Shake Awake might just be Atlanta’s best-kept secret. Since jumping into the city’s vibrant music scene a few years back, the band has built a reputation around their loud indie rock music and fiery live shows. With their long-awaited debut album “Ghost of the Mantis,” they bottle this energy and dynamic live feel into something tangible: a ten-song, angst-driven rock piece that proves that this is only the start of the Shake Awake takeover.

The band consists of Joseph Hawkins (vocals, bass), Tiernen Callahan (guitar) and Alejo Guerra (drums). The three met each other while attending Kennesaw State University, and after a few jam sessions, decided to form the band. Since then, they have become an absolute staple in Atlanta’s music, playing everything from backyards to the city’s best venues like the Masquerade, Center Stage Vinyl and Smith’s Olde Bar.

They describe their sound as “garage rock,” and it couldn’t be more fitting. “Ghost of the Mantis” is gritty and rough around the edges, just like the underground rock scene that shaped them. Back to front, the record feels raw and unfiltered in a way that many bands struggle to capture. The instrumentation is loud and big, but the lyrics are introspective and emotional, tethering them to their philosophy of keeping things real.

“We have a principle of realism attached to the Shake Awake sound that emphasizes the DIY aesthetic of the music,” said frontman Joseph Hawkins in an interview with the Technique. “We don’t include any sounds that can’t exist in the real world; sounds that can’t be replicated. That means no samples, no software instruments, or anything else that can’t be captured or performed by a real band.”

A few of the tracks on the album are re-records of songs they previously released. The album’s opener, “Pithy,” is one such track. Right from the get-go, the bass takes to the foreground, creating a dark and grainy atmosphere for listeners to dive head-first into. It’s a bold choice that pays off, showcasing the band’s confidence in their musical instincts. As the track devolves into a breakdown, the trio’s chemistry and technical ability shine.

For Shake Awake, the lyrics are just as important as the instrumentation. Every line on the record feels intentional, packed with metaphors and meanings that can only be picked up if you listen closely. This concept is especially evident in “Pithy.” The title itself means concise and expressive, just like the band’s writing style. The song’s chorus of “I do, I do, I speak it too / I do, I knew, it’s pithy like you,” plays with repetition to emphasize the significance of language and communication in our daily lives.

“The album really is about language,” said Hawkins. “A movie with great dialogue is better than a poorly spoken one with a stellar plot. A book with good prose doesn’t need a story that makes any sense… It’s impossible to consume art without its medium.” This obsession with language, the medium through which their art is shared, contextualizes their music and gives it a profound meaning, packing an emotional punch for their listeners.

The same lyrical weight carries on into “Burgundy,” one of the album’s most relatable and reflective moments. Hawkins tells the story of a man who dreams of being rich and successful. However, after sacrificing his youth to the 9-5, he wonders why he even wanted it in the first place. He resolves, “What could I want as a rich man, with leather and wine in burgundy / I believe I’d want what I can’t stand now / All the little things that burden me.” In this simple, horn-driven song, the band beautifully captures the universal ache of regret.

The album’s single, “Pyramids,” leans a bit more into the pop-appeal rather than many of the other songs’ rock tendencies. With its bright rhythm, playful groove and earworm of a chorus, it’s one of the most instantly catchy songs on the record. It continually weaves metaphors and themes of repeating history and being unable to change into the lyrics. Through the persistent guitar oscillations and snappy chorus, it is definitely a track that sticks with listeners.

Fans of the band will recognize “Kudzu Cutter” from its previous release and unforgettable part in the band’s live shows. However, the song takes on new life on the record with its fresh recording. Throughout the track, the guitar comes and goes in waves, building in intensity again and again. Fittingly, it is also the track that gave the band their name from the lyric, “When I shake awake, could you try and remember my pulse?”

With “Ghost of the Mantis,” Shake Awake has delivered a debut record that successfully merges thoughtful, lyrical themes with rough, fun rock instrumentation. Every lyric, riff and rhythm feels intentional, the result of a band that knows exactly what they want to say and how to say it. Shake Awake certainly won’t be underground for long. This band is meant for bigger stages, and they’re just getting started.

The post Album review: Shake Awake debuts ‘Ghost of the Mantis’ appeared first on Technique.

Shake Awake might just be Atlanta’s best-kept secret. Since jumping into the city’s vibrant music scene a few years back, the band has built a reputation around their loud indie rock music and fiery live shows. With their long-awaited debut album “Ghost of the Mantis,” they bottle this energy and dynamic live feel into something tangible: a ten-song, angst-driven rock piece that proves that this is only the start of the Shake Awake takeover.

The band consists of Joseph Hawkins (vocals, bass), Tiernen Callahan (guitar) and Alejo Guerra (drums). The three met each other while attending Kennesaw State University, and after a few jam sessions, decided to form the band. Since then, they have become an absolute staple in Atlanta’s music, playing everything from backyards to the city’s best venues like the Masquerade, Center Stage Vinyl and Smith’s Olde Bar.

They describe their sound as “garage rock,” and it couldn’t be more fitting. “Ghost of the Mantis” is gritty and rough around the edges, just like the underground rock scene that shaped them. Back to front, the record feels raw and unfiltered in a way that many bands struggle to capture. The instrumentation is loud and big, but the lyrics are introspective and emotional, tethering them to their philosophy of keeping things real.

“We have a principle of realism attached to the Shake Awake sound that emphasizes the DIY aesthetic of the music,” said frontman Joseph Hawkins in an interview with the Technique. “We don’t include any sounds that can’t exist in the real world; sounds that can’t be replicated. That means no samples, no software instruments, or anything else that can’t be captured or performed by a real band.”

A few of the tracks on the album are re-records of songs they previously released. The album’s opener, “Pithy,” is one such track. Right from the get-go, the bass takes to the foreground, creating a dark and grainy atmosphere for listeners to dive head-first into. It’s a bold choice that pays off, showcasing the band’s confidence in their musical instincts. As the track devolves into a breakdown, the trio’s chemistry and technical ability shine.

For Shake Awake, the lyrics are just as important as the instrumentation. Every line on the record feels intentional, packed with metaphors and meanings that can only be picked up if you listen closely. This concept is especially evident in “Pithy.” The title itself means concise and expressive, just like the band’s writing style. The song’s chorus of “I do, I do, I speak it too / I do, I knew, it’s pithy like you,” plays with repetition to emphasize the significance of language and communication in our daily lives.

“The album really is about language,” said Hawkins. “A movie with great dialogue is better than a poorly spoken one with a stellar plot. A book with good prose doesn’t need a story that makes any sense… It’s impossible to consume art without its medium.” This obsession with language, the medium through which their art is shared, contextualizes their music and gives it a profound meaning, packing an emotional punch for their listeners.

The same lyrical weight carries on into “Burgundy,” one of the album’s most relatable and reflective moments. Hawkins tells the story of a man who dreams of being rich and successful. However, after sacrificing his youth to the 9-5, he wonders why he even wanted it in the first place. He resolves, “What could I want as a rich man, with leather and wine in burgundy / I believe I’d want what I can’t stand now / All the little things that burden me.” In this simple, horn-driven song, the band beautifully captures the universal ache of regret.

The album’s single, “Pyramids,” leans a bit more into the pop-appeal rather than many of the other songs’ rock tendencies. With its bright rhythm, playful groove and earworm of a chorus, it’s one of the most instantly catchy songs on the record. It continually weaves metaphors and themes of repeating history and being unable to change into the lyrics. Through the persistent guitar oscillations and snappy chorus, it is definitely a track that sticks with listeners.

Fans of the band will recognize “Kudzu Cutter” from its previous release and unforgettable part in the band’s live shows. However, the song takes on new life on the record with its fresh recording. Throughout the track, the guitar comes and goes in waves, building in intensity again and again. Fittingly, it is also the track that gave the band their name from the lyric, “When I shake awake, could you try and remember my pulse?”

With “Ghost of the Mantis,” Shake Awake has delivered a debut record that successfully merges thoughtful, lyrical themes with rough, fun rock instrumentation. Every lyric, riff and rhythm feels intentional, the result of a band that knows exactly what they want to say and how to say it. Shake Awake certainly won’t be underground for long. This band is meant for bigger stages, and they’re just getting started.

The post Album review: Shake Awake debuts ‘Ghost of the Mantis’ appeared first on Technique.

Shake Awake might just be Atlanta’s best-kept secret. Since jumping into the city’s vibrant music scene a few years back, the band has built a reputation around their loud indie rock music and fiery live shows. With their long-awaited debut album “Ghost of the Mantis,” they bottle this energy and dynamic live feel into something tangible: a ten-song, angst-driven rock piece that proves that this is only the start of the Shake Awake takeover.

The band consists of Joseph Hawkins (vocals, bass), Tiernen Callahan (guitar) and Alejo Guerra (drums). The three met each other while attending Kennesaw State University, and after a few jam sessions, decided to form the band. Since then, they have become an absolute staple in Atlanta’s music, playing everything from backyards to the city’s best venues like the Masquerade, Center Stage Vinyl and Smith’s Olde Bar.

They describe their sound as “garage rock,” and it couldn’t be more fitting. “Ghost of the Mantis” is gritty and rough around the edges, just like the underground rock scene that shaped them. Back to front, the record feels raw and unfiltered in a way that many bands struggle to capture. The instrumentation is loud and big, but the lyrics are introspective and emotional, tethering them to their philosophy of keeping things real.

“We have a principle of realism attached to the Shake Awake sound that emphasizes the DIY aesthetic of the music,” said frontman Joseph Hawkins in an interview with the Technique. “We don’t include any sounds that can’t exist in the real world; sounds that can’t be replicated. That means no samples, no software instruments, or anything else that can’t be captured or performed by a real band.”

A few of the tracks on the album are re-records of songs they previously released. The album’s opener, “Pithy,” is one such track. Right from the get-go, the bass takes to the foreground, creating a dark and grainy atmosphere for listeners to dive head-first into. It’s a bold choice that pays off, showcasing the band’s confidence in their musical instincts. As the track devolves into a breakdown, the trio’s chemistry and technical ability shine.

For Shake Awake, the lyrics are just as important as the instrumentation. Every line on the record feels intentional, packed with metaphors and meanings that can only be picked up if you listen closely. This concept is especially evident in “Pithy.” The title itself means concise and expressive, just like the band’s writing style. The song’s chorus of “I do, I do, I speak it too / I do, I knew, it’s pithy like you,” plays with repetition to emphasize the significance of language and communication in our daily lives.

“The album really is about language,” said Hawkins. “A movie with great dialogue is better than a poorly spoken one with a stellar plot. A book with good prose doesn’t need a story that makes any sense… It’s impossible to consume art without its medium.” This obsession with language, the medium through which their art is shared, contextualizes their music and gives it a profound meaning, packing an emotional punch for their listeners.

The same lyrical weight carries on into “Burgundy,” one of the album’s most relatable and reflective moments. Hawkins tells the story of a man who dreams of being rich and successful. However, after sacrificing his youth to the 9-5, he wonders why he even wanted it in the first place. He resolves, “What could I want as a rich man, with leather and wine in burgundy / I believe I’d want what I can’t stand now / All the little things that burden me.” In this simple, horn-driven song, the band beautifully captures the universal ache of regret.

The album’s single, “Pyramids,” leans a bit more into the pop-appeal rather than many of the other songs’ rock tendencies. With its bright rhythm, playful groove and earworm of a chorus, it’s one of the most instantly catchy songs on the record. It continually weaves metaphors and themes of repeating history and being unable to change into the lyrics. Through the persistent guitar oscillations and snappy chorus, it is definitely a track that sticks with listeners.

Fans of the band will recognize “Kudzu Cutter” from its previous release and unforgettable part in the band’s live shows. However, the song takes on new life on the record with its fresh recording. Throughout the track, the guitar comes and goes in waves, building in intensity again and again. Fittingly, it is also the track that gave the band their name from the lyric, “When I shake awake, could you try and remember my pulse?”

With “Ghost of the Mantis,” Shake Awake has delivered a debut record that successfully merges thoughtful, lyrical themes with rough, fun rock instrumentation. Every lyric, riff and rhythm feels intentional, the result of a band that knows exactly what they want to say and how to say it. Shake Awake certainly won’t be underground for long. This band is meant for bigger stages, and they’re just getting started.

The post Album review: Shake Awake debuts ‘Ghost of the Mantis’ appeared first on Technique.

Hundreds of concert-goers filled the Atlanta Symphony Hall to bear witness to Gregory Alan Isakov’s musical prowess as he performed with the Atlanta Pops Orchestra on March 23 and 24. Both fans of Isakov and fans of the orchestra united in the symphony hall to share their love of folk and orchestral music.

Isakov has spent the last month on his 2025 Symphony Tour where he met and performed with orchestras in each city, drawing from his expansive discography and creating an awe-inspiring show. Atlanta was no different. He was able to merge his songs with the symphony’s sound in a powerful and moving way.

Over the course of his two-decade-long career, Isakov has established himself as one of the great folk musicians of the 21st century. His albums “The Weatherman” and “Evening Machines” have steered the genre of modern folk music, and Isakov shows no signs of slowing down with his newest record, “Appaloosa Bones,” which contains standout tracks “The Fall” and “Sweet Heat Lightning.” 

Isakov has toured copiously over the last few years, stopping in Atlanta each time. This most recent stop was a collaboration with the Atlanta Pops Orchestra, which has been a staple of Atlanta’s popular orchestral music for over 80 years. Strings, woodwinds, brass and percussion come together to create the dynamic performances that the orchestra is known for.

The show opened with “Amsterdam,” and the familiar tinkling of the piano was enough to stop everyone in their tracks and glue their eyes to the stage. The tender nostalgia of the song was made into something even more powerful with the added strings filling in the song’s sonic gaps. The bridge was especially commanding: As Isakov belted “Oh churches and trains / They all look the same to me now,” the orchestra’s intensity grew and grew with the strength of the song.

“Big Black Car” was another standout. Where the initial recording of the song is simple and understated, the symphony brings a whole new complexity to the song, with flitting violins and playfully added notes.

Typical orchestra etiquette was the unspoken rule of the symphony hall. Not a single phone was out recording the show. Each member of the audience was totally immersed in the musical atmosphere that Isakov and the Atlanta Pops Orchestra provided. The only time anyone moved a muscle was during the brief intermission halfway through the show.

The second half consisted of more fan-favorites, “San Luis” and “Second Chances,” as well as  “Sweet Heat Lightning” which has been popular on TikTok over the last few months with users sharing what it would be like to meet their younger selves for coffee. The song itself is reminiscent of its namesake — the soft, rolling melodies feel like a hot summer evening on a porch watching heat lightning flash in the distance.

Finally, after a brief skip offstage to give the illusion of the show ending, Isakov and his band arrived back onstage to deliver the encore. The orchestra performed a long intro that culminated with “Feed Your Horses.” The atmosphere felt as though the audience was holding their breath, soaking in every minute and never wanting the final notes to ring out.

However, when the final song did end, the crowd showed Isakov and the orchestra just how impactful their performance was, giving a long, boisterously loud standing ovation. All of the performers gave a bow and brought the concert to a close.

These shows are clearly as meaningful for Isakov as they are for the audiences. Before the tour, he told the Atlanta Magazine, “It was just a labor of love to hear all of these arrangements come together … I can’t wait to hear these arrangements in the spaces they’re meant to be played in.” Isakov’s songs feel as though they were meant to be heard in a symphony hall, backed by an orchestra and performed to over 1,500 enamored listeners. 

Throughout the night, he and the Atlanta Pops Orchestra were able to strike the perfect balance between Isakov’s quiet, soul-bearing vocals and the orchestra’s grand instrumentation. The arrangements beautifully elevated the songs that were already so poignant and meaningful to the audience without losing their delicate, nostalgic intimacy.

The post Gregory Alan Isakov performs with the Atlanta Pops Orchestra appeared first on Technique.

Hundreds of concert-goers filled the Atlanta Symphony Hall to bear witness to Gregory Alan Isakov’s musical prowess as he performed with the Atlanta Pops Orchestra on March 23 and 24. Both fans of Isakov and fans of the orchestra united in the symphony hall to share their love of folk and orchestral music.

Isakov has spent the last month on his 2025 Symphony Tour where he met and performed with orchestras in each city, drawing from his expansive discography and creating an awe-inspiring show. Atlanta was no different. He was able to merge his songs with the symphony’s sound in a powerful and moving way.

Over the course of his two-decade-long career, Isakov has established himself as one of the great folk musicians of the 21st century. His albums “The Weatherman” and “Evening Machines” have steered the genre of modern folk music, and Isakov shows no signs of slowing down with his newest record, “Appaloosa Bones,” which contains standout tracks “The Fall” and “Sweet Heat Lightning.” 

Isakov has toured copiously over the last few years, stopping in Atlanta each time. This most recent stop was a collaboration with the Atlanta Pops Orchestra, which has been a staple of Atlanta’s popular orchestral music for over 80 years. Strings, woodwinds, brass and percussion come together to create the dynamic performances that the orchestra is known for.

The show opened with “Amsterdam,” and the familiar tinkling of the piano was enough to stop everyone in their tracks and glue their eyes to the stage. The tender nostalgia of the song was made into something even more powerful with the added strings filling in the song’s sonic gaps. The bridge was especially commanding: As Isakov belted “Oh churches and trains / They all look the same to me now,” the orchestra’s intensity grew and grew with the strength of the song.

“Big Black Car” was another standout. Where the initial recording of the song is simple and understated, the symphony brings a whole new complexity to the song, with flitting violins and playfully added notes.

Typical orchestra etiquette was the unspoken rule of the symphony hall. Not a single phone was out recording the show. Each member of the audience was totally immersed in the musical atmosphere that Isakov and the Atlanta Pops Orchestra provided. The only time anyone moved a muscle was during the brief intermission halfway through the show.

The second half consisted of more fan-favorites, “San Luis” and “Second Chances,” as well as  “Sweet Heat Lightning” which has been popular on TikTok over the last few months with users sharing what it would be like to meet their younger selves for coffee. The song itself is reminiscent of its namesake — the soft, rolling melodies feel like a hot summer evening on a porch watching heat lightning flash in the distance.

Finally, after a brief skip offstage to give the illusion of the show ending, Isakov and his band arrived back onstage to deliver the encore. The orchestra performed a long intro that culminated with “Feed Your Horses.” The atmosphere felt as though the audience was holding their breath, soaking in every minute and never wanting the final notes to ring out.

However, when the final song did end, the crowd showed Isakov and the orchestra just how impactful their performance was, giving a long, boisterously loud standing ovation. All of the performers gave a bow and brought the concert to a close.

These shows are clearly as meaningful for Isakov as they are for the audiences. Before the tour, he told the Atlanta Magazine, “It was just a labor of love to hear all of these arrangements come together … I can’t wait to hear these arrangements in the spaces they’re meant to be played in.” Isakov’s songs feel as though they were meant to be heard in a symphony hall, backed by an orchestra and performed to over 1,500 enamored listeners. 

Throughout the night, he and the Atlanta Pops Orchestra were able to strike the perfect balance between Isakov’s quiet, soul-bearing vocals and the orchestra’s grand instrumentation. The arrangements beautifully elevated the songs that were already so poignant and meaningful to the audience without losing their delicate, nostalgic intimacy.

The post Gregory Alan Isakov performs with the Atlanta Pops Orchestra appeared first on Technique.

Hundreds of concert-goers filled the Atlanta Symphony Hall to bear witness to Gregory Alan Isakov’s musical prowess as he performed with the Atlanta Pops Orchestra on March 23 and 24. Both fans of Isakov and fans of the orchestra united in the symphony hall to share their love of folk and orchestral music.

Isakov has spent the last month on his 2025 Symphony Tour where he met and performed with orchestras in each city, drawing from his expansive discography and creating an awe-inspiring show. Atlanta was no different. He was able to merge his songs with the symphony’s sound in a powerful and moving way.

Over the course of his two-decade-long career, Isakov has established himself as one of the great folk musicians of the 21st century. His albums “The Weatherman” and “Evening Machines” have steered the genre of modern folk music, and Isakov shows no signs of slowing down with his newest record, “Appaloosa Bones,” which contains standout tracks “The Fall” and “Sweet Heat Lightning.” 

Isakov has toured copiously over the last few years, stopping in Atlanta each time. This most recent stop was a collaboration with the Atlanta Pops Orchestra, which has been a staple of Atlanta’s popular orchestral music for over 80 years. Strings, woodwinds, brass and percussion come together to create the dynamic performances that the orchestra is known for.

The show opened with “Amsterdam,” and the familiar tinkling of the piano was enough to stop everyone in their tracks and glue their eyes to the stage. The tender nostalgia of the song was made into something even more powerful with the added strings filling in the song’s sonic gaps. The bridge was especially commanding: As Isakov belted “Oh churches and trains / They all look the same to me now,” the orchestra’s intensity grew and grew with the strength of the song.

“Big Black Car” was another standout. Where the initial recording of the song is simple and understated, the symphony brings a whole new complexity to the song, with flitting violins and playfully added notes.

Typical orchestra etiquette was the unspoken rule of the symphony hall. Not a single phone was out recording the show. Each member of the audience was totally immersed in the musical atmosphere that Isakov and the Atlanta Pops Orchestra provided. The only time anyone moved a muscle was during the brief intermission halfway through the show.

The second half consisted of more fan-favorites, “San Luis” and “Second Chances,” as well as  “Sweet Heat Lightning” which has been popular on TikTok over the last few months with users sharing what it would be like to meet their younger selves for coffee. The song itself is reminiscent of its namesake — the soft, rolling melodies feel like a hot summer evening on a porch watching heat lightning flash in the distance.

Finally, after a brief skip offstage to give the illusion of the show ending, Isakov and his band arrived back onstage to deliver the encore. The orchestra performed a long intro that culminated with “Feed Your Horses.” The atmosphere felt as though the audience was holding their breath, soaking in every minute and never wanting the final notes to ring out.

However, when the final song did end, the crowd showed Isakov and the orchestra just how impactful their performance was, giving a long, boisterously loud standing ovation. All of the performers gave a bow and brought the concert to a close.

These shows are clearly as meaningful for Isakov as they are for the audiences. Before the tour, he told the Atlanta Magazine, “It was just a labor of love to hear all of these arrangements come together … I can’t wait to hear these arrangements in the spaces they’re meant to be played in.” Isakov’s songs feel as though they were meant to be heard in a symphony hall, backed by an orchestra and performed to over 1,500 enamored listeners. 

Throughout the night, he and the Atlanta Pops Orchestra were able to strike the perfect balance between Isakov’s quiet, soul-bearing vocals and the orchestra’s grand instrumentation. The arrangements beautifully elevated the songs that were already so poignant and meaningful to the audience without losing their delicate, nostalgic intimacy.

The post Gregory Alan Isakov performs with the Atlanta Pops Orchestra appeared first on Technique.

Hundreds of concert-goers filled the Atlanta Symphony Hall to bear witness to Gregory Alan Isakov’s musical prowess as he performed with the Atlanta Pops Orchestra on March 23 and 24. Both fans of Isakov and fans of the orchestra united in the symphony hall to share their love of folk and orchestral music.

Isakov has spent the last month on his 2025 Symphony Tour where he met and performed with orchestras in each city, drawing from his expansive discography and creating an awe-inspiring show. Atlanta was no different. He was able to merge his songs with the symphony’s sound in a powerful and moving way.

Over the course of his two-decade-long career, Isakov has established himself as one of the great folk musicians of the 21st century. His albums “The Weatherman” and “Evening Machines” have steered the genre of modern folk music, and Isakov shows no signs of slowing down with his newest record, “Appaloosa Bones,” which contains standout tracks “The Fall” and “Sweet Heat Lightning.” 

Isakov has toured copiously over the last few years, stopping in Atlanta each time. This most recent stop was a collaboration with the Atlanta Pops Orchestra, which has been a staple of Atlanta’s popular orchestral music for over 80 years. Strings, woodwinds, brass and percussion come together to create the dynamic performances that the orchestra is known for.

The show opened with “Amsterdam,” and the familiar tinkling of the piano was enough to stop everyone in their tracks and glue their eyes to the stage. The tender nostalgia of the song was made into something even more powerful with the added strings filling in the song’s sonic gaps. The bridge was especially commanding: As Isakov belted “Oh churches and trains / They all look the same to me now,” the orchestra’s intensity grew and grew with the strength of the song.

“Big Black Car” was another standout. Where the initial recording of the song is simple and understated, the symphony brings a whole new complexity to the song, with flitting violins and playfully added notes.

Typical orchestra etiquette was the unspoken rule of the symphony hall. Not a single phone was out recording the show. Each member of the audience was totally immersed in the musical atmosphere that Isakov and the Atlanta Pops Orchestra provided. The only time anyone moved a muscle was during the brief intermission halfway through the show.

The second half consisted of more fan-favorites, “San Luis” and “Second Chances,” as well as  “Sweet Heat Lightning” which has been popular on TikTok over the last few months with users sharing what it would be like to meet their younger selves for coffee. The song itself is reminiscent of its namesake — the soft, rolling melodies feel like a hot summer evening on a porch watching heat lightning flash in the distance.

Finally, after a brief skip offstage to give the illusion of the show ending, Isakov and his band arrived back onstage to deliver the encore. The orchestra performed a long intro that culminated with “Feed Your Horses.” The atmosphere felt as though the audience was holding their breath, soaking in every minute and never wanting the final notes to ring out.

However, when the final song did end, the crowd showed Isakov and the orchestra just how impactful their performance was, giving a long, boisterously loud standing ovation. All of the performers gave a bow and brought the concert to a close.

These shows are clearly as meaningful for Isakov as they are for the audiences. Before the tour, he told the Atlanta Magazine, “It was just a labor of love to hear all of these arrangements come together … I can’t wait to hear these arrangements in the spaces they’re meant to be played in.” Isakov’s songs feel as though they were meant to be heard in a symphony hall, backed by an orchestra and performed to over 1,500 enamored listeners. 

Throughout the night, he and the Atlanta Pops Orchestra were able to strike the perfect balance between Isakov’s quiet, soul-bearing vocals and the orchestra’s grand instrumentation. The arrangements beautifully elevated the songs that were already so poignant and meaningful to the audience without losing their delicate, nostalgic intimacy.

The post Gregory Alan Isakov performs with the Atlanta Pops Orchestra appeared first on Technique.

Hundreds of concert-goers filled the Atlanta Symphony Hall to bear witness to Gregory Alan Isakov’s musical prowess as he performed with the Atlanta Pops Orchestra on March 23 and 24. Both fans of Isakov and fans of the orchestra united in the symphony hall to share their love of folk and orchestral music.

Isakov has spent the last month on his 2025 Symphony Tour where he met and performed with orchestras in each city, drawing from his expansive discography and creating an awe-inspiring show. Atlanta was no different. He was able to merge his songs with the symphony’s sound in a powerful and moving way.

Over the course of his two-decade-long career, Isakov has established himself as one of the great folk musicians of the 21st century. His albums “The Weatherman” and “Evening Machines” have steered the genre of modern folk music, and Isakov shows no signs of slowing down with his newest record, “Appaloosa Bones,” which contains standout tracks “The Fall” and “Sweet Heat Lightning.” 

Isakov has toured copiously over the last few years, stopping in Atlanta each time. This most recent stop was a collaboration with the Atlanta Pops Orchestra, which has been a staple of Atlanta’s popular orchestral music for over 80 years. Strings, woodwinds, brass and percussion come together to create the dynamic performances that the orchestra is known for.

The show opened with “Amsterdam,” and the familiar tinkling of the piano was enough to stop everyone in their tracks and glue their eyes to the stage. The tender nostalgia of the song was made into something even more powerful with the added strings filling in the song’s sonic gaps. The bridge was especially commanding: As Isakov belted “Oh churches and trains / They all look the same to me now,” the orchestra’s intensity grew and grew with the strength of the song.

“Big Black Car” was another standout. Where the initial recording of the song is simple and understated, the symphony brings a whole new complexity to the song, with flitting violins and playfully added notes.

Typical orchestra etiquette was the unspoken rule of the symphony hall. Not a single phone was out recording the show. Each member of the audience was totally immersed in the musical atmosphere that Isakov and the Atlanta Pops Orchestra provided. The only time anyone moved a muscle was during the brief intermission halfway through the show.

The second half consisted of more fan-favorites, “San Luis” and “Second Chances,” as well as  “Sweet Heat Lightning” which has been popular on TikTok over the last few months with users sharing what it would be like to meet their younger selves for coffee. The song itself is reminiscent of its namesake — the soft, rolling melodies feel like a hot summer evening on a porch watching heat lightning flash in the distance.

Finally, after a brief skip offstage to give the illusion of the show ending, Isakov and his band arrived back onstage to deliver the encore. The orchestra performed a long intro that culminated with “Feed Your Horses.” The atmosphere felt as though the audience was holding their breath, soaking in every minute and never wanting the final notes to ring out.

However, when the final song did end, the crowd showed Isakov and the orchestra just how impactful their performance was, giving a long, boisterously loud standing ovation. All of the performers gave a bow and brought the concert to a close.

These shows are clearly as meaningful for Isakov as they are for the audiences. Before the tour, he told the Atlanta Magazine, “It was just a labor of love to hear all of these arrangements come together … I can’t wait to hear these arrangements in the spaces they’re meant to be played in.” Isakov’s songs feel as though they were meant to be heard in a symphony hall, backed by an orchestra and performed to over 1,500 enamored listeners. 

Throughout the night, he and the Atlanta Pops Orchestra were able to strike the perfect balance between Isakov’s quiet, soul-bearing vocals and the orchestra’s grand instrumentation. The arrangements beautifully elevated the songs that were already so poignant and meaningful to the audience without losing their delicate, nostalgic intimacy.

The post Gregory Alan Isakov performs with the Atlanta Pops Orchestra appeared first on Technique.

Hundreds of concert-goers filled the Atlanta Symphony Hall to bear witness to Gregory Alan Isakov’s musical prowess as he performed with the Atlanta Pops Orchestra on March 23 and 24. Both fans of Isakov and fans of the orchestra united in the symphony hall to share their love of folk and orchestral music.

Isakov has spent the last month on his 2025 Symphony Tour where he met and performed with orchestras in each city, drawing from his expansive discography and creating an awe-inspiring show. Atlanta was no different. He was able to merge his songs with the symphony’s sound in a powerful and moving way.

Over the course of his two-decade-long career, Isakov has established himself as one of the great folk musicians of the 21st century. His albums “The Weatherman” and “Evening Machines” have steered the genre of modern folk music, and Isakov shows no signs of slowing down with his newest record, “Appaloosa Bones,” which contains standout tracks “The Fall” and “Sweet Heat Lightning.” 

Isakov has toured copiously over the last few years, stopping in Atlanta each time. This most recent stop was a collaboration with the Atlanta Pops Orchestra, which has been a staple of Atlanta’s popular orchestral music for over 80 years. Strings, woodwinds, brass and percussion come together to create the dynamic performances that the orchestra is known for.

The show opened with “Amsterdam,” and the familiar tinkling of the piano was enough to stop everyone in their tracks and glue their eyes to the stage. The tender nostalgia of the song was made into something even more powerful with the added strings filling in the song’s sonic gaps. The bridge was especially commanding: As Isakov belted “Oh churches and trains / They all look the same to me now,” the orchestra’s intensity grew and grew with the strength of the song.

“Big Black Car” was another standout. Where the initial recording of the song is simple and understated, the symphony brings a whole new complexity to the song, with flitting violins and playfully added notes.

Typical orchestra etiquette was the unspoken rule of the symphony hall. Not a single phone was out recording the show. Each member of the audience was totally immersed in the musical atmosphere that Isakov and the Atlanta Pops Orchestra provided. The only time anyone moved a muscle was during the brief intermission halfway through the show.

The second half consisted of more fan-favorites, “San Luis” and “Second Chances,” as well as  “Sweet Heat Lightning” which has been popular on TikTok over the last few months with users sharing what it would be like to meet their younger selves for coffee. The song itself is reminiscent of its namesake — the soft, rolling melodies feel like a hot summer evening on a porch watching heat lightning flash in the distance.

Finally, after a brief skip offstage to give the illusion of the show ending, Isakov and his band arrived back onstage to deliver the encore. The orchestra performed a long intro that culminated with “Feed Your Horses.” The atmosphere felt as though the audience was holding their breath, soaking in every minute and never wanting the final notes to ring out.

However, when the final song did end, the crowd showed Isakov and the orchestra just how impactful their performance was, giving a long, boisterously loud standing ovation. All of the performers gave a bow and brought the concert to a close.

These shows are clearly as meaningful for Isakov as they are for the audiences. Before the tour, he told the Atlanta Magazine, “It was just a labor of love to hear all of these arrangements come together … I can’t wait to hear these arrangements in the spaces they’re meant to be played in.” Isakov’s songs feel as though they were meant to be heard in a symphony hall, backed by an orchestra and performed to over 1,500 enamored listeners. 

Throughout the night, he and the Atlanta Pops Orchestra were able to strike the perfect balance between Isakov’s quiet, soul-bearing vocals and the orchestra’s grand instrumentation. The arrangements beautifully elevated the songs that were already so poignant and meaningful to the audience without losing their delicate, nostalgic intimacy.

The post Gregory Alan Isakov performs with the Atlanta Pops Orchestra appeared first on Technique.

First, start with a catchy, repetitive guitar riff. Throw in an off-handed drum fill, and then finish it off with some slightly cliche lyrics. That is the tried-and-true recipe for the new wave of rock n’ roll. Gone are the Black Sabbaths, Bruce Springsteens and Led Zeppelins of the 20th century, leaving us with only the wannabes trying to bring back the long gone glory days. Yet, in a genre of chronic repetition, a new voice has emerged: Chicago-born indie duo Friko. 

Friko is the project of Niko Kapetan and Bailey Minzenberger, two 20-somethings with a fresh perspective on what it means to be a rock n’ roller. Their music is a little indie, a little angsty, and entirely emotionally honest in a way that feels authentic to the experience of being young.

The duo released their debut album, “Where we’ve been, Where we go from here,” just over a year ago, and it was met with acclaim from both fans and critics, hitting #9 on Pitchfork’s 30 Best Rock Albums of 2024. The album’s cover art contains a single crimson-colored cardinal, the centerpiece of the record, as it flutters along the album’s treacherous musical journey.

Since the release, Friko has taken their music worldwide, touring multiple continents including North America, Europe and Asia. Most recently, they came back to the States for their Spring 2025 Tour, one stop being at Atlanta’s Smith’s Olde Bar on Feb. 28.

After the crowd was let in at 7 p.m., they ambled up the venue’s iconic stairs that read, “It’s a long way to the top if you want to rock and roll,” foreshadowing the show that awaited them in Smith’s Music Room. The audience gathered in the 300-capacity venue, and a fashion trend emerged: many concert-goers chose to wear crimson clothes, a nod to the album cover and track “Crimson to Chrome.”

The show was opened by Peel Dream Magazine, an indie group with catchy lyrics and even catchier melodies. The band is fresh off the release of their fourth album, “Rose Main Reading Room,” and are touring with Friko for the first several dates of the spring tour. The group pulled from their diverse discography, roping in the crowd with their curious vocals and keeping them enraptured throughout the show with their simple but massive stage presence.

Later, the curtains drew away to reveal Friko in all their glory perched on the venue’s intimate stage. Kapetan, the vocalist, wasted no time making sure that everyone was invested, teetering on the end of the stage and riling up the audience with truly impressive vigor. He flaunted his guitar like a trophy, waving it around and strumming with so much force that he could have broken a string.

The second song of the night was fan-favorite “Crimson to Chrome.” Although the lyrics are somewhat nonsensical, the emotion of the song is more so felt through Kapetan’s passionate delivery. The venue got to sing together, “We’re either too old, too bold or stupid to move / I guess we’re caught on the wrong side of the shoe again.”

The shout-and-answer format of “Chemical”’s chorus transformed into a yelling match between Kapetan and the crowd, each one trying to overpower the other’s cry of “Chemical!” “Crashing Through” marked another intense moment, with the song climbing the hill of a roller coaster before it plunged into free fall. Drummer Minzenberger marked this stomach-drop with huge cymbal crashes, ascending the song into sonic mayhem.

Just as the album has its emotional peaks and wanes, the angry, wild energy of the first half of the show died down into the live rendition of “For Ella.” The song’s meaning is up for interpretation, but it carries the heaviness of a love song with the mantra: “Ella, Ella, you’re a shooting star.” In an interview with their record label ATO Records, Friko described the track as an “ode to classical music,” noting their use of violins and cellos in the track’s instrumentation. The live version at Smith’s was nothing short of breathtaking, transforming the song into something intimate and real.

They rounded out the last of the set with “Get Numb to It!” — a tense catharsis and chaotic resolution to the tumultuous sonic journey. It felt as though every crowd member was letting go of their problems through a sort of musical therapy while shouting, “And it doesn’t get better, it just gets twice as bad because you let it / So, you better get numb to it, get numb to it, get numb to it.” 

Friko didn’t just play the tired, old rock routine; they delivered an entire emotional experience at their show in Atlanta. The band is on a one-way trip to being indie rockstars, lapping others with their originality and ability to command a live audience. Rock is back, and Friko is leading the charge.

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