On Feb. 11, rapper Mick Jenkins will join hip-hop duo EarthGang on the “Welcome to Mirrorland” tour as it stops at the Theatre of Living Arts. The tour is in support of EarthGang’s 2018 debut major label album, “Mirrorland.”

Earthgang is an Atlanta-based rap duo composed of Olu (also known as Johnny Venus) and WowGr8 (also known as Doctor Dot). Olu and WowGr8 formed Earthgang in 2008 and have been steadily releasing mixtapes and EPs since 2010. The duo have often been compared to the early 2000s hip-hop group Outkast. The comparison isn’t too off-base. Both groups were based out of Atlanta and bring a diverse sound, ranging from bombastic party joints to soothing jazz tracks. But Earthgang is paving their own way, mixing old-school hip-hop with their own new age sound to produce something original and catchy.

Mick Jenkins is a Chicago-based rapper who’s no stranger to the Theatre of the Living Arts. He’s headlined shows here for the last two years, and I was lucky enough to see him both times. Each time, he delivered a smooth, cool vibe that brought the audience together through a love of hip-hop.

Jenkins is definitely a rapper, but it may be more apt to call him a poet. While his jazz-infused production and sweltering delivery is of a higher pedigree, his penmanship is unmatched. Jenkins will weave sociopolitical commentary with introspective reflection before ending on a line about cool clothes that makes the listener think they’re at Harvard taking a class on black excellence.

Jenkins broke out in 2014 with his esteemed mixtape “The Water[s]”. Using water as an allegory, he garnered underground hip-hop dominance with tracks like “Martyrs” and “Jerome.” Since then, Jenkins has released two excellent albums and four EPs, ranging from dance music to thoughtful hip-hop. Most recently, Jenkins released a seven-track project entitled “The Circus.” He’ll definitely be playing some during the “Welcome to Mirrorland” tour next Tuesday.

Although Earthgang has been releasing music for over a decade, they’ve really been hitting their stride in the last few years. In 2017, the duo signed to Dreamville Records, the label started by rapper J. Cole. Also on the roster is JID, another Atlanta rapper who’s frequently collaborated with Earthgang since 2011. Beyond their well-received and inventive “Mirrorland” album, Earthgang was heavily featured on the Dreamville collaborative album “Revenge of the Dreamers III.” They were on the bombastic “Still Up,” the meditative “Sacrifices” and the Grammy-nominated “Down Bad”.

This tour isn’t the first time Earthgang and Mick Jenkins have linked up. They collaborated on the track “House” off Earthgang’s “Rag’s EP” and most recently on the track “The Light” off Jenkin’s “The Circus.” If their on-stage chemistry is half as good as their on-wax chemistry, then the Feb. 11 show at the TLA will be incredible.

I don’t know what happened to Ari Aster, but it must have been something bad.

The filmmaker whose debut feature film, “Hereditary,” was released in 2018, has hidden behind his work since his first short film, “The Strange Thing About the Johnson’s” was leaked and went viral in 2011. The short film was Aster’s film thesis and focused on an incestual relationship between an African American family, culminating in a sudden and violent conclusion.

Aster’s knack for taboo filmmaking continued with “Hereditary,” a film about a family slowly falling apart while their grandmother passes away. “Hereditary” stands out among other horror films for its stirring vision of inter-familial trauma and the visceral, grotesque terror in its third act. With “Midsommar,” the question of Aster’s filmmaking still lingers: how does he come up with this stuff?

On the surface, “Midsommar” doesn’t deviate very far from a stereotypical horror flick. A group of college students travel to a remote area, they meet a secluded cult-like commune and all hell eventually ensues. But “Midsommar” does it’s best to disguise the underlying plot. For one, the movie heavily deals with the theme of loss through a fragmented relationship and through actual death.

The film opens with Dani, an anxious graduate student, calling her boyfriend, Christian, worrying that her sister has killed herself. Dani’s constant worry has strained her relationship with Christian, who decides he wants to break up with her. But when Dani’s fears are realized, Christian is forced to stay with her.

“Midsommar” also looks nothing like a horror film. The film takes place in Sweden during the Summer Solstice where there is almost constant sunlight. Most of the film is shot in an open field as well. The result is a beautiful, brightly colored film that looks more romantic than terrifying. Flowery white dresses and vivid blooming flowers take the spotlight over blood and guts, although they aren’t missing completely from “Midsommar.”

Aster’s filming brings a sense apprehension to this gorgeous landscape. Long, sweeping shots dominate most of this film, from the twisting overhead shot that follows the college students to the Swedish commune, to the creeping backwards shot of a tapestry telling the story of a love potion being created from menstrual blood and pubic hair. Scenes are held for a few moments too long. Widescreen shots show conversations from afar. Drug use is rampant in the Swedish commune, and slight visual effects distort certain scenes, with flowers sporadically blooming and tree bark flowing from trunks like rainfall. All of these clever filming techniques draw the viewers in, while also making them uneasy.

Where “Hereditary” excelled at making viewers feel scared, “Midsommar” excels at making viewers feel unsettled. This movie is not for the faint of heart. There are scenes of graphic violence that pull no punches, as well as a particular scene with very graphic nudity. Bodies are smashed, beaten and burned. Audible cues are even more disturbing. Blood-curdling screams and creepy chants drown out all other noises.

I felt thoroughly anxious throughout the film, something I have rarely felt in a movie theater. I’ll also say this film is especially disturbing for any viewer who has lost a loved one. Dani’s loss of her family and her reaction was a bit too realistic, and it left me feeling very uncomfortable. However, all of this uneasiness is compounded by how beautiful the film is. You expect a graphic murder to be carried out in a dark alleyway, not in a beautiful field surrounded by smiling Swedes.

“Midsommar” feels real, raw and creepy. It was an incredible movie, but one that I don’t want to ever watch again. Aster continues to play with traditional horror themes and makes them feel more and more real. “Midsommar” was more predictable than “Hereditary,” and I wasn’t really surprised at any particular moment. But I was certainly shocked, and the nearly two and a half hour run time felt like a breeze. With “Midsommar,” Aster further blurs the line of what constitutes a “horror” movie and emphasizes that he really needs to see a therapist.

When is it time to stop reinventing a series? One would think that three separate movie adaptions in less than 15 years would be overkill. Yet the Spider-Man franchise released the third movie adaption of the classic character this week, marking it the seventh major motion picture in 15 years to prominently feature the character.

And this time, they hit their mark.

Debuting in 2002, the first major Spider-Man film adaptation starred Tobey Maguire as the titular character. Through three movies, Maguire proved to be a decent Spider-Man, but none of the films felt very connected to the comics, and suffered especially in the final act of the trilogy.

This was followed up by “The Amazing Spider-Man,” starring Andrew Garfield. The two films in the series were forgettable at best. But Spider-Man appeared again in an entirely new storyline in 2016’s “Captain America: Civil War,” this time featuring British actor Tom Holland as the radioactive spider-bite victim. A year later, Marvel unveiled “Spider-Man: Homecoming,” a fresh dive into a story that felt like it had been beaten to death over the past decade.

“Homecoming” picks up right where “Civil War” left off, even including a few scenes from the latter film in a new perspective. The film feels firmly cemented in the Marvel Cinematic Universe, frequently referencing other characters and previous films, often to the amusement of the audience. A 15-year-old Peter Parker grapples with his dual identity of Spider-Man and high schooler, with compelling and humorous outcomes.

One of the best aspects of “Homecoming” is where it lands in the timeline of Peter Parker’s life. We are seeing the young Spider-Man before he has fully realized his potential, but after the origin story that everyone is all too familiar with by now. There are mentions of the spider that bit him and the death of his uncle, but the film was free to explore more about Parker and his peers.

The cast in this film is spectacular. Holland’s Peter Parker is both believable and likeable. While previous actors didn’t look or feel like a teenage superhero, Holland felt like someone who could’ve gone to your  high school, albeit with the ability to lift a bus and climb up the Washington Monument. Michael Keaton brings the Vulture to life the only way a seasoned actor like Keaton could. Robert Downey Jr.’s Iron Man is just as charming and snide as always. The rest of the supporting cast, such as Hannibal Buress, Zendaya and Marisa Tomei bring a brevity to this stellar film.

As to be expected from a major blockbuster, the action sequences are fun and well-executed. Beyond it being an action film, “Homecoming” is a legitimately hilarious movie. The writing and directing is incredible, and Holland brings a youthful humor as well. The comedy in this film finds a nice balance of being genuinely surprising and not childish, yet relatable to a younger audience. In my opinion, this film was much funnier than either of the “Guardians of the Galaxy” films.

The high school element of the movie felt very real. Past installments featured actors who looked like they had graduated college portraying high schoolers, but everyone in this film looks like they fit in. The high school culture felt a lot more relevant as well. Instead of a bully that is physically abusive, Parker faces off against a bully that is more of an emotional annoyance than anything else.

Marvel is cranking out at least one new superhero movie a year, and it can be exhausting to keep up. But “Spider-Man: Homecoming” is a fresh and fun new take on a well-known story. Borrowing from comics, yet remaining inventive, “Homecoming” is one of the best movies to come out this year. In this case, third time’s a charm.

Adult Swim’s sketch series “Tim and Eric Awesome Show, Great Job!” is hitting the stage in honor of the 10-year anniversary of the show’s debut.

Show-runners and Temple University graduates Tim Heidecker and Eric Wareheim will be performing a live version of their cult classic TV show at the Merriam Theater July 20.

“Tim and Eric Awesome Show, Great Job!” is the mutated brainchild of Heidecker and Wareheim. Debuting in 2007, the 15-minute serial was part skit, part musical, part public-access TV parody and fully insane. It fit perfectly in line with the other oddball shows on Adult Swim, the late-night version of Cartoon Network. The “Awesome Show” ran for five seasons and spawned multiple spin-offs.

The comedy duo met while studying together at Temple University. They contributed to a number of joint projects, including “Tom Goes to the Mayor,” a precursor to the “Awesome Show” which was also hosted on Adult Swim. But the “Awesome Show” was the culmination of their career, cementing the comedians as oddball cult-comedy creators.

While there is no interconnecting storyline, the show has a variety of recurring characters and themes. Episodes are comprised of awkward skits, as well as faux-advertisements and other oddities. With pervasive use of choppy editing, offbeat soundtracks and surrealist jokes, the show feels like a low-budget public-access TV show on acid.

While Heidecker and Wareheim were the main stars of the show, they relied heavily on bit appearances from other major comedians. Paul Rudd, Zach Galifianakis, Will Ferrell, Bob Odenkirk and many more major stars have appeared on the “Awesome Show.” Probably the most notable appearance was from John C. Reilly, who played the dim-witted Dr. Steve Brule. The character was so popular that Adult Swim created a spinoff focused on him in 2010 called “Check It Out! With Dr. Steve Brule.”

“Awesome Show” came to an end in 2010, but older episodes can be found on the Adult Swim website, and various skits can also be found on YouTube. Both showrunners remained active. In 2012, Heidecker and Wareheim created an on-demand movie based on the “Awesome Show.” They also created a “late night” talk show that was hosted online. Wareheim has had a major role in the hit Netflix original “Masters of None,” where he portrays Arnold, the best friend of Aziz Ansari’s character Dev. Beyond the tour, Heidecker and Wareheim currently host a daily telephone prank series on Snapchat.

Heidecker and Wareheim’s comedy is not for everyone. Their eccentric, off-kilter humor often borders on grotesque and uncomfortable, but it is nothing if not refreshing. For those looking for a comedy experience unlike anything you’ve seen before, tickets are still available to see Tim and Eric Live at the Merriam Center July 20.  

June 6, 2015 was the most important day of my life.

It was the day I graduated high school. After four arduous years of high school, I was finally walking into adulthood. But that’s not the reason that this day was so important.

June 6, 2015 was also the day that my dad died.

It was an especially warm day and the stiff graduation gown furthered my discomfort. I sat through the entire three-hour ceremony, wondering where my dad was sitting. I exited the stadium and immediately ran to my sister. We both had no idea where he was.

After a few photos with friends, I hopped in my car with my sister, and we drove the short distance to my dad’s apartment. I felt this heavy weight in my chest that whispered to me that something horrible had happened, but I brushed it aside. Today was my day; nothing was going to take that away.

We found our dad sprawled out on his couch, face down. My sister shrieked and immediately told me to call 911. I still didn’t realize what was going on. The rest is a bit hazy, but sometime later, I stood on the edge of the road sobbing as a police officer told me that the man who had raised me for 18 years had departed the earth on the day he should have been watching me graduate.

It’s been two years since then, and they have been the most difficult years of my life. Three months after his death, I uprooted my life in Kentucky and moved across the country to Philadelphia, where I knew no one.

My safety net of friends and family who understood what I was going through was gone. I felt alone and anxious, grasping for some sort of understanding as to why my dad was stolen from me on my graduation day.

Most days, I felt withdrawn from everyone. Before I lost him, I had a sense of security in the world around me. While I was aware that people died suddenly and bad things could happen unexpectedly, I held onto a blissfully naive idea that nothing evil could touch me. After he died, that security was shattered.

But with every hardship, there is beauty.

Every day takes on a new, illuminating light when you are aware that days are fleeting. Relationships are deeper and more meaningful. By just living with grief, my resilience and character have become more robust. I live for two people now.

My story and grief are unique, as is everyone’s who has lost a loved one. I’ve struggled to latch on to some sort uniform way to deal with grief, but there is none.

There is no right or wrong way to cope; there are no good or bad feelings. There is just whatever you need to do to keep going. Grief never ends, but it changes form and becomes a part of your identity.

No matter how many years pass, I will always long to see my dad again.

Losing someone feels like losing part of your structure, but you are never alone. Besides the swath of friends and family who still love you, there will be countless other people who have lost someone and understand, to some degree, the pain you are feeling.

Here on campus, I’ve found comfort in the Living with Loss bereavement group, which is an open group of students who have lost a loved one. Your struggle is individual, but that does not mean that you are alone.

A few weeks ago my grandfather passed away at the age of 86. He was a witty and kind man who lived right across the street from me. I felt another twinge of sadness when my mom called me and told me that he had passed away.

But when I flew back home, I was again reminded of the ironic beauty in death. There were a few tears, but for the most part there was laughter at the old jokes he had told and smiles at the profound stories he was a part of. We were able to relish in his life, not fixate on his death.

The trauma of death does slowly fade, but the love and nostalgia for that person does not. Their warmth and memory is instilled in everyone who knew and cared for them.

Losing a loved one is a bit of a misnomer; in reality, you gain that person forever.

The Marvel franchise, while beloved, has become a bit bloated. Each new installment adds a new superhero, along with multiple secondary members, who are then stacked alongside the already enormous list of characters in the Marvel Universe.

The movies attempt to flesh out new characters while keeping existing characters interesting, and driving the plot towards the eventual convenience of all the cast members in “The Avengers” storyline. Most of these movies are fun to watch but only due to a massive influx of cash and talented actors. The one storyline that has stood out the most has been that of the “Guardians of the Galaxy.”

“Guardians of the Galaxy” (2014) took its viewers off of planet Earth and introduced an odd array of characters. Peter Quill, an orphaned Earthling scavenger meets up with Gamora, a ruthless murderer; Rocket, a talking racoon; Drax the Destroyer, a massive grey convict with no sense of humor; and Groot, a giant anamorphic tree. This motley crew helps form one of the most beloved Marvel movies ever with the help of a unique story, beautiful visuals and a compelling score. Director James Gunn did a fantastic job incorporating this storyline into the Marvel Universe, but many were wondering if he could pull a hat-trick with the second installment. In short, he did.

“Guardians of the Galaxy Vol. 2” picks up where its predecessor left off. A few months after the events of the first film, the gang has been contracted out to solve various other problems across space. While battling an interdimensional monster for an alien race known as the Sovereign, Rocket steals a few priceless batteries that the Guardians were meant to protect. This leads to a mad dash across the galaxy, with the Sovereign in hot pursuit. Along the way, Quill meets his previously unknown father, Ego.

The film jumps right into the action, as everything listed above occurs in the first twenty minutes of the film. New characters such as Ego and Mantis — an alien who can feel other’s emotions — are thrown into the mix. Existing secondary characters are more fully fleshed out like Quill’s father-like figure Yondu and Gamora’s imprisoned sister Nebula. The driving theme in this film is family. Quill wrestles with the reality of having his actual father enter his life after thirty years of abandonment. Gamora and Nebula literally fight over issues they had growing up under their father Thanos’s oppressive hand, who is the main villain in the overall Marvel story-arc. Internal conflicts also threaten the group as a whole.

The elements that made the first movie a classic are again present in this volume. The score is yet again a stellar conglomerate of hits and lesser-known songs from the ’80s and before. The visuals are gorgeous, especially the makeup and costumes, and the humor from the first film is seamlessly interwoven into the script. Rocket and Drax pull their own jokes, but the standout is Baby Groot. After Groot was blown up in the first film, he reformed into an adorable baby that gets into all sorts of hilarious escapades.

What works so well in this film is that every character has an arc. With a run-time of two hours and 16 minutes, some arcs aren’t as fully fleshed out as others, each character has at least one moment to shine. Probably the most compelling arc is that of supporting character Yondu. A scavenger who abducted Quill from Earth and raised him, Yondu deals with the consequences of his actions.

The film is not perfect, though. Sylvester Stallone makes an entirely forgettable cameo, and some of Chris Pratt’s portrayal of Quill feels a bit flat. Nonetheless, the film is a spectacular follow-up to the first installment filled with humor, twists and genuine emotions. Look forward to the Guardians’ next appearances in the “Avengers: Infinity War” storyline, alongside the other Marvel heroes.

Photo: Mom + Pop Records

On March 18, Alina Baraz brought her “Let’s Get Lost” tour to the Coda. The nightclub and concert venue began to fill up around 8 p.m., when the opener IAmNobodi took the stage. The German-raised disc jockey ran through classic hits from the early 1990s and 2000s, including Justin Timberlake’s “Senorita” and Bell Biv DeVoe’s “Poison,” as well as his own mixes.

IAmNobodi’s setup was pretty simple, as he just had his gear up on a plastic table. But despite the basic set design, the audience still felt the groove of his tunes, singing and dancing to the music. Once his set was finished, the DJ smiled and waved to the crowd, thanking us with his body language.

A little before 9 p.m., Alina Baraz’s band began to take the stage. Composed of a DJ, drummer and a keyboardist, they began to play as the stunningly gorgeous Baraz sauntered on stage. She lightly held the microphone, smiling at the cheering crowd. Sensually moving her hips, she dove right into “Make You Feel.”

Baraz released her debut EP “Urban Flora” with Danish EDM producer Galimatias in 2015. Although they never actually met in person to work on the project, their musical chemistry is undeniable. Galimantias’s smooth production merges with Baraz’s soft, soothing vocals to craft a euphoric soundscape. The eight-track EP was a critical success, launching Baraz into the limelight and into the music festival circuit. She is gearing up to release her debut album later this year.

Without a deep catalog to perform from, most of the audience was familiar with all of the songs that Baraz performed. Mixing with slow, booming bass and sultry keys, Baraz strutted around the stage, mesmerizing the audience. She went back to back with her tracks, transitioning from “Show Me” to “Pretty Thoughts” seamlessly. She finally greeted the crowd about four songs in, asking the crowd, “Philadelphia, how are we doing?” The crowd responded with a roar of cheers.  Next, Alina performed one of her earliest-written songs, “High,” which she said is also one of her personal favorites.

After a series of especially sexy songs such as “Can I” and “Drift,” Baraz abruptly announced that she was about to perform the last song of the night. This was particularly surprising, as her set had only lasted about half an hour. She started “Electric” the first single off of her upcoming album. The song, featuring El Paso-based rhythm and blues singer Khalid, is one of her only songs not made in collaboration with Galimatias. Ironically, the song had less of an EDM feel to it, and the change in tone was felt across the audience. When the chorus crescendoed with “Kiss me, we’re on fire, babe,” the audience started gyrating like a massive wave. With that, Alina and her band left the stage.

There was an obvious hole in her setlist: “Fantasy.” By far her most well-known song, the track has more than 46 million plays on Spotify alone. But Baraz came back on stage for an encore. She began with a slow, acoustic rendition of “Let’s Get Lost.” She then brought on the rest of her band to perform her big hit. It was a great ending to an amazing show that proved how brightly Baraz’s star can shine.

Photo: Young Turks

Sampha Sisay, better known mononymously as Sampha, is one of R&B’s most prolific stars: an impressive title to hold considering he hadn’t released a proper album until Feb. 3.

But as early as three years ago, the British crooner was contributing to the work of today’s biggest stars. Sampha has produced, sung and written for Drake, Beyonce, Kanye West, Frank Ocean, Solange and a host of other big names in the music industry. ,

His aptly-named debut album “Process” was years in the making.

Marred by grief, this ten-track feature is an intensely personal album. Self-written and produced, with no features, Sampha’s single voice amplifies the crushing melodic cavern he constructs.

In the midst of the recording of the album, Sampha’s mother was diagnosed with stomach cancer. He returned home to care for her, putting his career on momentary hold. In 2015, she succumbed to her illness. Her death shapes and hangs in the atmosphere of “Process.”

The album shows Sampha wrestling with this grief, as well as with the turmoils of everyday life. The effect is apparent, falling into his subconscious in songs like “Blood On Me,” a sputtering and bombastic track where Sampha is haunted and stalked by hooded figures. “What Shouldn’t I Be?” finds Sampha sparring with himself and his family over his place in the world, crying out over sparse piano keys.

There are a few fleeting bright spots on this album. “Incomplete Kisses” features a jittery synth-pop beat intermixed with Sampha’s striking falsettos as an ode to a lover. The production is filled with punching drums and fleeting synths, similar to much of the work that Sampha has done with British electronic producer SBTRKT. The other-worldly production blends with Sampha’s own alien voice, which can go from a piercing shriek to a mellow cry in the same stanza. Sampha’s voice seems to gasp for air after emerging past a literal lump in his throat, an issue he delves into on “Plastic 100C.”

By far the most soul-gripping song is “(No One Knows Me) Like the Piano.” In only 14 lines, Sampha details his poignant journey with his mother, culminating in acceptance that his mother will pass soon. With nothing but piano keys and his own solemn voice, Sampha confides in his piano one of the most heart-wrenching songs I’ve ever heard.

“Process” also details Sampha’s struggles with love. On “Timmy’s Prayer,” Sampha mulls over his regret of losing a lover. “Reverse Faults” deals with a similar quandary, wherein Sampha blames his own insecurities and issues on the problems in his romantic relationships.

The album is rife with symbolism. Lost after such tragedy, Sampha constructs grandiose situations from being trapped in Heaven to being buried alive and drowned. Nearly every song on this album has a deeper, more somber meaning than what first meets the ear.

Sampha took his time with this album, and it paid off. Through his loss, Sampha filled the aural space of “Process” with stand-out lyricism and superb production. The beautifully constructed album is a must-listen.

From such a dark and wretched place, Sampha forged pure and naked beauty.

Photo courtesy: Bill Ebbesen, Wikipedia

The Electric Factory welcomed James Blake back to Philadelphia Sept. 30. in the midst of a world tour following the May-release of his album, “The Colour in Anything.” “Colour” instead of “color” because Blake is a British dude and they’re no good at spelling.

The venue was fairly crowded by the time I arrived. The upper balcony was packed and the crowd extended way beyond the bar on the ground floor. A sea of hipsters clad in flannel and loose jeans waited anxiously for Blake to step on stage. There were also two guys dressed in business professional attire right smack dab in the middle of the venue, looking increasingly more uncomfortable and out of place as the crowd filled in.

Around 9:30 p.m., Blake and company filed onto the stage, in a neat line behind keyboards, drums and a guitar. Without saying a word, they started making noises. Not really music, since there wasn’t any discernible melody, but the noises sounded pretty darn neat. I’ll bet the businessmen were quite confused; they were probably just thinking about how they could be looking at stocks or making international calls with clients in China. But then, Blake started playing the first few notes of “Always,” a track off of “The Colour in Anything.” What a trickster, that Blake — he had just been playing a super extended version of “Always” the entire time! The drummer started slapping a pad and Blake’s looped voice started moaning “Always.” Blake hadn’t even muttered a word yet at this point. Music is crazy.

James and the drummer continued this method of easing out of one song into slower, rhythmic sounds, before beginning a new track. He moved from slower songs like “Limit To Your Love” to more bombastic ones such as “Timeless” and “Choose Me.” In the middle of the set, one of the businessmen, we’ll call him Gwent, whispered something to the other businessman, who we’ll refer to as Dinkle, and dipped to the back. Gwent was gone for a while and Dinkle was visibly distressed. He kept checking his phone and turning around, wondering when Gwent would return to spare him from the gruley agony of loneliness. Just as the the loud synths of “I Hope My Life” began to blast, Gwent returned, carrying two Red Bulls, which I thought was a pretty disappointing drink to wait that long for.

Blake is a talented dude. His voice was gorgeous, and it blended well with the exotic sounds he was crafting on stage. At one point, Blake put a pause on the groovy tunes to humblebrag about his band and how they’ve finally reached the point where they can make music on stage without relying on a laptop.

The show was coming to an end as Blake made his rounds through some of his hits, like “Retrograde.” I started to wonder if I would ever see Gwent and Dinkle ever again. Or if they would ever remember me, the short dude in a blue shirt who never said a word to them or made any eye contact at all. But then they finished the Red Bulls and just tossed the cans on the ground and left the venue, so screw Gwent and Dinkle. I hope their IPO for their deodorant subscription service goes horribly awry.

In summation: James Blake and his band put on a great show and they are beautiful, talented twinkles in my eye, and Gwent and Dinkle are gutter trash.

The quaint city of Louisville began to rumble July 15. For the 14th year in a row, Forecastle Festival had returned.

What once started as a small block party in 2002 has blossomed into one of the fastest growing music festivals in the country, boasting over 65,000 festival-goers this year. The nautically-themed festival draws from an eclectic pool of musicians. While it mostly features indie rock acts, artists from a variety of other genres including country musicians, electronic dance music DJs and rappers all shared the same stage. The Avett Brothers, Alabama Shakes and Ryan Adams headlined the three-day festival.

Forecastle hasn’t cultivated the same cult following as Coachella or Bonnaroo, but it does have its own vibrant character. Named after the upper-deck of a sailing ship, Forecastle is situated on the Waterfront Lawn overlooking the Ohio River. The sprawling lawn was decked out with murals, hammocks and vendors of all sorts. Once the sun set, an adjacent bridge lit up with dancing lights, creating a gorgeous backdrop for the festival.

The festival ran into a few road bumps on Friday. At about midday, the grounds had to be evacuated under threat of a passing thunderstorm. But within an hour and a half the schedule was adjusted and the shows went on. Baauer, of “Harlem Shake” fame, had an explosive set, while Glass Animals cooled it down with a vibrant set in the hazy sunset. The Avett Brothers, a mainstay for Forecastle, finished the night.

Saturday went off much smoother. Early festival goers were treated to a lively opening performance by Jazz Cartier, a Toronto rapper who walked across the top of the crowd near the end of the set. Fans endured the steamy Kentucky heat at the Mast Stage, where bands like Shakey Graves and Local Natives kept everyone grooving. Under the shade of an overpass, artists Danny Brown, Hudson Mohawke and others had their crowds dancing the entire day. Once the sun had set, Alabama Shakes came out with a rousing performance, fantastically capping an amazing day of performances.

Sunday was the final day of festivities, yet Waterfront Park was as lively as the last two days. While it felt as if there were fewer attendees, and the heat index was well into the 90s, people were still moving and grooving to AlunaGeorge, Ghostland Observatory, Gary Clark Jr. and others. To escape the heat, festival goers relaxed in Enos and cool off in the Ohio River-fed fountains. Death Cab for Cutie and Ryan Adams closed the night off, but to the left my friend Alex and I went to the Party Cove, a small grove where local DJs played atop a decorated boat. The small rave juxtaposed the chiller music on the Mast Stage, a perfect representation of the odd, fantastic aesthetic of Forecastle Festival.

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