-
Scene Queen brings bimbocore, provides safe space for Ohio Bimbo Beta Pi sisters
The crowd is a sea of pink, feathers, glitter and plenty of pink cowgirl hats. All eyes are drawn to the stage set at the front of sorority house, waiting for the lights to dim and the show to begin.
On November 18, Scene Queen took the stage at The Roxy @ Mahalls in Lakewood, OH on her Bimbo Beta Pi (BBΠ) Nationwide Tour. This night was a special and exciting show. It was a hometown show for the singer, making it extra special, which she highlighted talking about how she grew up going to shows in the smaller room at Mahall’s. She was also one the first dozen or so shows at the newer larger venue The Roxy.
Scene Queen has coined her own style and subgenre of metalcore named bimbocore. Her music is full of themes of female empowerment, fighting the patriarchy and more. Bimbo Beta Pi is the sorority and community she has created to encompass her fanbase.
Halfway through the show, Scene Queen explained Bimbo Beta Pi a bit more. On stage she has the front of sorority house with the greek letters across the front along inflatable pools, prop kegs and solo cups to create a scene similar to what someone might expect at a frat party. She talks about how the idea of sorority is friendship and having a support system. Your fellow sorority sisters are people you can count on and create a place where you belong. That is the feeling and community she is trying to create.
Scene Queen picked two people from the crowd and invites them on stage. She then inducted them into BBΠ. They had to recite a promise and then were given two necklaces with the BBΠ letters. She then went on to say that everyone in the crowd is also a part of BBΠ, which emphasized the fact Scene Queen shows are a safe space where everyone looks out for one another.
Beyond that, the overall atmosphere, energy and experience at a Scene Queen show was different from any other metalcore or rock concert. For one, it was not a typical crowd of black band shirts you may expect to see at any other show. Everywhere you looked, you saw pink, sparkle and glitter. This show is for everyone to forget about the patriarchy, misogyny, hatred and all the other negative energy and problems going on in the world. At a Scene Queen show, you are encouraged to let go, shake your butt and be yourself. It is about reclaiming the metal and rock space to be a safe place for everyone, especially those who are not a cis-heterosexual male. Being in the crowd, you felt safe and comfortable. Before the show, everyone was talking to one another, making friends, and vibing. Everyone was there to rock out to some bimbocore.
Scene Queen’s stage presence was also captivating. She looked like she was having fun and living her dream. A large smile covered her face the majority of the time. But she also brought her songs to life adding in touches of sass, anger and flirting if needed. She used the entire stage and danced and interacted with the crowd, even crowd surfing several times. Her energy was on ten: bouncing around, dancing, messing with her guitar player, teaching the crowd how to twerk, getting the crowd to wave their arms and doing whatever she can to put on a show.
She is transforming what a typical metal show is. It is not just guys standing up there with guitars and singing. She is creating an experience that is more hyper feminine and is a safe space for women and people in the LGBT community. Which is a breath of fresh air, especially those who have been in the scene for a while.
Then, how could I forget the iconic twerkle pit? For those unfamiliar with that term, it refers to a circle pit but instead of the typical moshing, you are encouraged to twerk in the circle pit. This is referred to in Scene Queen’s song “Pink G-String:” “twerkle pit: twerk in the circle pit.” Before she performed that song in particular, Scene Queen encouraged everyone to open up the pit and she needed to see people twerking and dancing in that pit. Only at a Scene Queen show would this happen, and it was incredible. The pit opened and people got to moving, dancing, and shaking. They understood the assignment for sure. People brought out their best twerking moves for the Scene Queen twerkle pit.
Scene Queen also performed her newest song “MILF,” which stands for “Man I Love Fxxxing,” which mixes country and metal together because she wants “to take country music back from Republicans.” If you couldn’t tell by the name, the song is definitely one that would make the conservatives mad, but the crowd loved it. She donned her iconic pink cowgirl hat and turned the stage into her rodeo. She even mimicked a lasso to round up her guitar player. We got to have a little metal hoedown moment. The song itself is sexy and fun. The balance of the metal breakdowns with country guitar and vocals is unique and was such a fun experience live. What other show would you combine all that into one moment?
A stand out moment of the night was when Scene Queen played her song “18+.” This song calls out bands for being inappropriate with young fans and the rise of bands being canceled for allegations relating to that. Unfortunately, it is a very relevant topic at the moment. The crowd absolutely screamed the lyrics to this song, Scene Queen even pointing the microphone towards the crowd to give them the chance to sing parts of the lyrics. This moment felt very cathartic and satisfying, a moment for the crowd to release all the built of feelings of the current state of the scene. Scene Queen strutted around the stage, giving sassy, angry and powerful energy. When the part of the song that mimics a statement to address allegations of a band but bleeps out the name, the crowd shouted names, and she gave a look of we all know what band it could be. Sadly, there are so many.
No matter what song she played, the crowd screamed along to the lyrics. They let out all their anger, frustration and personal experiences to songs about the government trying to take away women’s rights like “Pink Barbie Band-Aid,” speaking your mind and exposing everyone (“Pink Bubblegum”) and taking back your power after experiencing a traumatic event (“Pink Push-Up Bra”). You definitely left the show with no voice, but feeling powerful.
Right before the last song of the night, Scene Queen played into the predictability and overdone idea of an encore. The typical act of bands acting like it is the last song of the night is walk off stage, the crowd cheers and then they come back on stage for one or more songs, many times being their most popular or fan favorite songs. And then the crowd acts all shocked, when most people know that it would happen. For veteran concert goers, this overdone practice can become very overplayed and not as exciting. You come to expect it and the time in between walking off stage and the encore is long and pointless. Many acts in recent years have come to ditch the typical encore and just go right into the last song.
Scene Queen began to introduce “Pink Rover” and called it the “last song of the night.” While introducing the song, she was making winking faces and sarcastically talking about cheering for one more song after she walks off stage. She was, of course, referencing the very predictable act of an encore.
Then, there is one actual final song. Scene Queen and her band came out on stage holding signs. They faced the stage and then all turned around to reveal the signs spelling out “Pre Planned Encore,” which the crowd all chanted. This of course played at the idea of how no matter what happened, they would sing one more song that was scheduled into the setlist. For Scene Queen, the last song of the night was “Pink Panther.”
The whole room was screaming the lyrics and taking advantage of the twerkle pit until the very end. The energy in the crowd was next level, giving it their all until the very last moment. Scene Queen took in every moment of the night and gave it her all until she walked off stage. She even walked along the barricade to say goodbye and give high fives to people in the crowd. As the song came to the close, Scene Queen closed out her hometown show and said goodbye to Lakewood, Ohio members of BBΠ, leaving everyone with a night to remember and a crowd full of new friends.
Scene Queen is an act to watch. Clearly just getting started, she is not afraid to be herself, call people out, and make the space a place that is welcoming to everyone. She is going to keep making the music she wants to, and no doubt her next tour will be even bigger and better.
Scene Queen’s debut album Hot Singles In Your Area is scheduled to be released in Spring 2024. You can keep up to date on upcoming releases and tours on her Instagram.
-
IN RETROSPECT: Riot Fest Report – Day Three
If the weather the day before was abysmal, the weather the morning of Sunday, September 17 was flat awful.
Anyone who had been lined up to enter the festival as soon as the gates opened at 11:00am were met with Tweets from the Riot Fest team announcing a rain delay. The festival would not open as planned and, in fact, I was concerned the fest just wouldn’t go on. The delay was put in place for safety reasons, as the flooding made Douglass Park unsafe to navigate.
the original schedule (left) vs. the amended rain delay schedule (right) Luckily, the weather cleared, the updated schedule was posted and gate finally opened at 2:00pm. Unfortunately, that also happened to be the exact time the first bands were rescheduled to begin. The line to enter the festival grounds stretched far down the sidewalk, which meant anyone closer to the back likely wouldn’t enter the festival for quite a while. With Thursday being scheduled to go on right at 2:00pm, I followed the line progression stressed and hoping I’d be able to catch a good chunk of their set. Luckily, it only took me about fifteen minutes to get past the gates and book it towards the Radical stage once more. Somehow, despite slipping on a patch of mud and nearly falling over, I was able to snag a spot not too far from the barricade.
Admittedly, I first tried to catch Thursday live when they played Riot Fest 2021. The issues I ran into when attempting to do so was drinking way too much, smoking weed on top of that and ending up half awake on a hill. In retrospect, it was such a waste. While I missed the first few songs due to the rain delay, watching Thursday sober was an incredible experience. Frontman Geoff Rickly, put simply, is a delight. Rickly has this really casual, comfortable vibe even when performing songs as devastating as “War All the Time” and “Understanding in a Car Crash.” Even if you aren’t super familiar with the band, I highly recommend seeing them live if you have the opportunity to. If you don’t, throw on their 2001 album Full Collapse. It’s worth a listen.
I remember Balance and Composure being a good live act, but I’ll admit I didn’t take too many notes during the performance. Songs like “Body Language” and “Savior Mode” were great live, but neither stuck with me as much as they should have. The crowd energy was great but I didn’t find them all that memorable. Two things I can say for sure is they seemed like great guys who were beyond stoked to be there, which is always awesome to see, and I caught some great photos:
L.S. Dunes may very well be one of the best supergroups to come out of the scene. Members of Circa Survive, Coheed and Cambria, Thursday, and My Chemical Romance came together to put a unique and fresh spin on hardcore. Frontman Anthony Green left it all on the stage, even when he was diving into and rolling all over the crowd. This was a particularly fun set for me because it was the third band including Frank Iero I got to see live, after frnkiero andthe cellabration and My Chemical Romance. Coming from different bands within the same scene, the members had an electric and dynamic chemistry as they tore through a setlist that included beloved tracks “Bombsquad” and “2022” as well as tracks from their debut album Past Lives. This is the only album they’ve put out so far, but this performance has me looking forward to what they put out next.
I’ll admit, going into Riot Fest, I didn’t have any experience with Finch. I’d heard of them, as any current-or-former emo likely would, but I never went out of my way to check them out. After seeing them live, let me tell you how much I was missing out on. Not only were Finch perfectly suited to my tastes in high school, but their live show is as engaging as it is excellent. Devoted fans, newbies like me and those in the middle were treated to performances of “Perfection Through Silence” and “Stay With Me,” and frontman Nate Barcalow frequently communicated with the audience between songs. While I struggle to find the words to properly express myself, the performance left a great impression.
As the sun began to set on Riot Fest, the stage crew began setting up facades covered with what looked like hundreds of pink roses. I couldn’t stop myself from shaking at the sight, as those roses were a visual reference to Toxic Positivity, released on May 19 by The Used. Here is where I need to admit this band was the primary reason I was so determined to get to the barricade. As much as I love them now, The Used meant absolutely everything to me as an angsty teenager. Songs like “The Taste of Ink” and “All That I’ve Got” made me feel seen at a time in my life I felt invisible, among many others of theirs. As much as I loved many of the other bands I saw that weekend, everything for me was leading up to The Used.
The band blasted onstage with “Pretty Handsome Awkward,” igniting a long-neglected rage in me and kicking off their set with white hot catharsis. Frontman Bert McCracken had a manic energy to him, constantly darting all over the stage and pulling wild facial expressions as he screamed lyrics like “I know you meant it/that’s fucking disgusting” and “help yourself/I hope you choke and die.” As I shrieked these long-since memorized lyrics with him, it felt as though I had expelled every negative thought or feeling I’d ever experienced.
After McCracken instructed everyone to throw their arms around each other, the band threw themselves into “I Caught Fire” from their iconic 2004 album In Love and Death. I was able to hold in my tears through the song, despite it being one of my favorite love songs of all time, but I couldn’t stop them when The Used directly followed it up with “All That I’ve Got.” Listening to a song hundreds of times in your bedroom is just fundamentally different from seeing it performed live, with the band only ten feet away and tears streaming down my face. I screamed lyrics long-since engraved somewhere deep in my psyche until my throat was raw. When that song was then followed with “The Taste of Ink,” I was left with no reprieve. It doesn’t feel like an exaggeration to say my soul left my body.
Whenever I unintentionally put a band on such a high pedestal, I’ll occasionally worry about how I would react if they fell off. I don’t think anyone wants to see a band they love in concert and be disappointed because they suck live. Luckily, that wasn’t anywhere near my experience with The Used. Even when shredding their hardest riffs or spouting their vilest lyrics, everyone from McCracken to bassist Jeph Howard, drummer Dan Whitesides and guitarist Joey Bradford were having a fantastic time onstage. Beyond being such excellent musicians and performers, seeing them put on such an incredible live show somehow made both my present self and my inner-angsty-teenager feel validated. Put simply, it was special beyond words and I’m grateful the weekend ended on this note for me.
As much as I wasn’t looking forward to the weekend being over already, I left the festival on light feet. I had nine hours of meandering in Union Station ahead of me, but the satisfaction of another successful and meaningful Riot Fest. Now, as the year is coming closer to an end, I’m shaking with anticipation on what Riot Fest 2024 will bring.
-
IN RETROSPECT: Riot Fest Report – Day Two
I did my best to be excited for the second day of Riot Fest.
On Sunday, September 16, there was certainly a lot to be excited about: the anticipation of seeing Bowling for Soup for the first time since the last Warped Tour, overpriced fair food and the prospect of discovering new bands. If you ask me, that’s one of the perks of attending a festival with a lineup you aren’t entirely familiar with.
Unfortunately, I tend to suffer with seasonal depression on top of my usual depression and the second day of Riot Fest was the definition of dreary. I’d packed my poncho, thankfully, but protection from the rain didn’t make the day any less grey. Much like the day before, I made a beeline to the Radical stage to make sure I got a good spot for Bowling for Soup.
If, like me, you were at the Radicals stage to wait for Bowling for Soup, you were in for a more chaotic start. The first band I caught that gloomy Sunday was Drain, a hardcore punk band from Santa Cruz, California. Their energy was ballistic the moment they hit the stage. Mosh pits opened from frontman Sammy Ciaramitaro’s first roar, and he was beyond ready to leap into the crowd to join them. The most invigorating part of the set occurred during the band’s final song, where they expressed how much more used to playing on stages in clubs and bars than a festival stage. They called for the crowd to treat this show like a down and dirty club show…by challenging us to try and bypass security to join them onstage.
From the moment that last track kicked off, fans launched themselves over the barricade and went head-to-head with security. Most didn’t make it far before being pushed to the ground or led away from the area. Two fans got their hands on the edge of the stage before security grabbed them by their waists and threw them onto the damp grass. By the time the madness came to a close, I was buzzing with adrenaline. I realized it had been way too long since I’d been in a proper hardcore crowd, and it was beyond energizing.
After around a thirty minute gap, a jaunty tune blasted over the speakers. Each stanza was punctuated by five magical words: “here comes Bowling for Soup.” Once the band bounced onstage, they started their set proper with “High School Never Ends.” The band continued to rock the crowd with “Almost” and “Ohio (Come Back to Texas)” before delighting us with “Today is Gonna Be a Great Day,” better known as the theme song for Phineas and Ferb.
As is par for the course, the band was fun and irreverent. Right before the final chorus of “Punk Rock 101,” they paused for a “photo shoot” so attendees could get proper shots of the band. What else were they going to blast over the speakers during this break except “Never Gonna Give You Up” by Rick Astley? Similarly, there was really no other way to end the set but their seminal classic cover of “1985” by SR-71.
At the end of the set, the band started throwing yellow guitar and green bass picks out to the crowd. I didn’t manage to get a guitar pick, but a bass pick landed on the grass just outside the barricade and got picked up by security personnel. I managed to get the pick by holding out my hand and asking them a polite-girlie question: “Can I have it? Can I have it, please?” I doubt the security guard actually heard me, but it’s nice to think he did. Regardless, the pick immediately got placed into my phone case beside an old Panda Express fortune and a Kpop photo card, where it remains to the publishing date of this article.
Still high from the excitement of the sets and the victory of nabbing a pick, I decided to grab a piece of pizza the size of my head. It was between that and a cheeseburger, as they were comparably priced, but you’ve got to stretch a penny like Mr. Fantastic here. After, I swung by the Romwe experience to recenter myself before charging my phone in the community connection bus. In the bus, a television played Riot Fest promo materials and PSAs from Rocked. Once my phone was charged to a reasonable level, my portable charger died and wouldn’t charge reliably, I went out to wander the grounds.
Admittedly, I don’t have a lot to say about Enter Shikari. I caught their set by passively walking around, but their performance and showmanship were compelling enough to get me to stop by for several minutes. I also happened upon just the right place to get some great shots of the band:
I swung by the Riot stage to catch Head Automatica. Frontman Daryl Palumbo bled charisma, wrapping his unique voice around every syllable of songs like “The Razor” and “Glass Bible.” The only song of theirs I was personally familiar with was “Beating Heart Baby,” which closed their official set. Even with as tired as I was, I can’t say I didn’t have an absolute blast.
Back in 2017, I became a casual listener of Pup while dating someone who was a huge fan of the band. I got a spot in the crowd for a nice hit of nostalgia, but I didn’t end up staying long for Pup. I was starting to feel weighed down by my seasonal depression and probable sleep deprivation, but I enjoyed what I was able to stay for. After only two or three songs, I made my way towards the exit.
To no fault of the fest, the ride back to my hostel was more melancholy than the night prior. Perhaps it was a combination of previously mentioned factors, or perhaps it was the subconscious knowledge I only had one day left in my favorite city. Luckily, the next day’s lineup was more than enough to keep me looking forward to the final day of Riot Fest.
-
IN RETROSPECT: Riot Fest Report – Day One
As holidays pass and bring us closer to the end of the year, it’s only natural to look back at the best events of the previous twelve months. For me, one of those events was Riot Fest.
The first day of Riot Fest occurred on an overcast Friday, September 15, much different from the balmy weekends of festivals past. As soon as I passed the line of port-a-potties nearest the sling back queue, I heard Young Culture playing from the Radical stage. I’m not familiar enough with the band to recall what song was playing, but the energy of it was enough for me to wonder why I’m not already listening to Young Culture.
On my way to pick up my guest pass, a familiar melody caught my ear and I thought to myself, “who is playing Pink Slip?” Upon checking the schedule, I concluded (and later confirmed) it was The Aquadolls playing “Take Me Away” from the 2003 film Freaky Friday. Performed by the film’s in-universe band Pink Slip and fronted by Anna Coleman, played by Lindsay Lohan, Aquadolls have the perfect sound and energy to show this underrated banger to a new audience twenty years later. It once again made me wonder why this band wasn’t already on a playlist of mine.
Aquadolls and Young Culture were just two bands making up Friday’s impressive roster, which included Screaming Females, Oso Iso, Silverstein, The Interrupters, Foo Fighters and over a dozen more. However, I was only able to catch three of these bands: Origami Angel, Hawthorne Heights and The Wrecks. I was mostly determined to catch The Wrecks that day, so I darted to the Radicals Stage and staked my claim close to the barricade.
The first band I caught properly was Origami Angel, a two-piece rock outfit from Washington, D.C. The setlist included “24 Hr Drive-Thru,” “Doctor Whomst” and “The Title Track” from their 2019 record Somewhere City, and “Thank You, New Jersey” from The Brightest Days released June 16. I’ll admit, while the performance was good, I couldn’t read the band’s energy well. They were obviously delighted to be performing at Riot Fest, but there wasn’t much interaction with the crowd. I didn’t know the band going into their performance, and unfortunately the music wasn’t particularly memorable enough to get me going back for more.
Scene mainstays Hawthorne Heights got the crowd hyped with a white-hot hit of nostalgia. The first three tracks were from their 2006 album If Only You Were Lonely, getting their set off the ground with “This is Who We Are” and directly following it with “Saying Sorry” and “Pens and Needles.” While I would have loved to see them perform songs from their 2018 record Bad Frequencies, getting a taste of their latest record Lost Lights, released on September 8, with “Dandelions” was a real treat. Naturally, the band closed with their iconic track “Ohio is for Lovers” from 2004’s The Silence in Black and White, a song any self-respecting emo would have had on their iPods. To the crowd’s delight, they exchanged the word “Ohio” with “Chicago” and, in that moment, I swear it was 2004.
As a fan of The Wrecks since 2017, I was shaking by the time it was their turn to take the stage. It had been six years since I’d seen them perform and they didn’t disappoint. Kicking off their set with “Freaking Out” off their 2020 album Infinitely Ordinary, the Los Angeles-based rockers made the Radicals stage their own. While they’ve always been a tight live act, the members carried themselves less like scrappy newbies and more like scene staples. Helping this was the inclusion of tracks “I Love This Part” and “Sonder” from their 2022 album Sonder. While I adore their older work and Infinitely Ordinary was a solid record, Sonder is easily their best work yet. Frontman Nick Anderson’s hair was dyed as red as his rage, damn near screaming lines like “it’s my fault I admit/six words that you don’t know” and “you took me for a fool when I took your hand/who the fuck are you if I’m not your man?” Regardless of which member you’re looking at, the band demands attention in a rare and special way where your eyes can’t move once they’re on them. When they ended the show with “Favorite Liar,” as they always do, it felt like I was right back at Newport Music Hall watching them open for The Maine.
After their set ended, I decided to wander the grounds to see what else this Friday had to offer. Walking past the vast array of tents set up in Douglass Park, the main one to catch my eye was Romwe’s. In hot pink, ROMWE Garage was splashed across a facade made to look like a cement wall covered in lime green spray paint. I could immediately tell it was more of an experience than a simple tent, where guests could choose two accessories to take home for no charge. Beyond that was a shaded seating area, ping pong, an accessory station where you could customize a bracelet or choker and a photo op for participants to act out their rock star fantasies.
As partners of Riot Fest, the experience was going to be big without a doubt. However much fun it was, and it was, it doesn’t feel very punk to collaborate with a fast fashion brand rated “We Avoid” by Good On You. While the accessories were cute, they were about as high quality as one would expect from a fast fashion brand. I get it, bills have got to be paid, but there have got to be better brands to join forces with to peddle a surface-level understanding of punk aesthetics. Hot Topic, perhaps?
Once I finished up in the ROMWE Garage, I decided to check out the Logan Arcade. Settled behind a half-pipe, the small white tent housed an array of classic arcade cabinets and a Chuck E. Cheese-style Misfits parody band called Biscuits. After collecting eight Chaos Emeralds in Sonic: The Fighters, I realized I didn’t have the energy to stand in any more crowds, and decided to call it early.
My day ended sooner than I would have liked, but I’m grateful it ended on such a captivating and nostalgic note. As I rode the Pink Line back to my hostel, I had nothing but anticipation for what Saturday would bring.
-
TRACK BY TRACK: TX2’s journey through the ups and downs of chasing your dreams
Breaking into the music industry and leaving your mark on the world is not easy, and TX2 makes that clear with bold lyrics, emotional vocals, and rock and roll instrumentals.
Rising emo rock artist TX2 released his newest EP Ghost Of LA on November 10 through Hopeless Records. Throughout the six songs, TX2 takes the listener on a journey emotionally and sonically, covering topics ranging from addiction, to mental health to relationships. From start to finish, TX2 will have the listener locked in, waiting to hear where the songs will take the next. Whether it is a slower acoustic song or fast paced rock banger, this EP has got you covered.
TX2 at Mahall’s on November 5
Keep reading for a breakdown of each of the six tracks on Ghost Of LA.
Walking Dead Man
The EP opens on a somber note with the song “Walking Dead Man.” This track discusses the topic of drug addiction, using drugs to cover up problems and feeling alone in the world. The song opens with a simple acoustic guitar that later transitions into a heavier drum and electric guitar. However, the instrumentals are not the star of the song. The emotional vocal delivery from start to finish is what brings the song to life. The chorus feels almost like a cry for help and release of all the built up emotions. His vocals are fuller, and sounds almost as if he is on the verge of tears, while on the verses the vocal delivery is short and has a more angry feel. The instrumentals shift from a simple guitar and drum line with a running drum line during the pre-chorus to a very full in your face sounding instrumental in the chorus. The song takes you on an emotional journey that will have you on the verge of tears by the end.
Sex Sells (Hard)
This next track is a complete 180 from the previous track. “Sex Sells (Hard)” is in your face from the very beginning. The track opens with heavy guitar and drums are quick to follow. The vocals are also on the rougher side, with a rock edge. However, while upbeat and high energy, the song still discusses some heavier topics with lyrics like “trauma and abandonment, all of it’s a brand to flip” and “monetize all your scars,” referring to using your trauma and past to become famous. The lyrics also address how sex and lust are heavily profitable, how your past and scene can encourage you to sell yourself for fame with lines like “Give ’em your blood, become a star/Give ’em the dirt, baby I promise/Sex sells, hard.” The drums on this track are in your face, and are used to keep the song moving until the very end. The beat underneath the vocals will have you bouncing your head and tapping your foot. It is loud, powerful, and gives this exciting feeling that makes you want to run. Especially when the vocals back off, the drums shine and the repetitive and in your face rhythm will have you moving. There is a roaring guitar solo towards the end of the track that is amazing, and screams rock and roll. The shredding guitar and accented lines help accent the moving drumline and create a groovy rock feel. You will be headbanging by the end of the song, no questions asked.
Degrade Me
“Degrade Me” is about being hooked on someone who is toxic and staying in a relationship that is not good, but you cannot leave, “The door’s wide open, but I won’t exit/Crazy how I just stay put /I let you play me like I knew you would.” The lyrics themselves are repetitive and straightforward, allowing for the drums and guitar to be more of the star of the show. The song opens with a shredding guitar line and grabs your attention right away. The guitar keeps that same energy, with the roaring, powerful lines continuing throughout the entire song and are the structure of the track. Supporting the killer guitar is the pounding drums and sassy, rough, and screamy vocals at the end. The stand out moment of the song was the breakdown that started off quiet with guitar and drums, that built into a soaring guitar solo that seamlessly brought back in the drums to transition to the final chorus. It is a simple track that packs a powerful punch.
Black Wedding
“Black Wedding” tells the story of a couple who ends up getting married because they got pregnant and the girl’s family is religious. However, they are not in love and, from the start, the marriage is doomed, “Maybe the cat got let out the bag/We miss the lives that we had, but we’re married.” The narrator does not want to be in the marriage, he wants to pursue his dreams. The song itself has a more theatrical feel to it to match the lyrics. It does not feel like a broadway song in a traditional sense, but the storytelling lyrics and large vocal performance give a feel of a more theatrical song. However, it still has rock elements to keep the same vibe of the EP. There is a breakdown in the bridge with heavy drums and screaming vocals with the line “this is what real love looks like” repeated over and over again. The song also opens with heavy electric guitar. Another layer of the song is the rap in the second verse, a change to the theatrical vocals heard throughout the rest of the song. While the track has the similar punk rock feel of the others, the lyrical style, breakdown, and overall different feel of a song, make it a stand out track.
Am I Ghost
The EP slows down with simple drums and acoustic guitar on the next track “Am I Ghost.” The whole song is toned back. The biggest moment of the song is towards the end with a slight build up of drums, guitars and louder vocals for the very last chorus. Besides that, the emotion laced vocals are what bring the song to life. The lyrics talk about feeling out of place and not belonging with lines like “Am I ghost/Am I out of place?/In a full room of/ strangers with nothing to say/A wilted bouquet, wish it away/Day after day, after day, after day.” TX2 talks about chasing his dreams, constantly criticizing himself, and feeling stuck in the place in life he is in which can be heard on the closing line, “Stuck in this place/ Day after day, after day, after day.” The song discusses mental health and struggling with being stuck in a negative mindset. You are doubting yourself, and don’t believe you deserve success. TX2’s vocals are more somber, quiet and sound like he is talking to himself. Giving it the aura of an internal monologue and reflectiveness. Then towards the end, it builds up to be more rough and vocals ridden with anger and frustration as the guitar and drums come in. While simple, the song hits you right in the heart, and is full of feelings and experiences many can relate to.
6 Seconds Left
Closing track “6 Seconds Left” is the heaviest track of the EP. This song discusses suicide, wanting to be remembered and chasing fame. The lyrics that sum up the song are “Sleep for the moment/Maybe sleep forever/All I wanted/Was to be remembered.” The song discusses the narrator wanting to take his own life and give up. He has been chasing his dreams, and has not experienced the success he wanted. All he wanted was to make a lasting mark on the world, he has failed to do so. Throughout the song he is reflecting on his choices, and wanting to escape the feelings of sadness and disappointment. His life is not going the way he expected it to, and he feels lost and wants to give up. He is crying for help and is on the verge of letting it all go.
Production wise the song itself almost splits into two. The first part is more acoustic, opening with just an acoustic guitar and somber vocals laced with longing and desperation. Slowly a drum comes in and then by the end of the second chorus, it is almost a whole new sound. There is an electric guitar and heavy drums. The vocals also shift into a more angry and pleading tone. Once the bridge kicks in, a heavy metal breakdown with screaming vocals, intense guitars and pounding in your face drums. The closing lines TX2 screams “Filled with regret, what did I expect?” The anger fully takes over as he beats himself for thinking he could make it in the world and have success. In a whiplash it drops back down to just acoustic guitar as it fades out, leaving the listener wondering what happens to our narrator.
Ghost Of LA is currently available to stream on all major music streaming platforms. You can keep up with all upcoming releases and tours on TX2’s Instagram.
-
When We Were Young unveils 2024 lineup – and it is STACKED
Sharpen your eyeliner pencils and heat up your flat irons, hooligans.
On November 13, When We Were Young announced details of their 2024 fest on X (formerly Twitter). While it will once again take place at the Las Vegas Festival grounds, it seems it be a one-day festival next year. The only date listed on WWWY‘s X bio is October 19, 2024.
On November 16, WWWY’s website was updated with an expanded lineup. Daisy Grenade, Hey Monday, Tonight Alive, Millionaires, CARR and We Are the In Crowd will also be performing in October.
The length of the festival isn’t the only difference next year. Of the 59 bands performing, 53 of them are performing their most popular albums in full. L.S. Dunes and Fall Out Boy are not slated to perform a specific album.
More information about the festival, including ticket pricing and packages, can be found here. Check out the full lineup below:
- My Chemical Romance – The Black Parade
- Fall Out Boy
- A Day to Remember – Homesick
- Jimmy Eat World – Bleed American
- Dashboard Confessional – Dusk and Summer
- Pierce the Veil – Collide with the Sky
- Simple Plan – No Pads, No Helmets…Just Balls
- The Used – In Love and Death
- Coheed and Cambria – Good Apollo, I’m Burning Star IV
- The All-American Rejects – The All-American Rejects
- Underoath – They’re Only Chasing Safety
- New Found Glory – Sticks and Stones
- The Distillers – Coral Fang
- Dance Gavin Dance – Mothership
- Mayday Parade – A Lesson in Romantics
- Motion City Soundtrack – Commit This to Memory
- Chiodos – All’s Well That Ends Well
- Silverstein – Discovering the Waterfront
- Movements – Feel Something
- Basement – Colourmeinkindness
- Bayside – Bayside
- Sleeping with Sirens – Let’s Cheers to This
- The Maine – Can’t Stop Won’t Stop
- Neck Deep – Life’s Not Out to Get You
- Saves the Day – Stay What You Are
- Cobra Starship – ¡Viva La Cobra!
- The Wonder Years – The Greatest Generation
- Story of the Year – Page Avenue
- The Starting Line – Say It Like You Mean It
- Say Anything – Is a Real Boy
- August Burns Red – Constellations
- Four Year Strong – Enemy of the World
- Thursday – Full Collapse
- Mom Jeans – Best Buds
- State Champs – The Finer Things
- Senses Fail – Still Searching
- Atreyu – The Curse
- 3OH3! – Want
- Hawthorne Heights – The Silence in Black and White
- Anberlin – Never Take the Friendship Personal
- Cartel – Chroma
- Tonight Alive – The Other Side
- Armor for Sleep – What to Do When You Are Dead
- Hey Monday – Hold on Tight
- Saosin – Saosin
- The Devil Wears Prada – Plagues
- We the Kings – We the Kings
- Escape the Fate – This War is Ours
- Pretty Girls Make Graves – The New Romance
- Nada Surf – Let’s Go
- The Red Jumpsuit Apparatus – Don’t You Fake It
- Emery – The Weak’s End
- Millionaires – Cash Only
- Alesana – The Emptiness
- The Forecast – In the Shadow of Two Gunmen
- L.S. Dunes
- Daisy Grenade
- CARR
- We Are the In Crowd – Weird Kids
What do you think of next year’s line up? Which album are you looking forward to seeing performed front to back? Let us know by leaving a comment or connecting with us on X!
-
Waterparks announce spring Sneaking Out Of Heaven Tour
Waterparks are sneaking out of heaven to head back out on tour across The United States.
On October 13, pop rock band Waterparks announced the Sneaking Out Of Heaven Tour. This spring tour kicks off in Seattle, Washington on February 26, 2024 and wraps up in Los Angeles, California on April 6, 2024. The tour has stops across the United States with a stop in Toronto, Canada on March 11, 2024. Alternative rock band Loveless is set to join the tour as the support act.
This tour follows the release of their single “Sneaking Out Of Heaven” that was released October 11 and the release of their fifth album Intellectual Property which was released on April 14. The band previously toured the album in the United States Spring of 2023 on The Property Tour.
Waterparks will perform at When We Were Young Festival before heading out for their Europe and The United Kingdom legs of The Property Tour to finish out the year.
Tickets for the Sneaking Out Of Heaven Tour go on sale on Friday October 20 for both VIP and standard tickets. Where will you see Waterparks and where would you like the band to tour next?
Check out the music video for Sneaking Out Heaven here.
-
Dean Lewis breaks hearts and cracks smiles at the House of Blues
The line of excited fans wraps around the corner and slowly they begin to trickle inside the venue and fill the venue. Fans at the front of the barricade hold signs, hoping to get noticed during the show. As the backing band takes the stage , the crowd cheers, and the excitement is radiating off the crowd waiting for the main act.
Dean Lewis took the stage at a sold out House Of Blues in Cleveland, OH on September 23 for his The Future Is Bright Tour. This tour follows the release of his album, The Hardest Love that was released in 2022. Throughout the night he performed songs off of his new album, and also some from his earlier work. But no matter what song he played, the crowd knew the words and sang along to every song.
While overall his performance was simple, just him and his backing band with no crazy effects, Lewis kept the crowds attention from start to finish. His stage presence and love of performing stood out from the start. He radiated positivity from the moment he walked on stage. A big smiled filled his face as he looked out onto the crowd and saw the sold out room cheering for him. His love and appreciation for the support from his fans did not go unnoticed. Fans in the audience held up hand hearts to Lewis and he returned the favor, holding up a hand heart to the crowd multiple times throughout the night. At one point, he even left the stage and stood along the barricade to sing directly to the fans.
Lewis played the guitar, piano and at times left the instruments behind and just let his vocals shine. His voice was strong and was filled the room. His vocals were able to bring emotions to life with lyrics that were personal and reflective like, “But how am I supposed to love you when I don’t love who I am?/And how can I give you all of me when I’m only half a man?” from his song “Half A Man.” While playing guitar or piano added layers of emotion to the performance, Lewis’s vocals were the star of the show. You were able to close your eyes and get lost in the music, letting the emotion overwhelm you and be in the moment. .
His energy was high from start to finish, never allowing there to be lull in the show. Even when the songs may have been on the slower side, Lewis’ stage presence and ability to interact with the crowd kept the show moving. He owned the stage and brought the songs to life. He traveled from one end of the stage to the next, engaging with every area of the crowd.
Even though many of his songs have a more somber or sad theme to them, that did not bring down the mood of the room. The crowd still sang along, letting the same emotion that Lewis brought to his vocal, take over their singing as well. They used the time to let out any emotion that they had been building up out, taking full advantage of the time to scream along to the songs that they have been able to connect with: the feelings that come with the end of a relationship, wanting to go back to times before things went wrong, thinking back to what went wrong. While Lewis may be singing about his specific relationship, they are lyrics and experiences that his fans can also connect with their own lives too.
To break up the moments of sadness, he tried his best to provide some more lighthearted and self-aware commentary. These moments broke up the heavy emotional songs, even at times hearing a chuckle from the audience. One of the first moments this occurred was towards the beginning of the show. Lewis talked about very matter of factly about how he was about to play 20 songs all written about the same relationship. He said it in a nonchalant way, earning some laughs from the crowd. While there was definitely no hiding that the majority of his music is laced with emotions of heartbreaks, it was a nice moment to hear Lewis reference it outright. A similar moment occurred later on in the night when Lewis was talking and asking questions to the crowd and ended the segment with the comment referencing how all of his fans are sad and single, of course referencing how his songs are not the most uplifting or positive. And once again, laughs erupted from the crowd before the next song about heartbreak began and pulled on their heartstrings.
Lewis played his song ‘“Be Alright,” which was his first major hit in 2019. It was most likely the song for many in the crowd that introduced them to Dean Lewis. He played this song as his ‘last’ song (which we all know means the fake exit with an encore). Lewis took to the piano for this song. The crowd screamed the chorus “I know you love her, but it’s over, mate/It doesn’t matter, put the phone away/It’s never easy to walk away, let her go/It’ll be alright” at the top of their lungs. Lewis stood up and motioned for the crowd to sing along with him, wanting to enjoy one of the last moments of the show with the people who have helped change his life; just like how the song changed his life.
The most emotional moment of the night was when Lewis performed his song “How Do I Say Goodbye.” This song is about Lewis’s father and the fear of losing him and having to go on without him. It talks about the struggle of losing someone after they have been by your side your entire life. Lyrics like “how do I say goodbye/ to someone who has been with my whole damn life” and “You’ll always be my closest friend/ and someday we are gonna make it out/ just hold the light, just hold the light” hit you right in the heart and cause you to reflect on the relationships in your life. They make you think how hard it would be to lose important people in your life. And for those who have gone through something similar, they really hit home. It is hard to listen to the studio version of the song and not get emotional, so hearing it live was even more heartbreaking. Lewis wrote this after his father was diagnosed with cancer and was having to come to terms with the idea of possibly losing him. Fortunately, his father is in remission and is doing great.
He closed the set with his song “Waves.” He re-entered the stage draped in the American flag to show his love for his American fans. Lewis being from Australia, so having fans all around the world is a major accomplishment for his career.
The crowd sang along and gave it all one last time. Lewis left it all on stage, taking in the love from the crowd and giving it right back. The song is powerful and features the catchy lines “It comes and goes in waves/It always does, oh it always does.” The song is also a reflective and existential moment about life with the bridge featuring “I watched my wild youth/Disappear in front of my eyes/ Moments of magic and wonder/It seems so hard to find,” which talks about how our younger years were full of excitement, but as we get older, the joy seems to go away. Then we spend our life chasing that same high, but not ever feeling it again. However, the pondering of life that may be caused from the smile did not stop Lewis from enjoying the final song of the night. A smile once again being seen on Lewis’s face as the entire room joins him in one last moment with the crowd.
Finishing the song, Lewis thanked the crowd for their support and left the stage. Then slowly, the crowd begins to empty the venue, talking about the show and processing the performance they just witnessed.
Dean Lewis put on an emotional, but still fun and exciting night show from start to finish. He let fans sing their hearts out to songs about heartbreak and brought out their smiles and laughs. The love of and emotion from his fans could be felt from the crowd and that same energy was given right back from Lewis on stage.
Dean Lewis is currently on tour. Tickets for upcoming dates can be found on his website. You can also stream his music on all major streaming platforms.
-
Xdinary Heroes reveal dates for first world tour
European Villains, get ready to “Break the Brake!”
On October 5 EST, K-rock band Xdinary Heroes announced the Break the Brake World Tour. Their very first tour will kick off November 3 to 5 at YES24 Hall in Seoul before heading out to Paris, London, Frankfurt and more throughout the month of November.
While dates outside of South Korea and Europe have not been revealed, the announcement promised “more to come.”
This post came ahead of their fourth mini-album Livelock set to be released on October 12. It is their latest release since Deadlock on April 26.
Where would you like to see Xdinary Heroes perform next? What songs do you want to see on the setlist? Leave us a comment or check us out on Twitter or Instagram!
Check out the instrumental sampler for Livelock below:
-
Kingdom gives Chicago fans the royal treatment
The moment they opened the gate in Chicago, hundreds of fans were all too eager to rush through.
Arthur (left) and Ivan (right) Seven member K-pop group Kingdom performed at Park West on September 13. The 1,000-seat venue was packed with fans, called Kingmakers or Kingme for short, who were treated to an unreal three-hour show.
Three tiers of ticket were available for sale: VVIP, VIP and T3. T3 ticket-holders were admitted into the venue for the concert at VIP. Those who could get VIP were treated to a group photo, hi-touch, VIP badge & lanyard and entry into the concert after VVIP attendees. VVIP held all the perks of VIP with the additional perks of primary entry into the concert with a numbered queue, a group photo and a fansign with Kingdom. Staff at the fan sign provided a poster for the members to sign, but fans were also allowed to bring any of Kingdom’s previous albums for the members to sign. As they spoke briefly with each member, the fan service provided certainly added an extra layer of excitement for the concert.
Top row (from left): Dann, Jahan, Louis, Ivan
Bottom row (from left): Won, Mujin, Arthur
(Photo courtesy of GF Entertainment)Unfortunately, there were some unforeseen downsides to VVIP. Considering the height of Park West’s stage, it was difficult to see the show in its entirety if you were shorter than 5’6 and couldn’t get access to the barricade. Floor work in particular was near-impossible to see in these circumstances. It begs a question every Kingme can ask themselves and will answer differently: are the fan engagements worth potentially having a worse view of the show?
Arthur (left) and Mujin (right) For those with a good view, it was difficult to watch Kingdom’s performance without falling into a dreamlike trance. The combination of their fluid movements and ethereal beauty makes them easier to perceive as tricks of light or literal angels than idols. Even close proximity to the members, either by special perks or snapshot tickets, didn’t make them seem any more real.
Yet, they’re incredibly real. Between sets, Kingdom would address the crowd with genuine adoration and gratitude. Dressed in kimonos, the group glided across the stage and opened the show with their debut track “Excalibur.” An epic take on the legend of King Arthur’s sword, performances of this song are often ambitious, including an army of backup dancers and numerous sword props. Neither of these made an appearance, but it hardly made a difference. If you weren’t previously aware of the usual scope of the performance, it wouldn’t even feel like anything was missing. While it was visually less epic and necessitated simplified choreography at times, the group’s energy and passion weren’t hindered.
Kingdom’s debut stage on Inkigayo (February 18, 2021) Following close was the title track from their recent album History of Kingdom: Mujin, “Dystopia,” a Japan-inspired high-energy electronic number with heavy bass and soaring vocals. In addition to other title tracks “Black Crown” and “Long Live the King,” beloved b-sides including “Love is Pain” and “Song of the Wind” made it onto the setlist. Fans were also treated to special performances of two Stray Kids songs, “Thunderous” and “Case 143,” as well as a cover of “There’s Nothing Holding Me Back” by Shawn Mendes. Once they changed into tour t-shirts and jeans, “On Air” and “Blinder” closed out the encore with a more casual tone.
In terms of fan engagement and wait times, its unarguable VVIP got the best end of the deal. Not only did they get two different opportunities to interact directly with the members of Kingdom, but primary entry spared those without coats from the chilly Chicago wind. Primary entry also meant VVIP ticket holders were directed to the floor, mere feet from the stage where Kingdom would perform.
During one of several moments the group took to further connect with their fans, the group made an exciting announcement: the next chapter in their history was just around the corner. The official announcement was made on September 19 with a new photo of their next king, maknae Jahan. Unfortunately for Kingme, they were not treated to any specific details.
Dann laughs as Kingme try to convince him to spoil their next comeback. “There is something we’re really sorry about,” Dann said via a translator. “I can’t give you spoilers.” The audience loudly protested, begging him to reconsider, but he stayed resolute.
“While we were giving out all these spoilers, we got in trouble,” he said before continuing in English. “I thought our managers weren’t watching, but they’re always watching.” After putting a hand to his eyebrow and scanning the audience, he comically yelled, “They’re spies!”
Louis (foreground) and Ivan (background) during the encore performance Despite a lack of details, fans weren’t left with nothing. Ivan expressed he “had a lot of fun recording this album” before Dann revealed they learned the choreography and filmed the music video in just three days. The final word on History of Kingdom: Jahan came from Louis, who gave him advice on being the next in line for the throne.
“As long as you listen to the feedback that Kingmakers give you, you’ll be a great king,” Louis said.
Jahan, maknae and the next king to enter the spotlight. History of Kingdom: Jahan was originally scheduled to release on October 18. On September 21, their company GF Entertainment announced the pre-release would be postponed due “internal circumstances” via the group’s official fan cafe.
When the show was over, the members returned for the snapshot session. Before and at the show, fans could purchase tickets to have Polaroid photos taken with their favorite member or members. These were less formal opportunities to interact and connect with the members, where the members could get up close and personal with their fans. Regardless if fans were shy or excitable, goofy or reserved, Kingdom seemed to do what they could to make sure fans felt safe and had fun. In return, staff and fans worked together to ensure the members were comfortable in their interactions. Although it lasted for minutes at most, It made the experience all the more delightful.
Hawkins with members Dann (left Polaroid) and Ivan (right Polaroid) While there was no complex set design or intricate costuming, watching Kingdom perform really does feel like watching seven kings at work. As attendees wait with bated breath for Kingdom’s next comeback, they can look back to the night Park West became a palace.
Kingdom’s Grand America tour wraps up in Los Angeles on October 1. Tickets can be purchased here.
-
Subscribe
Subscribed
Already have a WordPress.com account? Log in now.
The In-Crowd 