Nothing screams indie rock more than a band born in the basement of a fraternity house. Basement Recess, the brainchild of five members of Tech’s Sigma Nu fraternity, has been dominating the local music scene in recent months.

Lead singer Ollie Davidson, guitarists Adam Boss and Lee Johnson, bassist Jack McMurtrie and drummer Eric Sander inherited the band from their fraternity predecessors, and they have transformed it into something entirely their own. 

They bestowed the name “Basement Recess” on the band after their beloved practice space in Sigma Nu’s basement. 

“It’s not just like two words that we slapped together,” Davidson said. “It’s something that represents what we do.”

The group has collaborated to release two original songs: “firefighters” and “chained to a stranger,” both released under the name ØLLIE on Spotify, and they are set to drop a new song, “messengers,” in April. 

The songwriting process begins as all things do for the band: in the basement. McMurtrie explains that the creative undertaking of writing songs is a “collective process.” He says that one person will come up with an idea and “that spark is harnessed into something and then we have a solid foundation. And then one other person might come up with the next spark that moves into that next connection.” McMurtrie says that after the song is complete, “We all have a piece of it in there.”

Even with only a handful of songs out, the band has clearly found their sonic identity, drawing from artists like Cage the Elephant and Declan McKenna and injecting it with their own signature charismatic lyricism and original instrumentation.

Basement Recess has attracted a devoted fan base on campus. Through word of mouth, the band has played dozens of shows. McMurtrie says, “They’re always out there and say, ‘Hey, you’ve got to see Basement Recess.’”

“It’s all about who you know, and literally who hears you,” Davidson said. “We played Park Tavern, and the manager heard us. They’re like, ‘Wait, you guys should come back and play.’”

This support from their fans and the connections they have made over the years have really paid off for the band. Davidson recalls the first time one of their songs was recognized by a stranger: “There was this guy that was standing at the front, and I didn’t know who he was. He came up to the front of the stage and was like, ‘Play firefighters!’”

“That was definitely a standout moment for me when I felt support from Georgia Tech, and I was like, ‘Oh, people talk about us!,’” he said.

The band’s most recent gig was at Park Tavern’s Shamrock Fest on March 16. The three-hour-long set spanned a wide variety of genres and decades, appealing to every individual in the audience. They played iconic oldies such as Lynyrd Skynyrd’s “Sweet Home Alabama” and Kings of Leon’s “Sex on Fire” as well as newer, well-known songs like Declan McKenna’s “Brazil” and The Backseat Lovers’ “Kilby Girl.”

Basement Recess has a wildly dynamic stage presence. From the moment the band stepped onto the stage, they drew the crowd in and left them
hanging onto every lyric. 

Throughout the night, the band’s energy only escalated, making the audience more and more rowdy. “Mr. Brightside” by The Killers marked the peak of the crowd’s enthusiasm, as they jumped up and down and sang boisterously along with Davidson.

A standout from the set was an electric performance of “Hotel California,” punctuated by Boss’ flawless execution of the notoriously difficult guitar solo.

The band ended the night with Prince’s “Purple Rain,” capping off the passionate set and permanently imprinting “Basement Recess” into every concert-goer’s mind. 

While the future of the band is relatively unknown, there are some things that the band knows for certain. 

“I like being on stage. I just want to play music,” Davidson said simply.

If you are in the market for a new indie band to gatekeep, you do not need to look far. Basement Recess has got it all: thrilling concerts, tastefully original songs and that down-to-earth feel that can only be captured by a band that began in a frat basement.

The post Basement Recess leaves the fraternity house appeared first on Technique.

To celebrate their 20th anniversary, Cold War Kids rocked Buckhead Theatre. 

Fans flocked to their March 9 show and were greeted by the band’s timeless tunes that have spanned two decades.

Even though the band has shifted and adapted over the years, their unique indie pop/rock sound has remained consistent. Vocalist Nathan Willett and bassist Matt Maust are the only remaining members of the original lineup, and they are joined by guitarists David Quon and Matthew Schwartz as well as
drummer Joe Plummer.

The band has had many breakout songs over their lifespan. Their biggest song on Spotify is the powerful anthem “First” with over 258 million streams. Another noteworthy hit is “Hang Me Up To Dry,” which premiered on their 2007 album “Robbers & Cowards.” The song has recently taken a large upturn in popularity after it was featured on the soundtrack for “Saltburn.” The band released their self-titled album “Cold War Kids” at the end of 2023.

Alternative indie artist Joe P set the stage at Buckhead Theatre. His energy was electrifying, zapping life into the stagnant venue and forging an instant, intimate connection with the crowd. From the moment he stepped on stage and began his first song, he was jumping around and strumming his guitar with
an unfathomable fervor.

Many concert-goers seemed to have exclusively come to see Joe P. A group of girls at the front of the crowd gripped bouquets that they brought for him and screamed every word to his songs. Many more of his fans were interspersed throughout the audience, easily identifiable as they danced wildly to his lyrics.

Joe P played the head-banger  “Fighting in the Car” as well as the newly released “Shadow in the Sun,” and it is already a crowd favorite. 

“Off My Mind” was Joe P’s fiery conclusion. It started off acoustic, but as the tension in the song rose, so did the enthusiasm in the venue. The lights flashed fluorescent colors, and Joe P threw himself across the stage, giving into the passion of his music. The song came to an abrupt end, and the enchanted crowd exploded into cheers at the performance.

After the stellar opening act, Cold War Kids arrived onstage to their awaiting audience. They were greeted with boisterous acclamation and clamor as Willett breathed the opening lines of “You Already Know” into the mic: “Wake up to blinding light / This is how we start the day.”

The group’s performance was dynamic, never standing still for a second, and “Miracle Mile” was the ultimate manifestation of their energy. The pounding piano and Willett’s powerful vocals elevated the song through its resounding chant, “Come up for air, come up for air.” 

After a series of similarly ardent songs, the band left Willett alone onstage to sit by himself at the piano. He took a moment to preface the next song by explaining that he used to work as a substitute teacher in California. It was in one of these classrooms that he wrote the song “We Used to Vacation.” 

He began the song in a manner reminiscent of Billy Joel: just Willett and the piano. As he carried on, his bandmates slowly joined him, and the song built to its dramatic climax. Through the lyrics, he communicates his struggle with everyday monotony, but he decides that he has to carry on for the sake of his wife and kids. Willett’s poignant delivery emphasized the emotional significance of the song to him.

After the moving performance, Willett brought the energy in the venue back up by prompting, “Let’s have some fun, okay?”

The band sang the folk-inspired “Hospital Beds” that added a stomp and holler element to the show. The crowd got increasingly loud, and their enthusiasm
carried into “First.”

At the end of the song, the band left the stage, and the audience was quick to vocalize their dismay that the concert was over. Quickly, calls for an encore prompted the band to come back on and end their set with “Love is Mystical” and “Something Is Not Right With Me.”

Willett gave a heartfelt thank you to the crowd, proclaiming, “Cold War Kids loves you, Atlanta!” before making his final exit.

Cold War Kids delivered a beautiful night of nostalgia and exhilaration for all of their fans: the ones who have stuck by the band for twenty years and the newer ones who have just discovered their music. Each and every person left Buckhead Theatre with a smile on their face, truly invigorated by the power of music.

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This spring, Mitch Rowland is in full bloom as he performs across the US following the release of his debut album, “Come June.” The alternative folk artist couples contemplative lyricism with uncomplicated instrumentation to form a niche entirely of his own. 

“Come June” embodies the beauty that comes with simplicity, and it compliments Rowland’s style as a down-to-earth, reflective artist. As he explains,
“Doing less is more.”

Rowland grew up just outside of Columbus, Ohio, where the local music scene sparked his passion for music. He started playing the drums and attending piano lessons from a young age, but it was not until later that he found his true calling: guitar. 

It was love at first strum for Rowland, and he began cultivating his guitar technique and experimenting with songwriting into adulthood.

“I knew I wanted to pursue music, but I don’t think I knew how to pursue it necessarily,” Rowland reflects. “The main thing was that I just always stayed interested in playing and trying to progress as a songwriter.” In 2013, he moved from Columbus to L.A., where he found himself working as a dishwasher in a pizza shop. His audio engineer friend informed him that Harry Styles needed a guitarist for the studio sessions of his debut solo album, and Rowland answered the call.

The pair hit it off immediately, and Rowland quickly became Styles’ touring guitarist and trusted collaborator, working on songs such as “Sign of the Times,” “Watermelon Sugar” and “Music for a Sushi Restaurant.” 

After four years of near-constant recording and touring for Styles, Rowland began focusing on his own music, and he released his first album “Come June” in Oct. 2023. 

“Come June” is an ode to anti-production, standing in sharp contrast to his previous work with Styles. “I’ve enjoyed making every record with Harry, but they’re very produced records,” Rowland says. “At the time, Covid was kind of kicking in, and the music that spoke the loudest to me was really minimal music. It was kind of all listening to a guy with a guitar.”

Even though the title suggests otherwise, “Come June” is undeniably a fall album, born to be the soundtrack to sipping an iced chai latte on a chilly morning in September. The stripped-down folk genre suits Rowland, whose resonant voice merges with his signature open-tuned guitar to form one entity. Rowland’s affinity for the upright bass is also heard in each song, making the album sonically unique and providing a smooth underlying rhythm. 

Storytelling is a critical part of Rowland’s songwriting. He creates collages in musical form, using snippets of his life and inspiration from the events around him.

For example, one of Rowland’s favorite songs off “Come June” is “When It All Falls Down,” which originated from watching UFC reruns nearly every day while on vacation in Spain with his wife and her parents. 

Rowland was inspired and decided, “It might be interesting for a song to be about the guy that loses and gets his lights punched out.” 

Rowland also drew inspiration from 1960s British folk artists such as Bert Jansch and Nick Drake for the record. Jansch, in particular, is a role model to Rowland, who explains, “He can kind of sound like an entire band, just playing and singing one of his songs. He just covers a lot of ground.” This influence is evident in “Come June” through Rowland’s ability to captivate with introspective lyrics and guitar-powered production.

Many other people significantly contributed to the creation of “Come June.” Namely, legendary indie producer Rob Schnapf produced the album, and collaborator Ben Harper played lap steel on the song “All the Way Back.”

Additionally, Rowland’s wife, English drummer Sarah Jones, was a large proponent of the album’s formation. 

He calls her his “muse” and says, “If I’m kicking around a few ideas for songs, and she says, ‘Oh, that’s nice.’ Maybe that’s good enough encouragement for me to say, ‘All right, maybe I’ll finish that idea off.’”

As of now, Rowland is two weeks into tour, and he has already played at iconic venues such as the Fillmore in San Francisco and the Fonda Theatre in Los Angeles. He is continuing to play shows through the end of March, stopping by Terminal West in Atlanta on Mar. 6. 

Rowland also has new music coming out soon, including the single “Carry On With Your Tea” that will be pressed on a 7” vinyl for the upcoming Record Store Day. While it falls into the same realm as “Come June,” he says, “It’s a glimpse into what some more music might sound like.”

Even though Rowland only has one album so far, it is clear that he has already found his voice in the industry. 

“Come June” is a brilliant showcase of his charming authenticity, musicality and the pride that he holds in his work. 

The post “Less is More:” Mitch Rowland on new album appeared first on Technique.

Madi Diaz’s show at Terminal West was nothing short of a musical autobiography, delivered over the course of an hour and a half on Feb. 21. The country-pop singer released her sixth studio album “Weird Faith” on Feb. 9 and embarked on tour to champion the album across the nation, beginning in Atlanta.

Diaz first debuted in the music industry 15 years ago, and since then, she has worked as a songwriter and collaborator for artists such as Elle King, Kesha and Waxahatchee. Recently, Diaz opened for Harry Styles on his “Love on Tour.” Styles was so impressed with her that he invited her to join his live band for the remaining part of the tour.

On her “Weird Faith” tour, Diaz was accompanied by her friend and indie folk artist Olivia Barton, who opened the show with her genuine voice and charming songs. 

Barton strode onto the stage, clad in Birkenstocks and an overall dress. She introduced her first song as “Sonic, like the drive-thru,” and then delved into the endearing tune. 

She sang, “We’re headed in a new direction / We rearranged the same intersection / Until we found a new way.” Barton’s music doubles as a vocal diary, and the audience was clearly captivated by her storytelling as they listened quietly and clung to every word.

Barton continued with “Cartwheel” and “I Don’t Sing My Songs,” recounting the personal anecdotes that coincide with each song as she went. She explained her struggle to heal her inner child in therapy and the stress of deciding her career path after college.

During her final song, Barton encouraged the audience to close their eyes and sing the lyric to themselves, “I love you just for trying.” An aura of catharsis surrounded the crowd as they whispered to themselves, and it was a beautiful moment captured in the hearts of each concert-goer.

was a beautiful moment that was surely captured in the hearts of each concert-goer.

Diaz took to the stage soon after Barton’s closing song, stepping into the circle of fairy lights that surrounded her on the stage. She smiled wide, clearly ecstatic to begin, and dove into “Same Risk,” the first track on her new album. 

From the minute she opened her mouth, it was obvious that the audience was in for a treat. Her voice was unexpectedly powerful, forming beautiful melodies around her delicately crafted lyrics. 

In particular, “Don’t Do Me Good” showcased Diaz’s breathtaking vocal range. The song’s bridge was initially a duet between Diaz and Kacey Musgraves, but Diaz handled it skillfully on her own, belting out the high notes forcefully: “Every time I wake up crying, I’m denying what I should / I know loving you, it don’t do me good.” After a few songs, Diaz progressed into an acoustic set by bringing out her gorgeous white acoustic guitar and sitting on a stool off the stage.

She became vulnerable, explaining her uncertainty in labeling her faith. Finally, she chuckled and concluded: “I don’t really know what I am,” before beginning “God Person.” In the song, she grapples with her belief in a god, going back and forth in her identity as a “God Person.”

“Resentment” was another highlight of the night. 

The song chronicles Diaz’s split from her long-term partner, and the whole crowd felt her despair through her strained tone and vocal delivery. In an intimate moment with the audience, she disclosed how her hatred and anger faded to despondency at the end of the relationship.

Diaz then paused her set to deliver a speech in support of her partnership with the Human Rights Campaign. 

She explained, “This election year, more than ever, LGBTQ+ rights are under attack, women’s reproductive rights are under attack, human rights are under attack, people rights are under attack, how we choose to love and who we choose to love is under attack.” 

She encouraged the audience to vote in the upcoming election to ensure their voices counted and asked everyone to text the Human Rights Campaign number to confirm they were registered to vote.

Diaz picked her guitar back up and ended the set with “Crying in Public,” a song of hopelessness and desperation that the audience eagerly sang back to her. However, after copious cheers from the audience, Diaz continued with an encore of “New Person, Old Place” and the title track of her new album “Weird Faith.”

“Weird Faith” was the perfect closing song, detailing Diaz’s fears navigating a new relationship after experiencing heartbreak. It is a song about having hope for the future and an intuitive faith that it will all work out.

Throughout the concert, Madi Diaz took the audience on an emotional rollercoaster, traversing the sorrows of a breakup only to find true love once again. 

She created a heavenly sonic environment for her fans and left a piece of her heart on Terminal West’s stage. 

To experience Madi Diaz live for yourself, see her remaining tour dates at madidiaz.com and check out her latest album.

The post Madi Diaz takes on terminal west appeared first on Technique.

Move out of the way Tame Impala and Arctic Monkeys, Australian guitar-pop duo Royel Otis are the new princes of alternative music. Vocalist Otis Pavlovic and guitarist/bassist Royel Maddell debuted their first full-length album “PRATTS & PAIN” to listeners on  Feb. 16.

 Although they have been compared to Passion Pit and MGMT, Royel Otis has cultivated a genre of their own, drawing inspiration from the British rock bands of the 1970s and the modern, synthesizer-based sound of the early 2000s. Pavlovic’s nonchalant, monotone lyric delivery evokes a sense of indie melancholy in their music while Maddell’s bass drives each of their songs with a deep and haunting rhythm. 

With more than four million monthly listeners on Spotify, Royel Otis has accumulated an intense following, selling out their entire Australian tour and most of their North American tour this upcoming year.

The band’s most popular song is the groovy, bass-heavy “Oysters in My Pocket,” which originated as an inside joke between Pavlovic and Maddell. Additionally, the band recently covered Sophie Ellis-Bextor’s “Murder on the Dance Floor.” The video went viral on TikTok, amassing almost nine million views.

“PRATTS & PAIN” was produced by Grammy Award-winner Dan Carey. In a recent Instagram post, the band explained Carey’s influence on the album title, “Dan would ask us to record vocals, and we’d say, ‘Just give us half an hour, we’re popping to PRATTS & PAYNE,’ and we’d have a pint, a few shots, and get some lyrics down.”

Royel Otis kicks off the album with “Adored,” a fast-paced, head-bopping song that elicits an unexplainable sense of anxiety through the inescapable tempo and rushed lyrical execution. 

The chorus merges a jangly guitar riff with Pavlovic’s repeated whines of, “In my head.” The urgent and unsettling indie beats of the song make it the perfect first taste of “PRATTS & PAIN.”

“Fried Rice” is a standout on the duo’s album. 

The nostalgic verses contrast with an angst-ridden chorus that was born to be shouted at summertime music festivals: “‘Cause I’m never gonna rust / My blanket’s soaked / My headache’s gone / Now come on Eileen.” Pavlovic’s nonsensical lyrics and off-handed mention of Dexys Midnight Runners’ “Come On Eileen,” add to the overarching whimsy and mystery of the track.

The next song is “Foam,” which Royel Otis calls “an ode to all those who need their mouths washed out with soap.” Pavlovic sings, “Think you need to stay off the prowl / It’s piling through your crooked teeth / I’m here to floss it.” 

These blatant allusions to dentistry create an eerie, psychedelic environment for listeners to live in. 

The band also uses copious sonic experimentation to try out different sounds. For example, “Sonic Blue” sees Pavlovic’s vocals reaching a new level of peculiarity and fervor, and “Velvet” uses a pounding, old-school piano to power the song’s cadence. This 1960s-esque instrumentation packs a vigorous punch to the chorus: “I’m suffering, I’m suffering, I’m suffering, suffering, suffering.”

“Sofa King” is the album’s dreamy climax. Even though it was previously released in an earlier EP, the song fits perfectly into “PRATTS & PAIN,” connecting the anxious, hurried energy of the first half of the album to the calm leisure of the second half. 

The song’s simple, sunny chorus makes it the perfect windows-down, singalong song for the upcoming summer months. 

Finally, the album’s parting song is “Big Ciggie.” The track has a vintage, glam rock aesthetic, reminiscent of David Bowie’s “Aladdin Sane.” Maddell’s funky guitar riff is the life force of the song, and it bids a classy and confident farewell to the album’s listeners.

As a whole, “PRATTS & PAIN” is a refreshing take on the indie rock genre. 

Some tracks may feel repetitive and bizarre, but the album forms a solid base for the band to build their empire. 

It is safe to say that the duo’s success is not fleeting, and the talented pair will continue to grow their unique, eccentric style. “PRATTS & PAIN” is just the beginning for Royel Otis.

The post Royel Otis: new kings of alt rock appeared first on Technique.

On the chilly evening of Feb. 1, Californian indie pop band Almost Monday brought an early summer to Purgatory at The Masquerade. Their infectious music won over the venue of approximately 300 people and left the audience feeling light and euphoric.

Almost Monday consists of childhood friends Dawson Daugherty (vocals), Cole Clisby (guitar) and Luke Fabry (bass). The band began making music in 2020 and gained recognition on TikTok for songs such as “sunburn” and “cough drops.” Last summer, they toured with The Driver Era, expanding their fanbase and drawing new fans to their headline shows.

The concert opened with Atlanta-based indie rock band Midsummer Motel, whose thunderous drums instantly grabbed the crowd’s attention. The band used jarring beats, soulful lyrics and surf rock elements to deliver an impressive set. Lead singer Ethan Intveld’s performance was especially notable as he delivered captivating vocals while simultaneously playing intense guitar riffs.

Their memorable songs included the groovy “where do all the good people go?” and “ghosts.” At one point, a girl asked for Intveld’s guitar pick, and he responded with, “If you can find it!” as he pretended to throw it into the crowd. Not long after, another audience member complimented his shoes, and he cheekily responded, “Thanks. I considered not wearing any,” as the band launched into the angsty song “guerilla.”

Midsummer Motel’s final song was “adolescent love,” which used big, booming drums that reverberated through the venue. Intveld got down on his knees to play a passionate guitar solo, and he ended the song on his back as the crowd erupted into cheers.

Almost Monday took to the stage soon after, and the venue overflowed with audience screams as Daugherty emerged, clad in his iconic sunglasses and a t-shirt that read “Breaking up is hard to do.” 

The band started their first song “only wanna dance,” an upbeat, energetic tune that perfectly set the stage for the rest of the show.

The next song was “cool enough,” and Daugherty took the time to make a special connection with many individuals in the crowd. 

As he sang, he graciously accepted beaded bracelets that a girl made for him, and he took some fans’ phones to record himself making silly faces into the camera.

Daugherty prefaced “don’t say you’re ordinary” by calling it his favorite song. 

He crooned about a lover who is too self-critical, encouraging self-love. During the outro of the song, he introduced the other members of Almost Monday, Clisby and Fabry, as well as stand-in drummer Rafael Vidal. They each soloed on their respective instruments and received resounding applause.

The following song was a cover of “What I Like About You” by The Romantics. Nearly everyone in the venue knew the song, and Daugherty fed off of their energy, dancing and performing high kicks on stage. 

Towards the end of the song, he executed a flawless harmonica solo. 

Later in the evening, the band performed the fan-favorite “sun keeps on shining.” The crowd sang the lyrics, “I’m looking for lemon but they gave me a lime / The days are getting harder but I’m still alive / And the sun keeps on shining.” 

During the performance, Daugherty accepted a fan’s phone mid-song to take their BeReal for them.

Almost Monday played  “sunburn” next, their most popular song with nearly 27 million streams on Spotify. The lighthearted, sunny tune brought a smile to every fan’s face as they shouted the words back to Daugherty.

The band’s final song of the night was “life goes by,” and the crowd’s energy soared as Daugherty skipped and jumped across the stage. He brought the concert to a close by wishing the audience well, yelling, “Have a good one, Georgia!” as the band left the stage.

The band’s tunes were the perfect escape from the dreary winter night, leaving each concert-goer longing for the summer months ahead.

The post Almost Monday rocks Atlanta appeared first on Technique.

On Jan. 19, indie pop duo Mickey Darling performed at Terminal West to a devoted and energetic audience that seemed dead-set on losing their voices. The band is famous for its authentic bedroom pop mixed with both bold and unserious lyrics, making for addicting sing-along songs that are easy to resonate with.

Mickey Darling consists of Skyler Molina, the “creative” of the band who contributes the vocals and lyrics for their songs. Austin Medrano is the band’s other half, and he supplies the instrumentals while also recording Mickey Darling’s songs.

All of their music is independently released, and the duo intends to keep it that  way to retain the band’s authenticity and autonomy. On their website, Molina and Medrano jokingly call the band, “Our DIY dream so we don’t have to sell our souls to corporate America.”

The concert kicked off with an opening set by indie-alternative band Yin. Their pop-based sound combined with blinding overhead strobe lights made their music overstimulating but exhilarating. Lead singer Jordan Mitchell took a break in between songs to deliver a heartfelt message about Atlanta, the band’s hometown. He said that, as a kid, he came to Terminal West to see some of his favorite bands, and he felt honored to finally play at the venue. The band finished by playing “Trauma,” an obvious crowd favorite. 

Soon after, the second opener, Nick Wagen, began his set with his new single “my bad,” hooking the crowd with his simple yet alluring stage presence. Wagen then posed a question to the audience: “Does anyone like the Cure?” He was met with enthusiastic screams as he covered “Friday I’m in Love.”

A few songs later, Wagen introduced his guitarist, Ben Ironside, who releases his own music under the name Benten. He played his song “second placing,” and the crowd was immediately infatuated. Wagen followed with a few more songs, but the audience’s chant of “Ben! Ben! Ben!” became too much to ignore, so Benten took to the mic again. The audience was extremely supportive, bringing out their phone flashlights to sway to the
beat of the song. 

Wagen took back over, and, to the audience’s delight, he launched into a cover of the Neighbourhood’s “Sweater Weather.” Wagen ended the set with his upbeat song, “I Want Your Love.”

Two hours into the concert, Mickey Darling finally took to the stage, and instantly, the crowd’s energy exploded as the opening voicemail to the song “Feed My Ego” rang through the venue. Every single person in the audience was jumping up and down as Molina begged them, “Feed my ego / Keep telling me all the ways that you think I’m great.”

Molina prefaced the next track with, “We wrote this song about another band,” as he launched into “Wallows Song.” 

As soon as the chorus hit, he jumped into the audience and pranced his way through the crowd, drawing even more energy from each person as he passed by. 

Mickey Darling’s uniquely intimate connection with the audience was evident as they stopped between songs to accept small gifts from concert-goers throughout the show, including bracelets and stickers. At one point, a girl shouted, “I have something for you!” and she pushed to the front to give Molina a ring pop. They exchanged a few words and a hug before the next song “SAY THAT YOU MISS ME.”

During “Mom Jeans,” Molina flung himself into the crowd again while Medrano continued playing the guitar onstage. Molina skipped through the audience, often finding particularly enthusiastic fans and singing directly to them.

Later that night, the band announced that they were going to sing an unreleased song called “Blah Blah Blah,” and they invited Nick Wagen and Benten up on stage to perform with them. The four of them jumped and frolicked on stage, undeniably having a great time with each other. Mickey Darling then disclosed that the song would drop on Feb. 9 and playfully encouraged everyone to put the date into their phone calendars.

Mickey Darling carried on with “VROOM VROOM,” a hilarious fan-favorite. Molina sang, “Vroom vroom, I’m in me mum’s car,” referencing an old meme from Vine recognizable to every Gen Z audience member. 

When Mickey Darling announced that they only had one more song, the excitement in the venue escalated as the crowd shouted “Reverse Cowgirl”. Someone threw a sparkly, pink cowboy hat onto the stage, and Medrano donned the hat as the duo gave in and played their most popular song. The energy in the room reached its peak as everyone jumped in time to the cowbell beat. The song faded out, and Mickey Darling gave a final bow together as a band
and exited the stage.

Mickey Darling’s genuine and personal stage presence made for an unforgettable show, and the band proved to be a beautiful testament to the idea that success is attainable for independent artists without a big-name record label.

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