy eat world #raleigh #raleigh nc #pnc arena #by jude mcdonald #music

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REVIEW: Zooey Celeste explores sonic and mortal transition on debut full-length, Restless Thoughts

by Shea Roney

Reaching through the haze and darkly obscene adventure that is Restless Thoughts, stands Zooey Celeste. As an embodiment of the creator’s alter-ego, the astral shaman known as Zooey Celeste is here to lead the newly departed to whatever lies beyond this enchanting world he has created. With this debut full-length, coming from a novel that he is writing simultaneously alongside the songs, Zooey teams up with producer and friend Nick Hakim (Lil Yachty, Lianne La Havas) to excavate this physical world into the multitudes of strange outer places. 

The album begins its pilgrimage with “Effortless”, an ethereal tune that stands apart from Zooey’s nostalgic voice and the wistfulness of the backdrop. With swooning lines like, “From way up in the heavens / To the underground / I thought I saw you screaming / With Your voice unfound,” “Effortless” sets the stage for a unique and unrestrained journey. The world's first introduction to Zooey Celeste’s Restless Thoughts was through the debut and title-tracked single that follows the opener. What begins as a subtlety of avant-punk drum tracks and lo-fi guitar drones, becomes a dark comprehension of eternal conflict. As Zooey sings, “Why can't we just live alone / And why can't we just get along gently,” the track takes a dark turn to self destruction. With Zooey’s hypnotic, baritone voice, there is a degree of pleading that is beautifully portrayed and heavily felt. 

There is of course darkness that lies within this odyssey that we learn only Zooey can help us comprehend. “Running All Night,” driven by beautiful chord voicings and minor intonations, is a sinister lo-fi track that shines in its simplicity. “Torture Me” is a melodic diddy that is light in rhythm and melody, but weighed down by the unsubtle torment. “Walk By,” an industrial chamber-pop song, is determined to guide us to our next storyline destination. With the hauntingly cathartic chorus of, “Walk beside me,” otherworldly elements come into vision. With a strange yet established folky backdrop, “God Awful” is a poppy exchange of honesty for acceptance. With steady guitar chunks and clappy drum beats, the track acts as the bridge between humanistic faults and the purity of the great beyond. 

One of the emotional highpoints of the album comes from the track “Cosmic Being.” Having had it as a voice memo for years, Hakim has turned it into a deliberate song of heartbreak and promises. With a rich piano track drenched in lo-fi guitar and drums, Zooey’s vocals reach a height of desperation. “Comeback”, a track dedicated to love, finds textures in lo-fi arrangements and saxophone squeals. “Big Trouble,” accompanied by friend Tei Shi, is a track of funked up basslines and ethereal composure that allows space for the vocal features. Just as this futuristic dance track drops off, it returns with a fortified groove to parade out the remaining instrumental characters. 

The album comes to a cinematic conclusion with “Stay Up.” One of the most sonically sparse tracks on the record, “Stay Up” is composed of heavy,  staccato string arrangements and raw vocal tracks. Without dropping the poppy melodies, Zooey finds comfort in getting a second chance despite all of his internal dilemmas. As the album comes to a close, we reach the end of our journey with a collage of sounds as Zooey disappears from our earthly senses. 

Restless Thoughts drops tomorrow, Friday, November 10. For now, you can stream "Big Trouble" wherever you listen to music, and be sure to follow Zooey Celeste to get to know more about the album and stay updated on his live performances.

#zooey celeste #tei shi #nick hakim #album release #new music #music release #new artist #debut album #music #musician #heartsleeve magazine #music publication #new music friday #new releases #music review #by shea roney #Spotify

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GALLERY: Sun Room

by Vi McDonald

Last Thursday night, I had the pleasure of heading to Lincoln Theater in downtown Raleigh, North Carolina, for indie rock band Sun Room's fall tour. The show was exhilarating, drawing fans of all ages and identities, and I left the venue itching to hear more from the band.

A six piece band hailing from London, Sports Team was the opener, sufficiently warming up the audience. After playing a couple songs, the band got interactive, the lead singer passing the mic out to the crowd and allowing them to ask questions of the band before they kicked into their next song. Sports Team played the crowd right into the palms of their hands, with a cooly effortless stage presence; some of the members played in earnest, while others appeared hilariously detached. It was clear that every one of them had skill, though, their strength lying in catchy riffs and strong, grounding drumbeats that had even those at the back of the crowd moving.

The crowd's excitement was palpable leading up to Sun Room taking the stage, cheering as they watched the crew set up a birthday banner. When the show started, it was clear that Sun Room knows how to do one thing, and that's have fun. And so do their fans. The four of them jammed, filling the room with their bright, indie rock sound. As they played song after song, the band electrified the room, moving around the stage and interacting with both the crowd and each other until the whole show felt like a celebration.

Sun Room is on tour through November, with Sarah & the Sundays and Surf Trash joining them on their remaining dates. You can check out the dates here, and be sure to follow Sun Room to keep up with their releases in the future. And don't forge to check out our highlights from the show below!

#sun room #sports team #indie rock #music #live music #live music photography #music publication #heartsleeve magazine #by vi mcdonald #by%20jude%20mcdonald

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Indie supergroup boygenius releases cyclical new EP, "the rest"

by Cassidy Byrnes

The boys are yet again back in town. Last Friday, indie trio boygenius released a new EP, the rest, after their astounding, widely accredited full-length album, the record. With their 2018 debut EP, boygenius, many of us assumed it would be their first and last outing as a group. But now, in 2023, we are all swimming in the sorrowful rock sounds of both the record, released March 31st, and the newly released EP, the rest.

I want to mention the significance, to me and to other fans, of releasing an EP rather than an extended or deluxe version of the LP. While I assume that the rest is composed of songs that were meant for the record, I think it’s wonderful to acknowledge, as an artist, that that album is complete. After listening to the rest an extraordinary amount of times, I can tell boygenius also believed that it was deserving of its own independent release because, like the record, it tells its own stories with its own conclusions. That’s not to say that I’m not a sucker for an extended or deluxe album (Taylor Swift, for example, can have all of my money), but understanding when a project is finished is something really special and noteworthy.

“Black Hole” starts off this EP with a staccato piano and an entrance of vocals from Julien Baker, where she is describing a night spent on a porch smoking cigarettes. Then a rhythm line comes in along with a more chaotic piano beginning to drown her out. Then enters Lucy Dacus with a smattering of nouns and adjectives that seemingly have no connection to Baker – but I’d like to imagine they are sharing a phone call where they are discussing these things, “Sometimes, I need to hear your voice,” Dacus concludes.

Dacus also brings us into the next track “Afraid of Heights.” This track has a very light acoustic feel with some steel guitar, until the final 40 seconds where a steady bass line joins and increases the gravity, making you really take in the story that Dacus weaves. Throughout the track, she describes a relationship with someone who pushed her to her limits: “I know I was a disappointment / Know you wanted me to take a risk / Not everybody gets the chance to live / A life that isn’t dangerous.” She has this amazing ability to make the listener believe everything she’s telling them, almost like they lived it themselves. The chaotic nature of the relationship and the slow, explanatory narrative by Dacus gives the song extreme emotional depth. They even snuck in the word “entropy," which seems to be the perfect encapsulation for this relationship.

We haven't heard a lot from Phoebe Bridgers yet, the third member of boygenius who is known for her wispy vocals and brutal lyrics, but the third track definitely showcases both. Opening with a humming harmony from the boys, “Voyager” pushes the audience into a story led by Bridgers; “It’s a hundred and three in the Valley / Blacktop is meltin’ on our shoes.” She tells us about a relationship that has ended, that was seemingly romantic but toxic all at the same time, and Bridgers still feels some sort of possession over them. This groundless notion is what drives the track – one moment she is reminiscing about spending the day in bed with this person, and the next she’s telling us that they “stepped on the gas” and asked her if she’s ready to die. While I hope that’s figurative, it gets the toxicity of the relationship across without it slapping the audience in the face. The production of the track is very minimal, with a plucky guitar line and the harmonies of Baker and Dacus.

“Powers” ends the EP and lets us hear from Baker one last time, where she is questioning her origins. Baker discusses her “powers” and where they came from with a sort of disdain, even relating her existence to a cockroach. This track’s lyrical allegories are great and the harmonies from the other boys offer a nice place to land, but the majority of the production, to me, was a little lackluster. But, again, the final minute of the track offers an undemanding trumpet solo accompanied by some strings which is a delicate way to lay the EP to rest (haha).

The entirety of this EP seems to be a conclusion of sorts. Each song is discussing the end of something and the acceptance that often accompanies endings, giving the title, the rest, a whole new meaning. The exceptional thing is that all of these tracks blend perfectly into the next; even the closing track blends right into the opener. Listening to it the first time, I was questioning where one song ended and the next began. I can only hope that this cyclical feeling was purposeful and that the boys, like this EP, will likely end but will begin again.

#music #heartsleeve magazine #boygenius #the rest #phoebe bridgers #lucy dacus #julien baker #the record #new release #music publication #new music friday #new releases #new music #music review #review #release #by cassidy byrnes #Spotify

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GALLERY: Phillip Phillips

by Kristin Abreu

Phillip Phillips, the winner of the 2012 season of hit show American Idol, had a crowd full of emotions this past weekend at Irving Plaza in the heart of New York City, on tour for his latest album release ‘Drift Back.’ This was the third stop on the Drift Back Tour, with Phillips performing some of his top releases. "Home," from his debut album, The World From The Side Of The Moon, and "Love Like That," from his latest album, were big crowd favorites. He left fans speechless with the energy he and his band released during the show. He had an electric finish to the show by performing covers to songs such as "Maneater" by Hall and Oates and "Thriller" by Michael Jackson. His run isn’t over just yet, with twenty more shows in over sixteen different cities around the United States! You can find the rest of the tour dates here, and view all of our highlights from the show below!

#music #heartsleeve magazine #music publication #phillip phillips #country music #folk music #live music #live music photography #songs #by kristin abreu

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GALLERY: Lil Yachty

by Amber Hicks

"Electrifying" is one word I would use to describe Lil Yachty’s sold-out show at the Ritz. Boat performed songs from his most recent psychedelic rock album, Let’s Start Here. The Silver Sisters, Boat’s all-female band, took the stage and got the crowd excited before Yachty took the stage to join them during his first track, “drive ME Crazy!” While performing all of his fan favorites like “Broccoli” and “iSpy,” Yachty requested a moment of silence for the late rapper, Juice WRLD, before performing their joint collaboration of “Yacht Club.” From screaming the lyrics to opening up the pit, it was clear that Boat had plenty of dedicated fans – excitement ran throughout the whole audience no matter what song Yachty played. With over 19 dates left for his tour, I suggest you check him out if he is coming to a city near you. You can view the rest of the dates here, and be sure to check out our highlights from the show below!

#lil yachty #boat #music #live music #live music photography #heartsleeve magazine #music publication #by amber hicks

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GALLERY: The Aces

by Alycee Byrd

“On tour, shows sometimes start to feel the same....this might sound crazy, but I think Charlotte is the best show this far on the tour.” The crowd was electric last Friday night during The Aces' show at The Underground. This Charlotte, NC, stop was the 8th show on their U.S leg of their I’ve Loved You For So Long (ILYFSL) Tour. The four piece band performed songs from all parts of their discography, dating all the way back to 2018. The show setlist ranged from high energy pop hits like “Daydream,” to alternative ballads like “Suburban Blues,” which touches on their experience of navigating their queerness while living in a small town in Utah. You could feel the passion and emotional impact the band has on their fans while looking through the faces in the crowd. Their music truly touches a wide demographic of people from all different ages, races, and gender identities. Their shows are a space where you can come as your authentic self. If you have an opportunity to catch a show in your city, I would highly recommend seeing and support this all-woman group who truly puts their heart into their music and performances. Check out our highlights from the show below!

#the aces #cristal ramirez #mckenna petty #alisa ramirez #katie henderson #music #heartsleeve magazine #music publication #live music photography #by alycee byrd

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GALLERY: Misterwives and Bishop Briggs

by Mon Ford

Alt-pop fans this past month were given a special treat as the exhilarating double-headed show of Misterwives and Bishop Briggs, with support from Raffaella (and Natalie Jane for later dates), toured throughout  the U.S. This brought a packed house to The Sylvee in Madison, WI, on a Saturday night in September for The Don’t Look Down Tour.

After a dazzling set from Raffaela, Misterwives played their fourth album, Nosebleeds, released this summer in July, live to dancing fans. The five-piece band, fronted by the magnetic Mandy Lee, rocked out, playing some of their first hits, “Reflections” and “Our Own House,” while sharing their gratitude for being part of an all female lineup for the first time in their decade as a band. The band’s friendship and harmony shined through, along with Mandy’s piercing voice, as they jammed on stage. Highlights included a special saxophone solo from Mike Murphy, a tambourine throwdown from guitarist Marc Campbell, and an intimate moment with Mandy donning an arrow-punctured brace (reflecting their album’s cover image) while singing from the tallest set structure. Their set concluded with Mandy jumping down to sing with the crowd before the band stood together on stage for a formal bow.

After a brief break, Bishop Briggs, aka Sarah Grace McLaughlin, kicked off her set with the powerful “Art of Survival” single from 2022 as she stood powerfully from the top of the center set-piece before joining the crowd at the stage’s edge for her 2015 hit “Wild Horses.” Both artists shared the stage with a large multi-tiered set piece that lit up the stage with LED screens, creating a brilliant light display with visuals and lyrics. Briggs performed her June EP, When Everything Went Dark, and hits from her previous two LPs. Her action-packed set was broken up by a sweet acoustic interlude before returning to striding the stage with a great cover of Hozier’s “Take Me to Church.” She finished with her 2018 epic hit “River,” leaving fans with both Bishop and Mandy’s voices reverberating their energy, passion and strength.

The Don't Look Down Tour is traveling the western U.S. through mid-October – you can find the list of remaining tour dates here. And don't miss our highlights from the show down below!

#misterwives #bishop briggs #the don't look down tour #music #live music #live music photography #heartsleeve magazine #music publication #by mon ford

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House of Harm releases atmospheric dark pop single, "Roseglass," ahead of new album

written by Vi McDonald

Word-of-mouth is a powerful thing for emerging bands and artists lately, as audiences begin to crave more organic sounds and feelings from their favorite artists. Bands capitalizing on this are able to build deeper relationships with their listeners, one that stems from mutual dedication to music and the understanding that uniquity is key. 

One such band is House of Harm, a trio out of Boston, Massachusetts, comprised of lead singer Michael Rocheford and guitarists/synth players Cooper Leardi and Tyler Kershaw. House of Harm made their debut in 2017, and have been slowly amassing a fanbase that appreciates and understands their dark pop leanings, resulting in almost 50,000 monthly listeners on Spotify. Today they released the single “Roseglass,” a four-minute track that feels darkly ethereal. The band has been described as “shadow pop,” a term that feels fitting as the days get shorter; this single is perfect for the gloom and colder weather. With lyrics like, “Mirrored safe from the shame inside / Misled to instill all of the honesty that lies,” the band is exploring themes of self-deception and wishing things could be different. Rocheford described the single as being “about the human cycle of putting yourself into situations where you feel like you’re an intruder for the sake of a better outcome later,” something that is only reinforced by the music video the band released along with the single. 

In the video, the band stands in a market in southeastern Massachusetts, with Rocheford crooning the lyrics as passersby make their way through the stalls. Some choose to ignore the band, others jumping in front of the camera or simply walking through the frame without concern. But the band looks directly into the camera for most of the video, creating a sense of vulnerability despite the public setting that only gets more intense as the song progresses. That vulnerability is what the band hopes to perpetuate with their upcoming album, Playground, out December 1. They started writing the album in 2021 and narrowed it down from 75 songs to just 10 worthy tracks, that they feel build a cohesive world for the listener to get lost in. 

You can listen to “Roseglass” wherever you stream music, and if you’re a dark pop fan or simply want to hear more from House of Harm, be sure to pre-order Playground. The band is also playing three shows this week, tonight in Philadelphia, tomorrow in New York, and the following day in Boston, so be sure to check out the tour dates here if you’re interested in hearing House of Harm’s atmospheric sound live. 

#house of harm #roseglass #playground #dark pop #music #new music #new release #new music friday #heartsleeve magazine #music publication #new releases #new artist #songs #music video #audio #youtube #by vi mcdonald #Youtube #by%20jude%20mcdonald

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GALLERY: Lil Baby

by Amber Hicks

It’s not every day you get an intimate atmosphere during an arena tour, but Lil Baby succeeded with that on Monday, September 11, when he brought his It’s Only Us Tour to the PNC Arena. From multiple stages to the artist and his dancers navigating in, out, around, and above the crowd Lil Baby took us through the chapters of his career with his detailed stage design and storyline. The chapters took us from the rapper's underground mixtape days all the way to the diamond-certified rapper that he is today. All during the night the crowd belted the lyrics back to the artist even being louder than him at times.

The IOU Tour featured artists GloRilla, Rylo, Gloss Up, and Hunxho. Check out some highlights from the show below! 

#heartsleeve magazine #music #music publication #live music photography #live music #by amber hicks #lil baby #iou tour #glorilla #rylo #gloss up #hunxho

[heartsleevemag]

GALLERY: Tove Lo

by Mon Ford

For some it was just a typical Tuesday after a (hopefully) relaxing Labor Day weekend. But for those lining up at Palace Theatre in St. Paul, MN last week, it was the beginning of a long anticipated evening after Tove Lo’s Dirt Femme tour had to be postponed back in February.

A true party from start to finish, Upsahl kicked things off performing songs from her recent EP as well as her 2021 debut album “Lady Jesus.’ The 24-year-old, Phoenix-born artist, known for her alternative pop-punk-esque jams, impressed with her strong vocals and engaging the crowd with call-and-response lyrics (“I’m a lunatic!”). A few standouts from her setlist included “Toast,” which was co-written with Tove Lo, “Drugs,” “WET WHITE TEE SHIRT” and “FBL.”

With a sufficiently sweaty room and the smoke-machine on full blast, Tove Lo took the stage, opening with “Pineapple Slice” from her 2022 album “Dirt Femme.” If you don’t know of Tove Lo (pronounced too-va-loo), you might know the Swedish pop singer from her early hits like “Habits (Stay High)” and “Talking Bodies,” both performed that night along with fan favorites, “Disco Tits” and “2 Die 4.” When Tove stepped on stage wearing a gold and nude nippled bodice, gold bikini bottoms and white go-go boots, it felt like a warrior-goddess marching to address her people. Known by most of her fans as the queen of horny pop music, her stage presence and vocals did not disappoint.

From shaking her booty and grinding the air to ethereal moments under glowing stage lights, Tove performed a range of her songs from her discography, including an exclusive stripped version of “The Way That I Am” and an especially raunchy moment with her newest single “Elevator Eyes.” Other songs on the set list included “Grapefruit,” an acoustic “Moments,” “Cool Girl,” “Suburbia” and a powerful rendition of the ballad “True Romance.” With three outfit changes and a truly wild crowd for a Tuesday, Tove Lo’s performance at Palace Theatre was one for the books. Ending with the crowd favorite, “No One Dies From Love,” I don’t think a single person there would have minded if she kept performing all night.

If you'd like to see Tove Lo live, she has a few tour dates left on this run. You can view those dates here, and be sure to check out our highlights from the show below!

#music #heartsleeve magazine #music publication #live music photography #tove lo #dirt femme #by mon ford #music photography #live music

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Haley Blais' 'Wisecrack' searches for culmination in a changing world

Written by Shea Roney

“Can I be responsible for things that I did years ago? / I guess it could be good for just a laugh,” sings Haley Blais on the song, “Coolest fucking bitch in town.” It’s never easy to put into words the feeling you get from the soft limbo of adulthood. It can become something of the existential sort, but Blais finds a much easier approach when you can laugh about it regardless of how objectionable your childhood may have been. On her new album, Wisecrack, Vancouver singer/songwriter Haley Blais walks down the infamous memory lane, less to elucidate nostalgia, but more searching for a reason to grow up. 

“I’d kill to be a sensitive person” is what Blais opens the album with. It comes from the song “Soft Spot for Monarchs,” that kicks off as a folk pop tune but soon melts into an absorbing collage of sound. Like our own memories do as we grow older, the accent of cymbal crashes, pitching saxophones and abundance of vocal recordings begin to clash with each other, each a singular piece fighting for its fleeting existence. 

Wisecrack, as a whole, sees the growth of Blais, both as a storyteller and a sonic composer. Coming off of her 2020 debut, Below the Salt, we find Blais in an expansion into grander territory. Before then, she was known for both her ukulele covers on YouTube as well as a decade-long career of singing classical opera. Below the Salt was an album of lively bedroom pop songs. But focusing on some heavier topics, Wisecrack sees Blais maturing. Covering topics of aging, burdensome self doubt, and the conundrum of morality, Blais takes these eleven songs to try and find some sort of culmination in her changing world. 

In a real cheeky and raw approach to storytelling, Blais masters irony on the most delicate subjects. On the lead single, “Coolest fucking bitch in town,” she sings, “I want my therapist to think I’m cool,” a song in which Blais sings about playing into the charade of being okay, when in fact she is pushing down feelings of doubt and insecurities. The explicit confidence is there, but can it be manifested into existence? Or is it about embracing who you are — no matter how “uncool” you may feel? On the track “Matchmaker,” a gentle groove about relationship pressures, Blais sings, “Then I’ll be the bitch who ruined your family line.” Opening up about societal expectations in a soft and catchy pop melody seems to take off some of the heat. 

Looking backwards seems to be imperative on Wisecrack. Recounting the memories that stuck with her as she developed with them, Blais looks to learn understanding and moderation. Reminiscent of the time spent mourning the death of the family dog, the track “Survivor's Guilt” pulls out these early painful acknowledgments of mortality. “Can’t a girl mourn the death of her dog in the back of a theater in peace anymore?” Blais asks, in a way that is as sarcastic as it is disheartening. One of the album’s highlights, “Baby Teeth,” is a pivotal moment of the album that comes towards the end. Blais opens up about a sentimentality for simpler times — or perhaps a fear of getting older. “I want my baby teeth back,” Blais sings on the chorus, ending with “I wanna know what it’s like / Pull out my front one on my own time.” With a rejuvenating chorus that lays back until it needs to climax, Blais mourns for having to grow up too fast. 

With attention to dynamics and textures, Wisecrack is as unexpected as it is comforting. With songs like “The Cabin,” dynamics are front of mind when ripping guitar and pounding drums swerve in and out of controlled punctuations. “The Cabin” portrays stories of sweaty summers spent at a Cabin where Blais rode speed boats, conducted summer romances, and was given her first sip of beer. “A beer soaked memory - who gave me beer in seventh grade?” she sings in retrospect. “Winner” is a slow burner that holds up the melody. It eventually turns into an insanely gritty guitar solo blanketed by Blais’ distorted scream. With slight minor intonations, the song opens up to a possibility of emotions. 

The album comes to its conclusion with “Beginner’s Guide to Birdwatching.” In a sense, this song is Blais’s acceptance of what is to come in the future. Beginning as a choral arrangement of vocals all souped up with autotune, the track fades into the demo phone recording that it started as, capturing the raw moment when Blais sang, “One minute she wasn’t there / Then the next minute there she was” to her newborn niece. Accompanied by her brother, sister-in-law, and other friends gathered, the song boasts sincerity. The track fades as the sound of bird songs enters the scene. But in the midst of the blissful noise, a single fly can be heard buzzing around, showcasing an incredible theme: life’s imperfections live hand in hand with its beauty. 

Wisecrack releases next Friday, September 15, on all streaming platforms. You can pre-save the album HERE, place your pre-order HERE, and if you’d like a glimpse of Haley Blais’ world, be sure to follow her to keep up with all things Wisecrack. Blais is also on tour – if you’d like to catch her in your city, check out the list of remaining dates HERE.

#music #heartsleeve magazine #music publication #haley blais #wisecrack #new album #new release #pop culture #new music friday #new releases #new music #by shea roney

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The One Eighties, Live

by Vi McDonald

On August 18, North Carolina duo The One Eighties released their debut album. Minefields, which we reviewed here, is an exploration of the ups and downs of life, a reflection on emotions like love, loss, uncertainty, and triumph. And, at their album release show last week at Kings in Raleigh, the band comprised of Autumn Brand and Daniel Cook delivered the album to a live audience for the very first time.

The show started on a high note; both opening bands, Courtney Lynn & Quinn and Jack The Radio, were energetic and thoughtful, expressing their gratitude to the audience multiple times throughout the night. When The One Eighties took the stage, both members smiling at the turnout as they prepared their instruments, the energy only increased. From the vibe of the band members and their supporting instrumentalists, to the way the crowd responded to the sincerity present in the music, The One Eighties proved that they are well on their way to establishing their presence in the music scene.

It's hard to capture in words just how magical The One Eighties' live sound is. For an album as layered as Minefields, it's clear that the duo had to reimagine a lot of the songs in order to make them work on a live stage. The seven-piece band absolutely helped, allowing each facet of the music to shine. It was easy to appreciate the album this way, when no riff, vocal, or drumbeat took a backseat to the rest. The result was a well-balanced sound that energized the audience and allowed them to dance along with the set. Even through the slower tracks, the crowd's attention never wavered, as Brand, Cook, and the band kept them captivated with strong vocals and a polished sound. I left the venue with multiple songs from Minefields stuck in my head, and immediately queued up the album for the drive home. I'm looking forward to being able to see The One Eighties live again, and to hear even more from this amazing local duo.

You can check out some of our highlights from the show below, and be sure to follow The One Eighties and stream Minefields wherever you listen to music!

#music #heartsleeve magazine #music publication #live music #live music photography #new artist #the one eighties #minefields #americana #indie #by%20jude%20mcdonald

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GALLERY: Carolina BBQ Festival

by Vi McDonald

There's talent in the heart of North Carolina, and the Carolina BBQ Festival and Flea Market is the place to find it. Full of committed artists from all over the state building their craft and enrapturing their audiences, the festival delivered a lineup that brought diversity, soul, and love to Raleigh. It's clear that artistry thrives in this community; from silky R&B to mosh pit punk to cleanly produced rap, each performer brought something different to the crowd. Every artist on the lineup deserves the spotlight. But don't take my word for it – check out our highlights below, and be sure to stream these North Carolina artists next time you open Spotify. If you haven't heard of them yet, you will.

Cover: Steezie

Artists Captured: Pynk Moscato, K Mojica, Dagger TheRapper, Steezie, Xbrodie, Godric, Dallasito, Blvck, Chasyn Sparx, Freedom, JayTheHBK, Jacinda, Jaheal, Cheeno Ghee, Troya, Austin Royale

#music #heartsleeve magazine #music publication #live music photography #live music #new artist #new music #new releases #north carolina #carolina bbq fest #by%20jude%20mcdonald

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REVIEW: Reneé Rapp releases debut album “Snow Angel”

by Natalia Espinosa

Reneé Rapp´s 2022 debut EP, Everything To Everyone, left fans eagerly waiting for new music. Now, not even a year after the EP´s release, the wait is over, and her debut album Snow Angel is finally here. After its announcement on June 5, 2023, the album was released on August 18, 2023.

The record, which is a little more than thirty minutes long, consists of twelve tracks, and according to her official website, it initiates her new era of music by putting her heart on full display. Whether it´s through emotional ballads or infectious pop hits, Rapp is able to speak her truth through her music.

We were first introduced to the album´s sound after the lead single´s release on June 9, 2023. As shared by her in this post on her official Twitter account, “Snow Angel” is not only the first single, but it´s also a song about a traumatic experience Rapp went through, making it a bittersweet introduction to her new music. The song starts with a beautiful piano melody that´s quickly accompanied by her soft voice, setting a serene tone. As the music continues, there are sudden changes in the tempo and intensity, alternating between them. Her voice also leaves behind that initial softness, turning angrier and harsher before going back to the original calmness and then getting more intense for the final climax as the song comes to an end. The lyrics complete the song by recounting her experience, her words working perfectly with the shifting tempo and providing a clearer picture of the pain present in the track.

The next song we got to listen to, “Talk Too Much,” was released on July 12, 2023, as the next single, and is also the first track on the record. “Talk Too Much” has a different vibe than “Snow Angel,” kickstarting the album with a catchy and upbeat tempo. It´s a song that speaks to that relatable relationship anxiety of trying not to come on too strong while also caring too much to do that. The way the track is produced, with the optimistic-sounding beat and guitar, allows for it to sound fun and even a little unhinged, which is very on-brand for the singer and a great start to the album.

As the record continues, “I Hate Boston” starts playing. In contrast with the previous track, this one starts with calm piano chords. But it does build up as it goes on, adding more intensity and then diminishing it again towards the end, the change in pace contributing to the heartbreak described referring to the inevitable hate for the city she spent so much time in with a partner during a previous relationship. That duality between danceable rhythms and emotional melodies paired with both fun and sentimental lyrics is a recurrent theme within the album.

Some of the more upbeat tracks are “Poison Poison,” “Pretty Girls,” and “Tummy Hurts.” In “Poison Poison,” Rapp expresses her hate for a terrible person who crossed her, the song serving as a clear “fuck you” to her. The theme of “Tummy Hurts” is similar, condemning a previous boyfriend and his future family in a funny way with lyrics such as “I just want some recognition for having good tits and a big heart,” going along with the unhinged energy of some of her tracks. “Pretty Girls” is also on-brand, recounting the classic and almost predictable experience many queer women go through when a “straight” girl wants to experiment with them to later go back to their boyfriends and pretend their rendezvous never happened. Even if all these songs portray hurtful situations, they maintain that fun edge as a result of the upbeat nature of the music.

As I previously stated, Rapp has also included slower and more emotional tracks in her album, “I Wish,” being one of them. This song deals with themes such as loss, grief and nostalgia, and it explores the speaker´s experience and emotions regarding the inevitability of death and how the passage of time can be bittersweet, allowing you to live and experience joy but reminding you that it´s not forever.

The last track, “23,” also falls into the softer category. Rapp sings about her experience turning twenty-three, reminiscing about her last birthday and how she feels she hasn’t grown or matured as much as she wished she had since then. However, the song ends with an optimistic message as she expresses her hope for things to be different by the time her twenty-fourth birthday arrives, bringing the record to a perfect close.

Out of the entire album, the two tracks that stood out to me the most are “Gemini Moon,” in which she criticizes her volatile personality and her desire to be better to the person she´s with, and “The Wedding Song,” a song within a song in which she expresses her love to a previous lover and the regret and anger directed towards the downfall of their relationship. Both tracks start calmly and slowly start to build up as the music intensifies, complementing the lyrics perfectly.

Reneé Rapp, apart from being ridiculously charismatic and fun, is a great artist, and she has proven it again with this album. Not only are the songs overall enjoyable, but they also have character, and the way the music sounds with Rapp´s strong and smooth voice, which she has incredible control over, this album is definitely worth a listen. So if you think you’ll like Snow Angel, you can check it out on Spotify.

#heartsleeve magazine #music #new release #renee rapp #snow angel #by natalia espinosa