With the weather warming up, music festivals are back on campus. On March 28, the Georgia Tech Musician’s Network (GTMN) held its spring semesterly 1000 Couches, a free event showcasing Tech and other local talent. Starting at 2:30 p.m., students, friends and family gathered to listen to music and check out the vendors set up around Tech Green. Some of the vendors were artists selling their work, and others were food trucks stationed around to satiate the hunger of those in attendance on the hot, sunny day. 

The beauty of a GTMN event is that, while students come to celebrate and attend the festivals, students also plan, organize and run all of their events. Students were dancing, moshing and sitting out on the field with a blanket enjoying the sets, while other students were working sound, setting up the stage and even playing the event. It is no easy task for the students who organize each of GTMN’s events. It involves booking, audio engineering, networking, flexibility and the ability to get everything done in a timely manner. All of that requires a cohesive team of individuals with a shared goal of fostering the community of musicians here at Tech.

To start off the event, Mooncastle, who interviewed with the Technique earlier this year, graced the stage with their funky “space music” and fun stage presence. Mooncastle made their mark winning the GTMN New Bands event held last fall, and the 11 members of Mooncastle are all a part of GTMN and have been there for their duration of time at Tech. 

Next was Sporadica, a 6-piece group combining elements from different genres to create their experimental sound. Their set held to their name, unpredictable and keeping the audience on their toes. They tend to create a pause in their songs, build a little anticipation, and then rip right back out with a punch. 

Flower from the Rock came next, another band that appeared at New Bands, with only their second time ever making an official appearance on stage, the first being Goth Valentine’s Night back in February at the South Bend Commons. 

Boywifer brought their emo tunes to the stage next with Boycat, followed by their slow-core, melancholic sound. Boycat will make an appearance at the, also student-run, WREK 91.1 FM’s annual Wrektacular event this year held at the Goat Farm. 

Fishbug, Hippie Love Party, Melaina Kol and Postcard Nowhere closed the night by offering screamo, distortion and experimental sounds that consistently drew in more people as the evening went on, displaying the creativity of the many students in GTMN and the artistic influence that is evolving in Atlanta. 

GTMN has been on a roll, planning events for this semester to further cater to the local community. Last month, they held two events, the UTC Showcase and another hosted by the beloved venue, “The Whale.” But after 1000 Couches, GTMN’s work is not done. Coming up next, an event called “Styrofoam,” a project that the students at Tech collaboratively work on, will take place on April 4. They will bring in ideas and plans and successfully write an album in 12 hours. All different styles and skill levels are welcome to help and meet other musicians. For more information, check out @gtmusiciansnetwork on Instagram.

GTMN can further be supported by purchasing their merchandise or just by attending their events, like 1000 Couches. Meetings are held every Wednesday night at the John Lewis Student Center, and open mic nights are held every Thursday for all students.

The post GTMN presents 1000 Couches appeared first on Technique.

With the weather warming up, music festivals are back on campus. On March 28, the Georgia Tech Musician’s Network (GTMN) held its spring semesterly 1000 Couches, a free event showcasing Tech and other local talent. Starting at 2:30 p.m., students, friends and family gathered to listen to music and check out the vendors set up around Tech Green. Some of the vendors were artists selling their work, and others were food trucks stationed around to satiate the hunger of those in attendance on the hot, sunny day. 

The beauty of a GTMN event is that, while students come to celebrate and attend the festivals, students also plan, organize and run all of their events. Students were dancing, moshing and sitting out on the field with a blanket enjoying the sets, while other students were working sound, setting up the stage and even playing the event. It is no easy task for the students who organize each of GTMN’s events. It involves booking, audio engineering, networking, flexibility and the ability to get everything done in a timely manner. All of that requires a cohesive team of individuals with a shared goal of fostering the community of musicians here at Tech.

To start off the event, Mooncastle, who interviewed with the Technique earlier this year, graced the stage with their funky “space music” and fun stage presence. Mooncastle made their mark winning the GTMN New Bands event held last fall, and the 11 members of Mooncastle are all a part of GTMN and have been there for their duration of time at Tech. 

Next was Sporadica, a 6-piece group combining elements from different genres to create their experimental sound. Their set held to their name, unpredictable and keeping the audience on their toes. They tend to create a pause in their songs, build a little anticipation, and then rip right back out with a punch. 

Flower from the Rock came next, another band that appeared at New Bands, with only their second time ever making an official appearance on stage, the first being Goth Valentine’s Night back in February at the South Bend Commons. 

Boywifer brought their emo tunes to the stage next with Boycat, followed by their slow-core, melancholic sound. Boycat will make an appearance at the, also student-run, WREK 91.1 FM’s annual Wrektacular event this year held at the Goat Farm. 

Fishbug, Hippie Love Party, Melaina Kol and Postcard Nowhere closed the night by offering screamo, distortion and experimental sounds that consistently drew in more people as the evening went on, displaying the creativity of the many students in GTMN and the artistic influence that is evolving in Atlanta. 

GTMN has been on a roll, planning events for this semester to further cater to the local community. Last month, they held two events, the UTC Showcase and another hosted by the beloved venue, “The Whale.” But after 1000 Couches, GTMN’s work is not done. Coming up next, an event called “Styrofoam,” a project that the students at Tech collaboratively work on, will take place on April 4. They will bring in ideas and plans and successfully write an album in 12 hours. All different styles and skill levels are welcome to help and meet other musicians. For more information, check out @gtmusiciansnetwork on Instagram.

GTMN can further be supported by purchasing their merchandise or just by attending their events, like 1000 Couches. Meetings are held every Wednesday night at the John Lewis Student Center, and open mic nights are held every Thursday for all students.

The post GTMN presents 1000 Couches appeared first on Technique.

The Renegade Film Festival, held at the Strand Theatre in Marietta, celebrated the diversity and creativity that sparks current indie cinema on Feb. 21 and 22. Established in 2017, Renegade has highlighted underrepresented filmmakers for years, amplifying their voices in the scene. The two-day festival showed a variety of films from a melting pot of genres — horror, action, comedy, thriller, drama and animation.

To get the festivities kicked off, Renegade hosted a “meet and mingle” Thursday night at The Pub of the Hilton Atlanta/Marietta Hotel and Conference Center, the host hotel of the event. Attending this event was a great chance to meet talented filmmakers and organizers behind the spectacular event. 

At 10:30 a.m. on Friday, ticket holders trickled in through the doors of the Strand Theatre to witness the state, national and world premiers of various films throughout the day. Filmmakers either played their feature films or chose to play a series of short films hoping at a chance to win the brand new REEL Renegade Award and one of the iconic Lizzie awards given at the end of the festival: Best Short Film, Best Director Feature Film, Renegade Award, Best Director Short Film and Best Feature Film.

To celebrate the end of the successful first day, ticket holders were invited upstairs at the Strand in the Lumiere Lounge, named after the famous Lumière brothers. The rich history and design of the Strand Theatre have captured the hearts of movie lovers since the 1930s. The soul of the theatre has withstood fires and location changes, throughout its existence, but its perseverance speaks to the resilience of the community that adores it.

Day two of the festival consisted of similar festivities, showcasing more feature films and short films from other creators. However, the artists were not just here to win awards. They were seen laughing, learning and inspiring others. That was the beauty of the competition created by Renegade. It was a place to build others up and celebrate artistic work that required countless days and nights of dedication.

Once 9 o’clock struck, the award ceremony began. The following is a list of some of the winners of the competition: Horror Icon Award, Barbara Crampton; Audience Choice Award, “Betty” directed by Letty Mode; Best Feature Director, Izzy Lee for “House of Ashes”; Best Feature Film, “The Rebrand”; Best Performance, Fayna Sanchez; Best Short Film Director, Gina Powers Hendry for “Gaslighter”; Best Short Film, “Spermicide” directed by Scott Nuñez-Peterman; and Best Writing, “Good Girls Get Fed” written by Kelly Lou Dennis, Kayla Klein and Sarah Rebottaro. A list of all award winners can be found on the official website of the Renegade Film Festival.

This year’s festival sets a high bar for the future, with fantastic turnout and a diverse and unique catalog of films. The names of all the feature films and short films played at Renegade Film Festival can be found at renegadefilmfest.com, and the organization posts regularly on their Instagram page, @renegadefilmfest.

The post Renegade Film Festival champions indie cinema appeared first on Technique.

The Renegade Film Festival, held at the Strand Theatre in Marietta, celebrated the diversity and creativity that sparks current indie cinema on Feb. 21 and 22. Established in 2017, Renegade has highlighted underrepresented filmmakers for years, amplifying their voices in the scene. The two-day festival showed a variety of films from a melting pot of genres — horror, action, comedy, thriller, drama and animation.

To get the festivities kicked off, Renegade hosted a “meet and mingle” Thursday night at The Pub of the Hilton Atlanta/Marietta Hotel and Conference Center, the host hotel of the event. Attending this event was a great chance to meet talented filmmakers and organizers behind the spectacular event. 

At 10:30 a.m. on Friday, ticket holders trickled in through the doors of the Strand Theatre to witness the state, national and world premiers of various films throughout the day. Filmmakers either played their feature films or chose to play a series of short films hoping at a chance to win the brand new REEL Renegade Award and one of the iconic Lizzie awards given at the end of the festival: Best Short Film, Best Director Feature Film, Renegade Award, Best Director Short Film and Best Feature Film.

To celebrate the end of the successful first day, ticket holders were invited upstairs at the Strand in the Lumiere Lounge, named after the famous Lumière brothers. The rich history and design of the Strand Theatre have captured the hearts of movie lovers since the 1930s. The soul of the theatre has withstood fires and location changes, throughout its existence, but its perseverance speaks to the resilience of the community that adores it.

Day two of the festival consisted of similar festivities, showcasing more feature films and short films from other creators. However, the artists were not just here to win awards. They were seen laughing, learning and inspiring others. That was the beauty of the competition created by Renegade. It was a place to build others up and celebrate artistic work that required countless days and nights of dedication.

Once 9 o’clock struck, the award ceremony began. The following is a list of some of the winners of the competition: Horror Icon Award, Barbara Crampton; Audience Choice Award, “Betty” directed by Letty Mode; Best Feature Director, Izzy Lee for “House of Ashes”; Best Feature Film, “The Rebrand”; Best Performance, Fayna Sanchez; Best Short Film Director, Gina Powers Hendry for “Gaslighter”; Best Short Film, “Spermicide” directed by Scott Nuñez-Peterman; and Best Writing, “Good Girls Get Fed” written by Kelly Lou Dennis, Kayla Klein and Sarah Rebottaro. A list of all award winners can be found on the official website of the Renegade Film Festival.

This year’s festival sets a high bar for the future, with fantastic turnout and a diverse and unique catalog of films. The names of all the feature films and short films played at Renegade Film Festival can be found at renegadefilmfest.com, and the organization posts regularly on their Instagram page, @renegadefilmfest.

The post Renegade Film Festival champions indie cinema appeared first on Technique.

The Renegade Film Festival, held at the Strand Theatre in Marietta, celebrated the diversity and creativity that sparks current indie cinema on Feb. 21 and 22. Established in 2017, Renegade has highlighted underrepresented filmmakers for years, amplifying their voices in the scene. The two-day festival showed a variety of films from a melting pot of genres — horror, action, comedy, thriller, drama and animation.

To get the festivities kicked off, Renegade hosted a “meet and mingle” Thursday night at The Pub of the Hilton Atlanta/Marietta Hotel and Conference Center, the host hotel of the event. Attending this event was a great chance to meet talented filmmakers and organizers behind the spectacular event. 

At 10:30 a.m. on Friday, ticket holders trickled in through the doors of the Strand Theatre to witness the state, national and world premiers of various films throughout the day. Filmmakers either played their feature films or chose to play a series of short films hoping at a chance to win the brand new REEL Renegade Award and one of the iconic Lizzie awards given at the end of the festival: Best Short Film, Best Director Feature Film, Renegade Award, Best Director Short Film and Best Feature Film.

To celebrate the end of the successful first day, ticket holders were invited upstairs at the Strand in the Lumiere Lounge, named after the famous Lumière brothers. The rich history and design of the Strand Theatre have captured the hearts of movie lovers since the 1930s. The soul of the theatre has withstood fires and location changes, throughout its existence, but its perseverance speaks to the resilience of the community that adores it.

Day two of the festival consisted of similar festivities, showcasing more feature films and short films from other creators. However, the artists were not just here to win awards. They were seen laughing, learning and inspiring others. That was the beauty of the competition created by Renegade. It was a place to build others up and celebrate artistic work that required countless days and nights of dedication.

Once 9 o’clock struck, the award ceremony began. The following is a list of some of the winners of the competition: Horror Icon Award, Barbara Crampton; Audience Choice Award, “Betty” directed by Letty Mode; Best Feature Director, Izzy Lee for “House of Ashes”; Best Feature Film, “The Rebrand”; Best Performance, Fayna Sanchez; Best Short Film Director, Gina Powers Hendry for “Gaslighter”; Best Short Film, “Spermicide” directed by Scott Nuñez-Peterman; and Best Writing, “Good Girls Get Fed” written by Kelly Lou Dennis, Kayla Klein and Sarah Rebottaro. A list of all award winners can be found on the official website of the Renegade Film Festival.

This year’s festival sets a high bar for the future, with fantastic turnout and a diverse and unique catalog of films. The names of all the feature films and short films played at Renegade Film Festival can be found at renegadefilmfest.com, and the organization posts regularly on their Instagram page, @renegadefilmfest.

The post Renegade Film Festival champions indie cinema appeared first on Technique.

The Renegade Film Festival, held at the Strand Theatre in Marietta, celebrated the diversity and creativity that sparks current indie cinema on Feb. 21 and 22. Established in 2017, Renegade has highlighted underrepresented filmmakers for years, amplifying their voices in the scene. The two-day festival showed a variety of films from a melting pot of genres — horror, action, comedy, thriller, drama and animation.

To get the festivities kicked off, Renegade hosted a “meet and mingle” Thursday night at The Pub of the Hilton Atlanta/Marietta Hotel and Conference Center, the host hotel of the event. Attending this event was a great chance to meet talented filmmakers and organizers behind the spectacular event. 

At 10:30 a.m. on Friday, ticket holders trickled in through the doors of the Strand Theatre to witness the state, national and world premiers of various films throughout the day. Filmmakers either played their feature films or chose to play a series of short films hoping at a chance to win the brand new REEL Renegade Award and one of the iconic Lizzie awards given at the end of the festival: Best Short Film, Best Director Feature Film, Renegade Award, Best Director Short Film and Best Feature Film.

To celebrate the end of the successful first day, ticket holders were invited upstairs at the Strand in the Lumiere Lounge, named after the famous Lumière brothers. The rich history and design of the Strand Theatre have captured the hearts of movie lovers since the 1930s. The soul of the theatre has withstood fires and location changes, throughout its existence, but its perseverance speaks to the resilience of the community that adores it.

Day two of the festival consisted of similar festivities, showcasing more feature films and short films from other creators. However, the artists were not just here to win awards. They were seen laughing, learning and inspiring others. That was the beauty of the competition created by Renegade. It was a place to build others up and celebrate artistic work that required countless days and nights of dedication.

Once 9 o’clock struck, the award ceremony began. The following is a list of some of the winners of the competition: Horror Icon Award, Barbara Crampton; Audience Choice Award, “Betty” directed by Letty Mode; Best Feature Director, Izzy Lee for “House of Ashes”; Best Feature Film, “The Rebrand”; Best Performance, Fayna Sanchez; Best Short Film Director, Gina Powers Hendry for “Gaslighter”; Best Short Film, “Spermicide” directed by Scott Nuñez-Peterman; and Best Writing, “Good Girls Get Fed” written by Kelly Lou Dennis, Kayla Klein and Sarah Rebottaro. A list of all award winners can be found on the official website of the Renegade Film Festival.

This year’s festival sets a high bar for the future, with fantastic turnout and a diverse and unique catalog of films. The names of all the feature films and short films played at Renegade Film Festival can be found at renegadefilmfest.com, and the organization posts regularly on their Instagram page, @renegadefilmfest.

The post Renegade Film Festival champions indie cinema appeared first on Technique.

In his third project, Sam Fender takes his listeners to uncharted depths of existentialism and shows the beauty of having friends to fall back on. “People Watching” is a love letter to Fender’s home, but more specifically the people his heart could never leave behind. It has a thought-provoking message that resonates with listeners of all ages and walks of life. Fender tells story after story about feeling stuck and hopeless, sometimes centered around him, sometimes around the kid down the street. Nevertheless, the anthems of “People Watching” showcase Fender’s vulnerability to the masses.

The title track, “People Watching,” is a proper opener to the record, setting the stage for the overall theme of finding connection in a world of solidarity. The song references an intense time in Fender’s life when he was stuck in a place of sorrow and question. One of his friends was suffering from a serious illness, and Fender stuck it out with her until her final days. On his many walks back home from the care home, he would look at the people passing and wonder about what was happening in their lives; this took his mind off the situation and ultimately contributed to his storytelling across the record. This track was the first single released to give listeners a small taste of what was to come.

The strong melodies and raw lyricism of “Nostalgia’s Lie” shares Fender’s reflection on his early life and the naivety of childhood. He sings, “Spinning and laughing… was it ever what I thought it truly was?” 

In “Chin Up,” Fender focuses on the validity of his own struggles compared to those of his friends. He says it is “no time to victimize [himself]” when his friends are back home struggling with addiction and making ends meet: “My friends at home are in pain… chucky debt, God, I hate cocaine.”

It is no secret that Fender loves symbolism. He often writes about the faults of society and authority’s broken promises. In the folkier, acoustic-driven “Wild Long Lie,” Sam sings about the romanticization of overindulgence. Adam Granducei, the frontman of The War on Drugs, produced this album with Fender. The name of the band references the unrest caused under the Reagan administration in the ‘80s that led to mass incarceration. This theme was raised in the track “Crumbling Empire,” which blames the government for not taking care of its people. 

He tells stories of his mother, a nurse who did so much for her community but was left helpless by her government after she lost her ability to work. Fender emphasizes, “I’m not preaching … I’m just talking.” He tells his listeners exactly how it is, and he often reflects on how his life would have turned out if not for his immense success over the years. 

“Arm’s Length,” a vulnerable, avoidant track, highlights Fender’s tender songwriting: “Do you have to know me, know me inside out to have a good time?” The track begs for the listener’s attention with its slower pace and its touching simplicity.

“Little Bit Closer” is Fender’s battle with religion and deity. Growing up, Fender learned to root his foundation in empathy instead of religious doctrine, something he never found to serve him. The lyric “But, in love, there’s something to hold, and I get a little bit closer to it” references spirituality through his painstaking vocals. 

An acknowledgment of his relationship troubles, “Rein Me In” draws from Fender’s haunted soul with a catchy tune. It is yet another track that shows his appreciation for horned instruments. 

“TV Dinner” is the synthy, harsh glimpse into the world of the music industry that exploits its artists. Fender is assertive and blunt: “No one gets into my space … Am I up to this?” He calls out the industry and the press for how they portrayed Amy Winehouse back when she was struggling with abuse and addiction. “Like Winehouse, she was just a bairn … They love her now but bled her then.”

Love songs like “Something Heavy” give relief on the often heavy record. He sings, “Everybody here’s got something heavy … I’ll shoulder it a while if you just want a night off.” Even in periods of crippling mental health, Fender finds encouragement in his loved ones and vice versa: “So many good people falling victim to the dog, so call me if you’re down, I’ll help you come around … The kettle on the boil until it’s sorted out.”

To close the record, Fender sings a devastating ode to his grandparents, and the track is like no other across his discography. Vocally, he sends chills up and down the spines of his listeners. Lyrically, he brings tears to their eyes. The orchestral production is comparable to nothing that his fans have heard from him before. “Remember My Name” is written about his grandmother’s deteriorating memory and reflects on the beautiful life she gave to others. All of it is told from the perspective of his grandfather: “Humor me, make my day. I’ll tell you stories, kiss your face. And I’ll pray you’ll remember my name.” The touching, soaring melodies of this song make you want to hold onto your loved ones just a little bit tighter.

“People Watching” is raw, creative, expansive and enlightening, and it can be streamed on all services and platforms. Fender released tour dates for the United States, but unfortunately, they do not include any East Coast shows for the time being. He is also playing a string of shows across Europe and the United Kingdom this summer, including three sold-out shows at St. James Park in Newcastle.

The post Album review: Sam Fender’s “People Watching” appeared first on Technique.

No matter your stance on the issue, it is generally understood that a woman’s access to an abortion is at risk now more than ever. The people of Ground Control Touring (GCT) know the significance of coming together to support a common cause such as this. Based in Brooklyn, N.Y., GCT decided to jump in and promote their now annual Abortion Access Benefit Series this year, hosted in eight different cities across the nation. The third annual event took place on Jan. 25 in NYC, LA, Chicago, Philadelphia, Austin, Raleigh, Washington, D.C., and Atlanta drawing many attendees there to support the cause.  

The event was held only five days after the inauguration of the 47th president of the United States who recently froze funds that subsidize abortions, this event was a source of comfort for many. In between sets, people shared words of encouragement and donated money.

The Masquerade’s Purgatory housed local and neighboring artists and bands. Up first was Atlanta native, Zoe Bayani, whose music feels nostalgic and dreamy. Bayani and her band had the audience swaying and then head-banging with songs like “Bummer.” 

Coming all the way from New Orleans to play in the benefit was indie-alternative band Video Age, who followed Bayani with fresh songwriting and ‘80s AM pop waves. Following them was Playytime who had the crowd pushing, shoving and releasing their built-up emotions. The hardcore screamo group had an explosive set with lyrics cutting to the core.  

Pike Company came next — a four-piece band from the surrounding area. Along with their clean ‘60s pop sonic influence, they came with a small tote bag they passed on throughout the crowd. Inside were the cutest stickers, a smart promotion move, that could be kept for free. They also kindly let an audience member keep the tote bag. 

Critically acclaimed indie-rock group Omni brought their lean, rhythmic sound and played a number of their hits from 2016 to their most recent, “Plastic Pyramids.” There was a lot of Talking Heads and Television influence in their sound. Omni had Girlpuppy, set to headline the event, join them on the stage for their final song of the set which earned cheers from the audience. 

The artists in the lineup were not limited to Atlanta locals. Up next was Birmingham, Ala. native, Jahnah Camille. Camille is praised in her community for her statement, gut-wrenching songwriting on top of a synthy dream-pop presence. She fittingly captured the attention of everyone in the room with her words of heartbreak and betrayal.  

Last, but certainly not least, Girlpuppy graced the stage. Leading woman, Becca Harvey, said a few words about how important the night was to her and how grateful she was for Grand Touring for putting on an event like this. After that, she gave David Lynch a shout-out and played catchy and cutting new single “Champ.”  

The indie-rock scene has their eyes on Girlpuppy for good reason. She just recently announced her newest project and sophomore record, “Sweetness,” set to release on Mar. 28 via Captured Tracks. With the album announcement came another stinging new single called, “I Just Do!” to hold fans over until spring release. The track is about enduring different types of pain and enjoying it because it feels nice in a peculiar kind of way. 

Differing from “Windows,” her lush, most recent single off the new album, “I Just Do!” is heavier lyrically and instrumentally. The people at the Masquerade were lucky enough to hear the new single first along with a few more unreleased tracks that could potentially be on the project. 

Girlpuppy will be playing “Sweetness” from top to bottom in Brooklyn, Los Angeles and Atlanta at The EARL (21+) on April 4. 

All proceeds from the Abortion Access Benefit Series went directly to an organization called Noise For Now (NFN). NFN is “beating the drum for a world in which we all are free to make decisions about our bodies and our futures.”

The post Girlpuppy shines at Abortion Access Benefit Series appeared first on Technique.

On Jan. 27, MJ Lenderman and his band The Wind closed out the second of two sweet-sounding nights at Variety Playhouse in Little Five Points. After postponing the Atlanta shows back in October due the devastating Hurricane Helene that hit Lenderman’s hometown of Asheville, N.C., especially hard, the band was excited to finally make it back to one of their favorite cities. There was a very diverse crowd of people in attendance at Variety Playhouse — a lot of college students, dads and those in search of a good alt-country revival.

Opening up the evening was jam band Ryan Davis and the Roadhouse Band. Only having one album on streaming platforms, they played a short but packed set. They, of course, had drums, guitars, bass and keys but also bongos, a pedal steel and a melodica, which has the keyboard layout of a piano but the functionality of a wind instrument. Monday night was the band’s last run with Lenderman for this tour, and they finished with a bang. 

MJ Lenderman presented his set with a grand opening of “Manning Fireworks,” the title track from his award-winning album “Manning Fireworks” that was released in 2024. His fourth full-length album, released in September, ranked on numerous “Best Albums of 2024” lists across several major publications. To name a few, Rolling Stone Magazine ranked it number three, and The New Yorker named it the “Best Album of 2024.” “Manning Fireworks” is modern; it’s classic; it’s country; it’s grungy. Lenderman’s solo work is dark but witty, always managing to show vulnerability in the goofiest of ways. 

He then played a string of songs from the new album, including “Joker Lips,” everyone’s favorite Christmas song “Rudolph,” and hit single “Wristwatch” which tells a story about three M’s: masculinity, meaningless wealth, and mid-life crisis. It has a great, slow-rolled guitar solo in the outro. Fan favorites “TLC Cage Match,” “You are Every Girl to Me” and “Six Flags” were sprinkled in along with his fourth project in full. 

There was life before “Manning Fireworks,” and that includes Lenderman’s album “Boat Songs” in 2022, “Ghost of Your Guitar Solo” in 2021 and his self-titled work from 2019. Lenderman knew his fans were hungry to hear everything, so he managed to pack in 21 songs from all across his discography and more by including a few covers as well. The Wind played “Dancing in the Club” by This is Lorelei and “37 Push Ups” by Smog, and they brought members of the Roadhouse Band to help them out. And to no MJ Lenderman fan’s surprise, he also threw in a Neil Young cover of “Lotta Love” as the first song of the encore, and the crowd ate it up. Closing out the electric night, Lenderman finished his set with “Hangover Game” and “Knockin,” both widely beloved songs across his fanbase.  

As it seemed, only one fan left the show on Monday disappointed, and that would be the man who very politely yelled, “TV Dinners!” which earned a smirk and laughter from Lenderman. The band proceeded to play “She’s Leaving You.” 

While Lenderman does not have any known plans to return to Atlanta this year, many hopeful fans are still holding out for an appearance at the annual Shaky Knees Music Festival, taking place in Piedmont Park this fall. Fans of MJ Lenderman may also find they enjoy similar artists or groups like Wednesday, Greg Freeman or Waxahatchee.

The post MJ Lenderman rocks sold-out Variety Playhouse appeared first on Technique.

The Ferst Center of the Arts opened its doors to many on Sunday, Jan. 26, as they turned the page to a brand-new chapter in the future of the building. Collaborating with the Georgia Tech Musicians Network (GTMN), the Ferst Center put together a set of performances by students, faculty and professionals to begin a new era of artistic development for the center and the campus community. The event was called “Ferst Impressions,” making a pun for their first production of this new beginning under Director Dan Parker and Assistant Director Thomas Brazzle. 

Ferst Impressions brings the promise of creativity and promotion in the arts, something that is important to many students on campus. Dan Parker, Director of Georgia Tech Arts, mentioned a new change in the atmosphere of the institute by the string of new events expected to debut at the Ferst Center. “We are not a STEM school anymore,” Parker claimed. “We are a STEAM school.”

Those not familiar with the term “STEAM” are not alone; it includes the arts along with science, technology, engineering, and math. This concept encourages creativity and collaboration in learning much-needed problem-solving skills, both ideas that are fostered with this new Ferst collection of events. Encouraging collaboration in the arts will be extremely beneficial to the students participating in this new era. Students, faculty and professionals get to share the stage and maybe learn a few things about their craft from each other.

For the very first event, the Ferst Center reached out to GTMN to see if they had any students in mind who would be willing to open the event and play under the jazz group Joe Gransden & His Big Band. They could think of no better-suited group other than “Mooncastle.” Once the multi-genre band sent in a demo of their fan-favorite song, “Buzzard,” Ferst just could not resist.

The Technique is no stranger to the otherworldly space music connoisseurs Mooncastle, the winners of the GTMN New Bands Competition and headliners of Jazz Night, which was held only a week before Ferst Impressions. Mooncastle originated last year through many overlapping exchanges in the musicians’ network and many more semesters working in jazz combos together. Rooted in the DIY scene, Jacob Zeigler fourth-year CS, on the keys, talked about how appreciative the group was to be able to perform a set with a much higher production value. It is a full circle moment for them to finally be playing on such a familiar stage that they’re typically on the other side of.

A special guest made an appearance during Mooncastle’s set, and many know him as the instructor of the jazz combo program. The saxophonist, Mace Hibbard , graced the stage with his students for a song or two and then proceeded to play with Joe Gransden’s band after Mooncastle’s set.

“There’s so much you can learn by listening,” Zeigler said. Grayson Valentine, first-year lead singer, was very appreciative of having the opportunity to get to know and speak with Gransden’s band and get the feeling of what it is like to play as an experienced jazz group on the go. 

“We like to have some grit, but it was nice to play before a professional band,” Valentine remarked. “Being on that stage is like nothing else.”

First-year AE drummer Theo Sommer, first-year MT, is extremely grateful to the Ferst Center for the opportunity extended to them. 

“They have been super helpful in promoting us and student life. They want to promote the arts long-term,” Summer said.

Mooncastle is super excited to see more student participation in what happens at the Ferst Center down the road.

Mooncastle will be playing at “1000 Couches,” which is the spring version of GTMN’s semesterly festival events. They hope to release a live recording of their performance at Ferst Impressions soon, but the release date is to be determined. More updates about the group and the program itself can be found on Instagram at @_mooncastle_ and @gtmusiciansnetwork.

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