For two consecutive nights at Buckhead Theatre, Atlanta’s country music fans embraced their inner cowboy to show out for their favorite Texas-native, Dylan Gossett. The singer sold out both nights immediately upon going on sale, a truly commendable feat for the 1200-person venue.

With a Zach Bryan flavor of folky twang and a Mumford & Sons kind of earnestness, Gossett has the singer-songwriter thing down pat. He takes a laid-back, honest approach to his music, which bleeds through into his songs and makes them easy listens, especially in the almost-fall, windy chill that Atlanta has been stuck in for weeks.

Gossett has only released 12 songs in his lifetime as a musician, his first being “To Be Free” just over a year ago in June 2023. What put Gossett on the map as an artist was his hit song “Coal” that did rounds both on TikTok and on country radio. It debuted at number 89 on the Billboard Hot 100 and has only continued to grow, collecting 233 million streams on Spotify to date. Another monumental accomplishment for the singer was having his song “Stronger Than A Storm” on the much-anticipated “Twisters: The Album” alongside other featured artists like Shania Twain, Luke Combs and Tyler Childers.

All in all, what Gossett has been able to accomplish in just over a year is tremendously impressive. In the autotune-dominated country industry right now, Gossett is a breath of fresh air, revitalizing the genre from its overly produced failures using his barebones take on alternative folk music. He brings in that nostalgic, early 2010’s feel that artists such as Noah Kahan have brought back into the mainstream, and he uses it to masterfully tug on the heartstrings.

On Oct. 26, the first night of Dylan Gossett’s Atlanta shows, the line was already around the block as the doors were about to open. The crowd stood outside of the theater, looking slightly ridiculous on the streets of Atlanta in bell-bottomed jeans, cowboy hats and leather boots. No matter — the audience happily filed into the venue, already somewhat rowdy in true country music fashion.

James Tucker, an indie country musician from North Carolina, opened the show. He took an eerily similar approach to Gossett with his music, bringing in a tinge of Appalachian folk. This influence was easily apparent in the artist’s instrumentation that highlighted an unconventional use of stringed instruments. It was a seamless performance, a brilliant match for the main act to come.

Gossett took to the stage not long after, the crowd welcoming him with open arms. After a brief hiccup with his guitar not syncing correctly, Gossett leapt into “Stronger Than A Storm,” much to the delight of some of his newer fans. 

During “Lone Ole Cowboy,” Gossett’s affinity for stripped vocals and lyrical grandeur shone through. Through his words, he is able to intricately build an entire little world. Without ever describing a setting, the song transports its listener to old Western backroads and long expanses of rolling hills. He uses almost exaggerated Southern references and wording to further embed the listener in the environment of the song.

Gossett’s use of instruments was another notable way he immersed the listeners in his creative setting. Besides the typical instruments a band uses, a banjo player accompanied him on stage, tying back to his folk roots. During “No Better Time,” a harmonica overpowered the other instruments to become the song’s centerpiece, and it drove home the emotional transcendence of Gossett’s discography.

“Coal” was the sentimental high point of the night with the whole venue collectively venting through Gossett’s words. They sang together, “This game of life plays heavy on my heart / Love is tough but loneliness is twice as hard,” in a deep show of catharsis. 

The show ended on “Somewhere Between” in which Gossett and his band let loose to have fun with each other and take a dance break on stage. The crowd ate it up and goaded them on with clapping, closing the night with smiles on their faces and music in their hearts.

While Gossett is a newcomer in the music world, he has already made a significant dent. He embraces the folk-country genre of those who came before him and delivers it to a new generation of fans who yearn for his unique flavor of sorrowful longing and hopeful acoustic. Dylan Gossett is the new cowboy in town, and he is already well on his way to country superstardom.

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On the first truly chilly day of the autumn season, thousands of folk music fans gathered at Cadence Bank Amphitheatre in Buckhead to witness lyrical powerhouse Gregory Alan Isakov as he coheadlined with fellow folk rock artist Ray LaMontagne. The two delivered a sincere and gorgeous celebration of music, complete with an open, respectful appreciation from the crowd.

Isakov has consistently released music since 2004. His albums “This Empty Northern Hemisphere” and “That Sea, The Gambler” are considered pivotal anthems in the modern folk genre. His most recent release “Appaloosa Bones” recycles his classic sound as he blends bare-bones production with his signature honest songwriting.

As concert-goers made the long, uphill trek to the venue on the night of the show, the unspoken dress code became abundantly apparent. Long skirts, overalls and sweaters were popular outfit choices for the occasion, as each attendee chose to wear some variation of fall-inspired clothing. Most notably, many decided to copy Isakov’s iconic fedora in an endearing effort to match with the performer.

As Isakov took to the stage and began “Southern Star,” one thing became very clear: this was not a typical concert. There was no yelling or jumping or pushing in an effort to get closer to the stage. Instead, the crowd was completely laid-back, sitting in their seats instead of standing, content to simply admire the display of music. 

Isakov created something of a sanctuary in the amphitheater, an imaginary bubble of safety surrounding the outdoor venue. For fear of jeopardizing the tranquility, the crowd was silent and respectful in their admiration, besides a few that quietly sang along to their favorite songs.

He played “The Fall” off of his latest release, an astounding song to hear live. The production on the song conveys its enormity as Isakov repeats its mantra: “We all break a little.” It is a tune of healing, recovery and redemption. Falling is an innate part of humanity, and Isakov captures the significance of getting back up through his songwriting, making it an emotional moment for the amphitheater.

The singularity of Isakov’s show can largely be attributed to his use of instrumentation. There were multiple guitars, a keyboard and a piano, a banjo, a violin and an upright bass on stage. Watching his band perform was akin to watching an orchestra; they acted as one unit but took turns delivering solos and appreciating each others’ musicality, playing off each other only as talented performers could.

As the opening notes to “Big Black Car” rang out, Isakov and the venue delivered the iconic opening line together, “You were a phonograph, I was a kid / I sat with an ear close, just listening.” As his biggest song to date, “Big Black Car” was the loudest the crowd got all night, chorusing the powerful lyrics together.

However, his lesser known songs also proved to be equally as moving. In particular, his first encore song “Dark Dark Dark” was an impressive moment for Isakov and his band. They gathered around a central mic and played together, each taking a turn soloing. The banjo riffed, the violin crooned and Isakov strummed his guitar as he leaned in to sing the lyrics. It was playful in a way, and the band’s enjoyment for their music radiated from the stage and brought a much-needed warmth to the venue.

Isakov announced that the next song would be his last, and he began “The Stable Song.” Widely considered to be one of his best, the track was Isakov’s lullaby to the audience. It juxtaposes the past and present and depicts Isakov’s struggle to accept who he is now. He mourns the naïve innocence and raucous emotions of his youth, and he uses his vocal prowess to deliver six minutes of yearning to his audience.

Above all else, Gregory Alan Isakov is a showman, and his music can never be correctly understood or appreciated until seen live. Listening to his recorded songs on Spotify could never compare to the raw passion and intensity of seeing him perform them under the moon on a chilly, fall night. If you ever get the chance to bear witness to his music in person, definitely do not waste it.

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In a world so focused on the mainstream, the unconventional is a rare and beautiful thing. Australian indie rock duo Royel Otis is unconventional in the best way, merging nonsensical lyrics and addictive guitar licks into music that is wildly fun and entirely one of a kind. Their show at The Eastern on Sept. 30 was a phenomenal homage to their discography, delivered to the frenzied, sold-out crowd gathered at the venue.

Royel Otis’ name comes from those of the fronting duo, Royel Maddell and Otis Pavlovic. The two have made music together for the last five years with their first single “Only One” coming out in 2021 and their debut album “Pratts & Pain” being released this last February to great critical acclaim. Since the release of their album, their amount of monthly listeners on Spotify has doubled, reaching over 9.2 million in the last month.

In conjunction with Australian radio station triple j, the duo released a cover of “Murder on the Dancefloor” by Sophie Ellis-Bextor this past January and followed soon after with a cover of the Cranberries’ “Linger” with SiriusXM. Both releases took rounds on TikTok and were met with awestruck stupor at Pavlovic’s enchanting vocals, subsequently introducing thousands of new fans to the gold mine that is their discography.

After the raging success of their first North American tour this past spring, Royel Otis announced a fall tour to make stops all over the U.S. Having already been to Atlanta in May for Shaky Knees Music Festival, the band had established a powerful fan base within the city’s indie music scene. These devoted fans caused the band to upgrade the Atlanta venue from 1100-capacity Variety Playhouse to The Eastern (2200-capacity) almost immediately. Even after the upgrade, the venue sold out, and Royel Otis’ loyal followers packed into The Eastern prepared for a rocking show.

The concert’s opener was changed last minute from Chicago indie rock band Friko to Atlanta’s own Improvement Movement after the band’s tire blew out on the way to the venue. Nevertheless, Improvement Movement brought the energy that the crowd needed as they impatiently waited for Royel Otis. They delivered gorgeous vocals and acoustic singalongs, often breaking out into harmonies with each other and eliciting copious whoops and cheers from the audience. 

After Improvement Movement left the stage, the crowd’s restlessness grew exponentially, reaching its peak when the venue plunged into darkness and the curtains finally drew back. After a long anticipatory intro, Royel Otis took to the stage and were met with hundreds of voices yelling out their praises and excitements.

They leapt into “Heading for the Door” off of their newest album, a groovy rock tune that begs its subject to stay after a fight. Although the track’s studio version is somewhat mellow and calming, the live version was unrestrained and passionate, fueled by the audience’s enthusiasm to see the band performing in front of them.

Behind the band was a massive prawn that debuted in their “Oysters in My Pocket” music video, and it now follows them around on tour. It adds a silly bit of humor to their stage set up and proved to be a fan-favorite among the crowd. 

An unexpected addition to the setlist was “Pratts & Pain” closer “Big Ciggie.” It stands in stark sonic difference from the rest of their music, but it is truly an underrated gem in the expanse of their discography. The most cathartic moment of the show was the crowd uniting to sing the track’s chorus, “They’ve said it before, and they’ll say it again / She died thinking too much of ya!”

“Claw Foot” was another fantastic part of the night, as the song’s wordless refrain allowed the audience to croon along with Pavlovic and dance away their worries. The track was released just recently in May as a bonus track to their debut album since it did not make the initial release. However, the song has quickly become one of their best, only further validated by its dynamic live performance.

The band has a knack for taking inside jokes and quirky ideas and turning them into masterpieces of the indie genre. In particular, their 2023 EP is littered with these phenomenal pieces from the cheekily-named “Sofa King” to the danceable “Going Kokomo.” These songs have rightfully taken their place as some of the band’s most well-known, with 32 million and 14 million streams respectively on Spotify.

Royel Otis played an unreleased track titled “If Our Love Is Dead,” a distinctly entertaining song that is driven by a pounding guitar riff from its onset. Its repetitive chorus made it easy to sing along to even without hearing it before. Two days after the Atlanta show, they released the song on all streaming platforms to the joyous surprise of the song’s fans.

The duo’s biggest song “Oysters in My Pocket” closed out their set on a high note, but the rowdy audience did not allow them to leave for too long before returning on stage for an encore. The two performed “Linger” in a beautiful show of vocals, and they followed it with the energetic “Kool Aid” to finish.

Royel Otis is undoubtedly making their mark on the music industry, exchanging the mainstream for their own quirky concoction of whimsical storytelling and immaculate production. Through their live shows in particular, the duo is already establishing themselves as legends in the alternative scene, sure to continue their world domination in the years to come.

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Vinyl is alive and well in the year 2024. What once was the mainstream way of listening to music has evolved into a unique hobby shared by hardcore music aficionados and casual physical media collectors alike. Independent, or “indie,” record stores remain at the heart of the music industry by promoting local artists, fostering a space to discover new music and creating a network of music fans in the community.

Thanks to the collaboration of these indie record stores, they are able to host the tremendous international event Record Store Day in April each year where exclusive vinyl pressings are distributed, causing huge crowds to show at the very early hours of the morning to line up hours before the doors open. In 2023, the event caused album sales that week in the United States to hit 2.92 million. Thousands of people go out to support their local record stores on Record Store Day, a goal that must be carried on year-round.

As one of the biggest music hubs in the South, Atlanta is home to many impressive indie record stores. They represent Atlanta’s diverse musical culture and cater to the city’s plethora of genres, from contemporary pop to rap to underground indie.

Criminal Records: The list would not be legitimate without first mentioning one of Atlanta’s largest and most iconic record stores: Criminal Records. Located in Little Five Points, the store balances perfectly with the area’s already prominent music scene and nearby venues Aisle 5 and Variety Playhouse. Its interior is decorated chaotically, as all the best record stores are. The walls are covered in albums, posters, ads and local show announcements, showing the merging of music genres that Criminal Records initiates.

The store is well-known for the spectacular events it puts on, including in-store performances and album signings from famous artists such as Wallows, Laufey and Briston Maroney. They also put on early album listening parties; recent ones included Fontaines D.C.’s “Romance,” Wallows’ “Model” and Lunar Vacation’s “Everything Matters, Everything’s Fire.”

Beyond the heaps of used and new vinyl, Criminal Records sells comics, posters and art from local artists. The store is an absolute must-see for all music fans in the Atlanta area.

Fantasyland Records: Fantasyland Records is located in Buckhead, and it is an Atlanta favorite due to its longevity in the scene at almost 50 years old. It is immensely easy to get lost in the stacks at Fantasyland, as they have multiple different rooms to look through, each one beckoning intense perusing from its shoppers. They have an impressive collection of used vinyl, including both LPs and 7” records, that can appeal to any listener. 

A highlight of Fantasyland’s collection is their poster catalog. They offer huge 27” by 40” music posters as well as small posters from past local concerts in one of their back rooms. The store truly has something for everybody.

Wax ‘N’ Facts: Another staple in Atlanta’s record store scene is Wax ‘N’ Facts, which has been around in Little Five Points since its establishment in 1976. While this store is not as large as some of the other places on this list in terms of size, it more than makes up for it with its used vinyl selection. 

Wax ‘N’ Facts is the perfect store to browse stacks and crates in order to find new and relatively unknown artists and genres. They sell used records for as little as 25 cents. This store is the ideal place to expand one’s music taste and try something new.

Sweet Melissa Records: Sweet Melissa is one of the lesser-known gems of the greater Atlanta area. Located in downtown Marietta, the store is an antique shop, but it houses a great collection of popular music that would satisfy any music lover. From the great albums of older bands like AC/DC and Led Zeppelin to newer stars of pop music like Chappell Roan and Harry Styles, Sweet Melissa is the perfect place to check out when starting a record collection or when searching for the iconic vinyl essentials.

Wuxtry Records: Wuxtry Records initially began in Athens, but it opened up a second Decatur location in 1978. Hundreds of albums cover every inch of the walls, and records hang from strings in the shop window, providing an instantly creative atmosphere upon walking in. Many famous musicians have worked there, and the shop has been continuously named one of the best record stores in the country. Wuxtry is the place to go when looking for an iconic piece of music history.

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As the perfect first day of class gift to many of Tech’s students, Wallows graced Atlanta’s Cadence Bank Amphitheater on Aug. 19. The indie band seamlessly delivered a gorgeous show to their zealous fanbase gathered at the venue, spanning their whole discography from the big hits to the underground gems.

Actor-turned-musician Dylan Minnette (vocals/guitar), Braeden Lemasters (vocals/guitar) and Cole Preston (drums) make up Wallows. They met as teenagers and began making music together. Many different names and transformations later, they became the “Wallows” they are today.

They first ensnared the minds of fans with their debut single “Pleaser” back in 2017, and Minnette’s previous fame from Netflix’s “13 Reasons Why” allowed the band to grow a platform immediately in the music industry. However, they earned the attention in their own right when their songs “Remember When” and “Are You Bored Yet?” featuring Clairo became smash hits on TikTok.

The band’s famed 2019 album “Nothing Happens” was a coming-of-age record for many teenagers at the time, and it initiated their introduction to the indie genre. By incorporating boyband-esque elements familiar to the early 2010s (i.e. One Direction, the Jonas Brothers), Wallows was able to tie their listeners’ youth to an entirely new type of music.

Wallows went on to release their second album “Tell Me That It’s Over” in 2022 and, most recently, “Model” in May 2024. Singles from “Model” such as “Calling After Me” and “Your Apartment” showed that the band is staying true to their roots, utilizing the recurrent, catchy guitar licks that are iconic to their music.

After their most recent album’s release, Wallows embarked on a massive world tour through North America, Europe, Australia and New Zealand. They are set to play prodigious venues, including New York City’s Madison Square Garden and Los Angeles’s Kia Forum. Their tour featured a stop in Atlanta at Cadence Bank Amphitheatre, a secluded venue in Chastain Park surrounded by woods and suburban homes. 

The show began with a phenomenal performance by alternative artist BENEE. Her R&B approach to music gave her a unique and captivating appeal, and she certainly left the amphitheatre that night with hoards of new fans.

Soon after, the main act began as the opening chords of “Do Not Wait” rang out. Screams filled the open air as the band’s silhouettes from behind the massive curtain appeared. The silhouettes shifted with the lighting, flashing and morphing as the song’s intensity grew and grew. At the song’s peak, the curtain dropped to  reveal Wallows as they broke into “Your Apartment.” 

The band went on to play “Scrawny,” another popular track from “Nothing Happens.” In an interview with Zane Lowe, Minnette explained the song’s place on the album: “There was a lot of introspective moments on the album, and that’s cool to  us and everything, but we were like, ‘We need something light, something that is borderline funny, just a moment on the album to make people smile.’”

“Scrawny” did exactly that, transitioning the audience from the shocked stupor of the first few songs into the wild, uninhibited joy of the rest of the set as the crowd screamed the lyrics back to the band.

During “Quarterback,” Minnette took Preston’s seat at the drum kit while Lemasters kicked off his first vocal performance of the night. It is a show of their musicianship that they each take the time to switch instruments and roles on stage, and it adds to the overall dynamism of their staging.

On his way to the B-stage, Minnette sang “She’s An Actress” and wandered through the crowd, eliciting screams from the lucky fans he passed by. Concert-goers threw themselves down the stairs of the amphitheatre in an attempt to get closer to him. 

The rest of the band eventually joined him on the B-stage for a three-song solo set. The smaller stage had couches and chairs for the band to sit on, resembling the apartment from their earlier song. They performed “Pictures of Girls” and “Drunk On Halloween” and then gave the crowd the opportunity to choose the final song to which the answer was a resounding “1980s Horror Film.”

“Pleaser” and “Remember When” marked high points of the rest of the set, as those were the songs that early, devoted fans initially connected with. For so many of these fans, it seemed like a dream come true for them to see the band they grew up with and yell the songs that have impacted them over the past years. 

Wallows clearly understood that connection, ramping up their energy and giving them a show to remember as the concert came to a close.

To be transported back into the good old days of adolescence, Wallows’ discography is streaming on all music platforms and tour dates can be found at wallowsmusic.com.

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“Did you think we were done with you, North America?” After the finale of Two Door Cinema Club’s nearly sold-out spring 2024 tour, the indie rock band came right back to fill fans’ hearts with even more infectious live shows, beginning in Atlanta at the Coca-Cola Roxy.

They were joined by Jacksonville band flipturn, a well-known name in the indie realm due to the virality of their 2018 song “August.” Their bass-heavy hits meshed well with Two Door Cinema Club’s overarching aesthetic, making them a beautifully-fitted opener for the night.

Flipturn’s vocalist Dillon Basse, guitarist Tristan Duncan, synth player Mitch Fountain, bassist Madeline Jarman and drummer Devon VonBalson took to the stage, smiling and waving as they were greeted by cheers from the audience. Immediately, they leapt into the energetic “Six Below.”

To witness flipturn live was to witness a lightning storm on stage—they were wild, captivating and extraordinarily fun in a way that not many other bands have mastered. They milked the audience for every drop of enthusiasm, and the audience gave it back to them tenfold.

The band played “Sad Disco” and “Weepy Woman” off of their album “Shadowglow,” and they graced the crowd with unreleased tracks “Burnout Days” and “Juno” as well.

At one point in between songs, VonBalson grabbed a drum and a cymbal and jumped down from the stage. He handed them to two fans in the front row, and he had them hold onto the drum as he performed a ridiculously complicated drum solo. The crowd went ballistic, thrilled to be so closely involved in the music.

More than the band’s snappy guitar riffs and moving bass lines, what really sets flipturn apart is Basse’s voice. His powerful but gentle vocal presence is a staple for the band’s sound. It was especially notable during one of the band’s rare slow songs, “Savannah.”

He sang, “You know that one day I’d wake up / And I’d be too late” as the piano transitioned seamlessly into the next song, “Playground.” His vocals are exceptionally unique, and it only adds to the whimsy and impeccable cadence of the band’s music.

By the time flipturn exited the stage, they had converted every member of the audience into devoted fans. That is the true test of a good show: a band’s ability to enrapture the crowd, whether or not they had heard the band’s music prior.

Two Door Cinema Club had quite a tough act to follow, but they delivered. The Northern Irish band consisting of vocalist Alex Trimble, guitarist Sam Halliday and bassist Kevin Baird arrived on stage, dressed in suit jackets and button-ups. 

Their attire was fitting for the vibe of the concert: quirky, millennial and endearingly nostalgic. They evoked this through the use of guitar lines that quickly got the audience up and moving.

The band opened with “This Is the Life,” a song about the freedom and joy that comes with being young. Trimble repeated the song’s title again and again, eliciting a certain euphoria with each iteration.

They took songs from all over their 17-year-long career spanning from “Cigarettes In the Theatre” and “Do You Want It All?” from their debut album “Tourist History” to “Wonderful Life” and “Messenger AD (Intro)” from their latest album “Keep On Smiling.”

Every song’s rhythmic tempo made it incredibly danceable, and the audience took every opportunity to do so. The crowd towards the front jumped with the beat while those in the back used the space to dance wildly with their friends. A few couples were even twirling each other around in the open space and enjoying the musical atmosphere that Two Door Cinema Club created.

The highlight of the night was easily their final song “What You Know.” With 851 million streams on Spotify, the song is by far their most successful commercially. It clearly resonated with the live audience too as the crowd roared with excitement when its opening notes rang out.

Trimble sang, “And I can’t say it’s what you know / But you’ve known it the whole time.” People sang, people danced and people made their memories as the band delivered this final song.

A good concert draws the audience in and makes them forget about their outside worries or anxieties. Two Door Cinema Club executed this flawlessly, turning the venue into a bubble of carefree bliss and comforting nostalgia with their music.

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On the 4th of July, Zach Bryan released his fifth studio album “The Great American Bar Scene.” In sharp contrast with the holiday’s joyous fireworks and parties, the record is nineteen tracks of sheer melancholy and nostalgia, powered by Bryan’s ornate words and bare production.

Over the course of the last five years, Zach Bryan has blossomed into a mainstream musical icon after getting discovered on YouTube and consequently getting honorably discharged from the Navy. Songs like “Something in the Orange,” “Burn, Burn, Burn” and the Grammy-winning duet “I Remember Everything” with Kacey Musgraves have become anthems in the world of country music.

In “The Great American Bar Scene,” Bryan was joined by many legendary voices in the music industry such as Bruce Springsteen, John Mayer, Noeline Hofmann and John Moreland. Each feature added a personal spin on their respective songs like Springsteen’s iconic guitar in “Sandpaper” and Hofmann’s tremendous vocals in “Purple Gas.”

Keeping with Bryan’s tradition, “The Great American Bar Scene” opens with a poem entitled “Lucky Enough.” The poem details Bryan’s idea of fulfillment. When he looks back on his life, he wants to be satisfied that he put the people and places he loves first.

Towards the end of the poem, Bryan’s voice grows raspy as he finishes the final couplet: “Grab your beer through tears and fears, the great American bar scene,” thus referencing the premise of the album and definitively marking its beginning.

“The Great American Bar Scene” is worlds away from the raw country aesthetic of “American Heartbreak” that propelled Bryan into the limelight back in 2022, and it is an even further cry from his electric guitar-ridden self-titled album released last year.

Therefore, it goes without saying that this album is not meant to appease everyone. As Bryan explains in his preface to the album: “If you don’t like it, I assume it’s not intended for you.”

The album speaks to the fact that Bryan makes music for his own enjoyment over the enjoyment of others. Not a single song off of “The Great American Bar Scene” seems to be intended as a radio song or a pop hit. Rather, Bryan created the album as a love letter to his influences: Jason Isbell, the Lumineers, Tyler Childers, and the Turnpike Troubadours. 

For years, critics and country music fans alike have argued that Bryan’s music is not “real” country. These claims hold a degree of truth since his music often fails to fit into any genre-defined box. Instead, Bryan artfully utilizes inspiration from all over the musical sphere, namely old-school rock and Appalachian folk music.

“Boons” is undoubtedly an Americana folk song in which Bryan explains his attachment to rural, nobody towns, AKA the “boonies.” He sings, “So leave me out of that talk downtown / I have found everything I’ll ever need / Real deep in the boons.” 

He conveys unadulterated wistfulness, complete with a forlorn harmonica as its melody.

Although the album’s production is overarchingly simplistic, there is a level of depth and intricacy in the record that stems from Bryan’s words rather than the instrumentation.

“The Great American Bar Scene” is a lyrical album above all else. To truly appreciate the record, his lyrics have to be picked apart and attentively studied in order to tune into the intricate storytelling that Bryan weaves into his songs.

In the Bon Iver-inspired “Bass Boat,” Bryan sings, “I was raised by a woman who was hard to impress… And I can talk to God and I can pray all day / But you can’t heal something that you never raised.”

This song, in particular, shows a somber, sorrowful side to Bryan in which he tells the story of a rocky relationship between a person and their mother due to the mother’s alcohol abuse. It is purposefully one of the most stripped-down tracks on the album in order to show off Bryan’s lyrical talent and emotional songwriting.

Even as one of the most decorated, famed voices in music today, Bryan is grounded and relatable in a way that not many other artists are. Through this album in particular, Bryan presents himself as “just one of the guys,” slumming it in small-town bars with his friends. 

“The Great American Bar Scene” pays homage to a world that only a select audience can understand: the beat-down, rural bar where friends shoot billiards and drink until the sun rises. 

However, throughout the album, this middle-of-nowhere bar setting becomes achingly familiar, even to those who have never experienced it. His words bring “the great American bar scene” to every corner of the world and make listeners feel they are playing pool and drinking beer right alongside Bryan.

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There are moments in music that can only be described as “magic.” It is the feeling you get seeing your favorite artist live for the first time, hearing a lyric that feels like it was meant for you or finding a new song that you are going to repeat until you cannot listen anymore. They leave you breathless, awestruck and unable to utter anything except, “Wow.”

On the evening of June 13, the 200 people gathered at Smith’s Olde Bar bore witness to one of these magic moments, kindled by indie rock band hallpass. 

Hallpass is the latest addition to Athens’ iconic indie music scene, where they have played the historic Georgia Theatre alongside big names such as Quarters of Change and flipturn. 

The band is made up of vocalist Josh Morris, guitarist Daniel Crowe, bassist Sam Smith and drummer Gideon Johnston. Morris and Crowe are recent University[sic] of Georgia graduates and are now pursuing music full-time with their fellow bandmates.

Hallpass has garnered over 32k monthly listeners on Spotify, and they set off on their first tour this summer, reaching outside state lines to North Carolina, South Carolina and Tennessee. They co-headlined their Atlanta show with friend and former bandmate Wim Tapley.

From the second the curtains opened to reveal the band in all their glory, it was clear that hallpass came ready to rock. Their raw authenticity and energy was a live wire, shocking everyone in the room.

There are some bands out there that lack the passion necessary to put on a live performance. Hallpass is not one of those bands—they were born to be rockstars. Morris, in particular, acted as though the stage was a second home, jumping, dancing and vigorously strumming his guitar the whole set. He was undeniably having the time of his life on stage, and his vigor lit a fire under the venue.

They played songs off their recent EP “Oscillate” that came out just over a month ago. Tracks like “Torpedo” and “Morning Time” show off their influences from the indie rock sphere such as flipturn, Briston Maroney and The Backseat Lovers.

Even within the genre where they draw their inspiration from, hallpass’ musical voice stands distinct among the rest. They are beautifully original and abundantly talented, even at such an early stage in their careers.

The band balanced out the snappy, rhythmic choruses and distinctive guitar riffs with the occasional folky track. “Roma” was one of these moments of tranquility and longing, flaunting the band’s artistic range.

Hallpass brought out their friend Brandon Halter to play tambourine during “Adeline,” and he brought his all to the stage, impossibly turning the energy in the room up higher.

Ironically, the final song of the show was the first the band ever put out. “Maine,” their most successful song to date, has amassed more than 500k streams on Spotify, and it was easily the fan-favorite of the night.

The band put all the energy they had left into those last minutes on stage, and the crowd ate up every second of it, dancing and singing the lyrics back to them.

The whole room yelled as one, “Where did you go? I thought you were supposed to stay right here.” It was a beautiful and truly cathartic moment shared between the group and the audience.

Hallpass’ Atlanta concert was one of those shows where each person left feeling like they just got slapped in the face by the power of music. Even at such an early show in their career, the band’s fervorous stage presence solidifies that they are meant to perform their music for the masses.

The band serves as a perfect example of the incoming Gen Z era of indie rock, complete with wild sonic experimentation and authentic ingenuity that stems from their creativity.

This is only the beginning for hallpass. Their ability to craft magic moments with their unique charisma, phenomenal songwriting and dynamic live performances prove that the band is already well on their way to indie superstardom.

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Indie folk rock band The Brazen Youth makes music for existential crises, quiet autumn days and those who fear change. The band brought their soulful tunes to Purgatory at the Masquerade on the lively evening of April 4. 

The Brazen Youth is made up of Nic Lussier, Charles Dahlke and Micah Rubin, and they are joined on tour by Mei Semones and John Lisi. Over the last seven years, the band has put out three albums, the most recent being “Eagle, Idaho” that was released in September of 2022. 

Throughout the course of the album, the band explores the theme of tragedy in a hauntingly deep and raw manner. While they were visiting the small town of Eagle, Idaho in 2020, they received the news that Dahlke’s dad had passed away. “Eagle, Idaho” shows the grief-filled journey that the band takes, leaving an awe-inspiring album in its wake.

The show was opened by Atlanta-based alternative indie artist Mallbangs, the stage name of Josh Smith. Their music spanned a wide range of emotions: from the angsty, bizarre “New Face” to the simple, heartfelt “Forget Me Nots.”

Throughout the 30-minute set, it was evident how much Mallbangs cared for their music; they were clearly in a bubble of enjoyment, and the crowd had no choice but to watch in awe.

Mallbangs ended with “Gutter,” and the song’s ending guitar solo was the perfect testament to their charismatic stage presence, as the venue swayed to the final notes.

The Brazen Youth took to the stage not long after, and they kicked off their show with the sweet “Spirit Finds Yours.” The song is the first track on “Eagle, Idaho,” and it opened both the album and the show in a slow, melodic way. 

Lussier sang about a mother who lost her son in a car crash. He asked over and over, “How far will I  go ‘til my spirit finds yours?” His words allude to the omnipresent theme of the album: the looming nature of death, always ready to strike when it is least expected.

As the first song faded out, Lussier greeted the audience, saying that it was their first time in Atlanta since 2017 when they played at the Mammal Gallery. He reiterated the band’s excitement to be there as they continued the rest of their set.

“I’ve Never Killed Anything That Lived” was a standout tune from the night. The song sees the band tapping into their folk, acoustic influences as they take a mellow, simplistic approach to the song. Like many of their songs, it is about the acceptance of change and the sadness that accompanies this process.

The band continued to draw songs from both “Eagle, Idaho”and their earlier work, playing “c0w” and “Burn Slowly.” Much like folk rock bands Mt. Joy and Lord Huron, they utilize the serenity of folk music and pair it with an upbeat, percussive cadence to make an engaging song to witness live.

During “I Love It All,” Lisi traded his bass for a saxophone as he performed a riveting solo. The crowd went wild for him, clapping to the beat of the song and whooping in support of his dynamic saxophone performance.

The Brazen Youth then announced that the next song would be their final one. After a brief discussion onstage of what they should end with, they chose “Changing.” While it is not one of their most popular songs, it was the perfect choice to end on, matching the theme and tempo of the evening.

The song began slowly, as Lussier muttered, “I think I’m changing / Like shaking off this dead skin.” Immediately, the song completely shifted, much like the name suggests. The drums kicked in, and Lussier got down on his knees as he strummed his guitar aggressively along with the song. The crowd’s energy soared as they jumped along with the band.

Lussier repeatedly yelled, “I’m shining through / I’m shining through,” encapsulating the song’s message of finding oneself through the acceptance of change.

The band bowed and left the stage, but the audience quickly started chanting for an encore. The shouts became too much to ignore, and The Brazen Youth returned to the stage, smiling. Dahlke explained that this was their first encore of tour since many of their tour dates were opening for Sarah and the Sundays.

To the crowd’s delight, they played their most popular song “Center of Gravity.” Many concert-goers put their arms around their friends and swayed to the melody. It was a beautiful way to end their set as Lussier whispered the song’s outro into the microphone: “Someday I’ll jump in this car / And I’ll drive to wherever you are / To meet me / To meet you.”

The Brazen Youth’s show at Purgatory at the Masquerade speaks to the power of live music. Their studio recordings can only communicate so much emotion; to experience the Brazen Youth live is to truly understand and embrace the passion behind their music.

The Brazen Youth’s music is currently streaming on Apple Music and Spotify. 

The post The Brazen Youth deliver passion at Purgatory appeared first on Technique.

Nearly seven months after the release of his third studio album “Unreal Unearth,” Irish singer-songwriter Hozier released “Unheard” on March 22. The four-song EP consists of the tracks that did not make it onto his album, but they act together to form a strong stand-alone project.

Hozier has been in the limelight for years since his breakout debut song “Take Me to Church” in 2013. His first self-titled album was a beautiful collection of some of his finest hits like “Cherry Wine,” “Work Song” and “Like Real People Do.” Five years later, he followed it with his sophomore album “Wasteland, Baby!,” which became his first number one album in the United States.

Needless to say, “Unreal Unearth” was a highly anticipated album, and Hozier did not disappoint. The tracks take the listener on a journey through Dante’s “Inferno,” chronicling each layer of hell: limbo, lust, gluttony, greed, wrath, heresy, violence, fraud and treachery.

Similarly, “Unheard” follows the same path, with every track hinting at a different layer of hell. The songs are sonically diverse, but they somehow act cohesively, each one revealing a completely different side of Hozier that has remained unseen until now.

In the weeks leading up to the EP’s release, Hozier teased the song “Too Sweet” on TikTok, and it quickly went viral, becoming subject to copious lip-syncing
videos and fit checks.

The song represents gluttony in its purest form; Hozier wants to selfishly indulge in his lover, but he knows he cannot. In the catchy chorus he sings, “I’d rather take my whiskey neat / My coffee black and my bed at three / You’re too sweet for me,” implying that he is rejecting them because they are “too sweet” for him.

The bass line in “Too Sweet” is immediately all-consuming, giving the song an eerie, dark undertone that portrays the persistence of his gluttonous thoughts. It is reminiscent of “De Selby (Part 2)” on “Unreal Unearth,” feeding into the dark, almost evil persona that Hozier has given himself.

“Wildflower and Barley” stands in sharp contrast with its predecessor. While “Too Sweet” is funky and hauntingly addictive, “Wildflower and Barley” is simple and heavenly. It characterizes the circle of limbo, the act of dying without being absolved of original sin.

It opens with the sounds of nature, birds chirping and wind blowing, until an acoustic guitar fades in with the song’s melody. During the chorus, Canadian pop artist Allison Russell harmonizes with Hozier’s deep voice to elicit an otherworldly feeling, creating the illusion of laying in a patch of grass on the edge of a forest.

While the overall essence of the song is calming, the lyrics suggest something different. Hozier sings, “This year, I swear it will be buried in actions / This year, I swear it will be buried in words / Some close to the surface, some close to the casket.” 

The lyrics depict the struggle between humanity and nature since the beginning of time. The cycle repeats itself over and over through life and death. 

This theme is consistent with much of Hozier’s previous work, as he takes both lyrical and instrumental inspiration from the natural world.

“Empire Now” is exactly how a song representing the circle of violence should sound. The plucky guitar gives the guitar an old, Western feel before it explodes into the powerful chorus. Hozier’s use of big, booming drums and violins make the song feel like the backing track to a dramatic fight scene in a movie. 

The lyric “One hundred years from the empire now” references the Republic of Ireland’s independence from Britain in 1921. He uses the themes of colonialism and revolution to rejoice in Ireland’s freedom, and he yells, “Martyrs of our revolution / Their spinning caused the earth to shake.”

Finally, Hozier says goodbye to the era of “Unreal Unearth” with “Fare Well.” Rather than taking inspiration from another layer of hell, Hozier uses “Fare Well” as his ascent from hell’s depths. Throughout the course of three minutes, the song rises higher and higher, gradually gaining more power and joy. 

The song juxtaposes Hozier’s rising vocals with a folky, tropical tune in order to convey the journey out of hell. 

He sings, “Joy, disaster, come unbound here / I’ll deny me none while I’m allowed / With all things above the ground,” thus conveying his final acceptance of both the good and the bad things that come with being human.

Hozier’s use of political commentary, nature characterization and hidden meaning set him apart from any single genre or artist, and “Unheard” is a perfect example of his distinctive musical identity.

Through the EP’s sonic diversity, “Unheard” works together to end the passage through hell that Hozier takes on “Unreal Unearth.” 

Hozier expertly manipulates the power of music to his will in order to create a truly “unreal” work of art.

The post Hozier’s new EP is ‘Too Sweet’ appeared first on Technique.