The Chicago-based indie folk band Whitney stopped at the Royale on Oct. 2 during their whirlwind tour across North America and Europe. Fresh off the Aug.t 30 release of their sophomore album, 

, this was their first full tour in over two years. The band was joined by Hand Habits, the indie-rock solo-project of Meg Duffy, for the Boston show in addition to a slew of other dates. Duffy, who uses the nonbinary pronouns they/them, also released their second album as Hand Habits earlier this year entitled 

Hand Habits began their set with “All the While,” a song off their first record, 

, which set the warm tone of their performance. They played a mix of tunes from their two-record discography, providing a comprehensive entry-point for the (likely large) portion of the audience who were first time listeners. The crowd was treated to glimpses of Duffy’s ability to shred on guitar which caused quite an uproar during songs like “jessica” and “Book on How to Change.” From mellow melodies to powerful guitar solos, the range of guitar-playing styles Duffy was able to shift between seamlessly lent lends a great deal of complexity to the Hand Habits sound. The band concluded their set with “Book on How to Change,” and a prolonged jam, transporting the audience into a trance-like state.

Whitney’s Julien Ehrlich and Max Kakacek are currently touring across North America and Europe in a whirlwind.
Photo by Olivia Bee

Duffy bantered about memories that came to mind related to Boston throughout the set, though this was the first time they’ve played as Hand Habitshere. They recalled an emotional Mazzy Star set at the Royale they’d seen while recovering from a breakup and visiting the Boston Public Library and posting a photo of it on Instagram back when filters were a thing. Duffy also shared a tip for fellow “guitarheads” in the audience after playing slide guitar in one song: if you have small fingers, use a bit of leather wrapped around your finger to ensure that the slide doesn’t fall off.

For the headlining act, the many members of Whitney streamed onto the stage in matching black suits with crisp white button downs, which seemed more suited for a job interview as opposed to playing in an indie rock band. The juxtaposition of their put-together looks against the hazy painting of a field adorning the backdrop, the kick drum, and the cover of their new album, 

seemed to aptly match the at once casual and highly integrated character of their music.

Whitney swept the audience on a journey with the range of emotions and tempos their songs struck. Slower and sadder songs like “Forever Turned Around” were contrasted by upbeat tunes like “Golden Days,” on which lead singer and drummer Julien Ehrlich encouraged the audience to sing along to the catchy and memorable closing refrain.

As the set drew to a close, with many of their fan-favorite songs yet unplayed, Ehrlich announced that they only had two more songs before quickly revealing that the group actually had six songs left. They concluded the ‘fake’ end to their set with “Day & Night” and “Friend Of Mine,” before leaving the stage, though a few band members remained and mulled about. Upon taking their places again, the band opened their lengthy encore with “Used To Be Lonely.” Whitney went on to play two songs off their first album 

, “Southern Nights” and “No Woman,” and concluded the set with “Valleys (My Love).”

Whitney @ The Royale

Feelings of excitement and warmth seemed pervasive throughout the packed crowd at the Paradise Rock Club on Friday, March 29th. This was due in part to the warm early-spring air, as well as the audience’s love and support for the three local bands about to perform. Vundabar, Sidney Gish and Future Teens provided a compelling testament of Boston’s incredible musical talent. Their delightfully energetic and danceable tunes made for a fantastic night of live music.

Sidney Gish. Photo by Kailey Williams for WRBB.

Future Teens opened their set with “In Love or Whatever,’ a lively song about dating and feeling pressure to find somebody, with lyrics like “Don’t want to be alone forever, I should fall in love or whatever.” This set the dynamic tone the band would carry for most of their set. “What’s My Sign Again?” was another hit, in which the singer describes an encounter with an ex where she said her belief in astrology was confirmed after learning the incompatibility of their zodiac signs. Their fun and spirited songs made for a great start to the evening.

Sidney Gish, a music industry major here at Northeastern, took the stage next. As a solo artist, she was able to captivate the crowd’s attention with her clever lyrics and danceable guitar riffs. The audience couldn’t help but smile and nod along to the relatable turns of phrase. In “Sin Triangle,” she sings, “Wearing shades when it’s dark out, but don’t you worry I’m just being cool, like everybody else around this school.”

Vundabar, headlining this sold-out show, entered the stage after much anticipation. The band is comprised of Brandon Hagen on vocals and guitar, Drew McDonald on drums and Grayson Kirtland on bass. Their consistently groovy rock tunes got the crowd jumping and dancing along. Fan favorites “Oulala” and “Alien Blues” filled the room with aggressively catchy lyrics and engaging guitar riffs. All in all, it was a great show, and a wonderful way to spend an evening: listening to talented local indie rock bands. 

Vundabar, Sidney Gish and Future Teens take Allston by storm

Aurora brought a message of hope and light to the audience of fans at the Royale on March 5th. Her music infused those gathered with a spirit of wonder and joy which her performance and personality exude. Her lyrics are infused with messages of hope, strength, and solidarity, which become all the more potent set to the band’s dreamy electronic pop stylings.

Sean McVerry had at the last minute been brought on as a keyboard player to Aurora’s North American tour and took the stage twice over the course of the night. Before joining the headliner’s set, he first performed a solo set to open the show. He captured the audience with his charismatic personality and pleasant music as he sang and alternated between playing the guitar and playing the keyboard.

Talos, the electronic band based out of Cork, Ireland, was next to perform. Their synths, which fluctuate between delicate and atmospheric sounds to more structured melodies, helped create their dynamic sound, as did the prominent beats produced by the two drummers flanking the stage. Their spacious and at times haunting music felt quite fitting with Aurora’s, and they have definitely garnered some new fans on their tour with her.

The visual landscape of the stage hinted at the exciting performance that was to come. Blue, pink, and green lighting flickered across three large jellyfish sculptures suspended in the air and illuminated the illustrated forest backdrop. These whimsical visuals complemented the ethereal nature of Aurora’s voice and her movement on stage.

Aurora strikes a range of emotions in her music, which makes it all the more compelling. “Warriors” and “Running with the Wolves” capture a feeling of empowerment and strength, while “I Went Too Far” and “Murder Song” speak of hardships and toxic relationships. Leading up to playing some of these sadder songs, Aurora spoke about the challenges of dark times, and how easy it is to lose one’s way. She promised that after the audience cried together to these songs, she’d play happier songs and it would be a party. Aurora delivered on this promise, closing out the set with “Queendom,” an anthem of acceptance and a celebration of differences as well as the strength that lies in sensitivity. Midway through the song, she pulled out a rainbow flag and began waving it around as she danced, acknowledging and showing support for the significant portion of her fans who identify as LGBTQIA+. As the show ended on such a strong note, the audience was left with a feeling of warmth and of community as they filtered out into the cold Boston air.

Aurora shines bright at the Royale

featuring Jackson MacIntosh, The Water Cycle 

Video Age brought groovy tunes, vintage synths and a magnetic performance to the Great Scott on Feb. 5th. They are currently halfway through a North American tour with Montreal-based musician Jackson MacIntosh. Local bands The Water Cycle (who are signed to Northeastern University’s Green Line Records) and Dee-Parts also joined the bill for this show. The crowd, comprised predominantly of college students, seemed most excited to see Video Age, though The Water Cycle attracted a loyal following of Northeastern students and friends, many of whom knew their songs by heart. The evening came at the tail end of some unseasonably warm weather, so spirits were light and the audience was excited to hear some cool music they could dance along to.

It was Dee-Parts’ first live appearance. The group is a side project/evolution of the band Mini Dresses. Their minimal goth-pop stylings were achieved through guitar, bass, captivating vocals, and a drum track run through a laptop. The Water Cycle took the stage next, with keen takes on relationship anxieties set to fun, light-hearted music. The band is comprised of Joe Kerwin on vocals and guitar, Rob Capodilupo on bass and vocals, and Jack Kerwin on drums. Next to perform was Jackson MacIntosh, on tour with Video Age. Based in Montreal, he’s been a big part in the city’s indie rock scene, singing and playing guitar in Sheer Agony, as well as playing bass in TOPS. He started his set playing keyboard and singing and switched to guitar about halfway through. His music was serene and pleasant, filled with melancholic lyrics about love. Unfortunately, he was not able to captivate the audience’s attention as well as the other bands.

Video Age opened their set with “Pop Therapy,” a fan favorite off their newest album of the same name, released in 2018. Their groovy blend of synth-pop, eighties influences, and highly danceable beats make them fantastic to see live. The band played a mix of songs from 

. Highlights of the night included “Days to Remember,” “Hold On (I was wrong),” “Dance Square,” and “Lover Surreal.” In addition to their delightfully catchy tunes, Video Age’s performance was further compelling as a result of their dynamic stage presence. They danced along with the audience and seemed to really enjoy the music they were playing. The show was a great way to spend Tuesday evening, especially for those looking for a fun, dance-filled time.

Video Age bring local talent The Water Cycle and Dee-Parts to Great Scott

Hop Along helped Boston ring in the new year at the Paradise Rock Club on December 29th. It was the first stop on a three-show New Year’s Eve run, as they played shows in Asbury Park, NJ the next two nights. The band has spent a large portion of the year on the road, supporting their new album 

, released this past April. This show had a party atmosphere, with festive lights strung around the venue, an excited crowd, and the show’s proximity to New Year’s Eve. It’s been quite a year, and Hop Along provided much needed catharsis because sometimes you just need to belt out the lyrics to a beloved song in a room full of people doing the same.

Opening the show was Horse Jumper of Love, a Boston alternative rock band. The three-piece is made up of Dimitri Giannopoulos on guitar and vocals, John Margaris on bass, and Jamie Vadala-Doran on drums. Together, they achieve a uniquely brooding sound with forlorn lyrics, distorted guitar, and an underground feel.

The audience kept growing as the night progressed, and the venue had sold out by the time Hop Along took the stage. They started off with a lively track ‘Young and Happy!’ from their 2012 release, Get Disowned, which seemed fitting for the celebratory atmosphere. The crowd seemed equally excited to hear old and newer favorites, cheering as loudly for ‘Waitress’ and ‘Tibetan Pop Stars,’ from 2015’s Painted Shut, as they did for ‘Fox in Motion’ and ‘How Simple,’ off their new record.

The incredible music wasn’t the only thing that made the concert so enjoyable. As lead singer and guitarist Frances Quinlan jokingly stated, “It wasn’t so much the songs but the spaces in between the songs that made the evening.” The banter between bandmates and audience members gave a conversational and informal feeling to the whole affair. A recurring joke was the audience’s seeming inability to pronounce the B in “boo” when they cheered for the band by saying “woo.” Later in the show, Frances recollected on the year and tried to pinpoint a funny story to tell. She remembered a time when a bird fell dead out of a tree, only to realize that had happened the previous year and was actually kind of sad, though it seemed funny at the time.

At the end of the show, Hop Along returned to the stage for a highly anticipated encore. They began with an energetic cover of Daniel Johnston’s ‘True Love Will Find You In The End’ before jumping into what is likely their most widely acclaimed song, ‘Tibetan Pop Stars.’ It elicited the most audience participation of the night, as most everyone knew the lyrics by heart. Frances’ powerful voice led the charge as she, and most of the venue belted out the repeating chorus “Nobody deserves you the way that I do.” Hop Along then closed out the show with ‘Prior Things.’ As the last track on their new record, the song provided a sense of finality and closure to a wonderful night of celebration and music.

Hop Along rings in the New Year at Paradise Rock Club

Snail Mail, the Baltimore based solo-project of nineteen-year-old Lindsey Jordan, played two sold-out shows back-to-back on the chilly first of December. The audience was comprised of predominantly students around Jordan’s age, with a mix of indie rock appreciating adults. I also noticed, when looking around at the crowd, a surprising amount of holiday sweaters. Why Bonnie, an Austin based band led by singer and guitarist Blair Howerton, opened for Snail Mail. Why Bonnie has a dynamic sound with smooth synthesizer components, visceral guitar and bass, and Howerton’s warm, ethereal voice. All of this combined for a fantastic start to the evening.

Snail Mail last played the Sinclair in July, in support of her debut album 

, released June 8th. In the mere four and a half months since, she has continued on the whirlwind of a tour that’s taken her all over the world. I was at that show, after listening to her music for what felt like ages, but she suffered from a migraine and sore throat that evening which made her voice even more strained than usual. I was glad to see that she had recovered and was in better health at this show.

Snail Mail began her set with an energetic jam session that re-energized the crowd after the intermission. So when the band jumped into playing ‘Heat Wave,’ a song off the new album, the audience was already moving and nodding along. The song felt much more fitting during the summer months, as it felt anything but a heat wave in the cold Cambridge air. However, the topic of heartbreak is quite universal and not necessarily seasonally dependent.

Their set included a solid mix of tunes from their 2016 EP 

 and their new record. But I was disappointed they did not play ‘Static Buzz,’ since it’s one of my personal favorites. Jordan played most of the fan-favorites, including ‘Thinning,’ ‘Deep Sea,’ and ‘Pristine’; however, they were not able to play everything the fans wanted to hear because the set was shorter than usual to accommodate two shows.

The show was important for me personally, as it felt like things had come full circle. At Snail Mail’s show in July, I mentioned to my friend that I wanted to write about concerts or do photography for one of Northeastern’s music organizations (the primary motivator was to get into shows for free, though the practical experience has been a nice bonus). Now there I was, writing and photographing, standing in the same spot in the second row of what has become my favorite Boston-area venue, watching Snail Mail for the second time. Jordan and I are similar not only in age but also in personal aesthetic, thus seeing her live and hearing the vulnerability in her lyrics was, yet again, an empowering experience.

Snail Mail brings summer back to the Sinclair

WRBB’s Kailey Williams caught up with Mark Quinlan of Hop Along ahead of their show at Paradise Rock Club tomorrow, December 29.

Do you have a band, song, or album that’s been a fixture of your music listening this year?

 I’ve been playing that on repeat this fall. That’s the one that pops in my head first. My daughter is getting really into Kids Bop now, so a lot of it has been ‘Old MacDonald’ — I’ve listened to that maybe a million times. She also loves ‘Desperate Youth,’ the Santigold song, so that’s definitely been on repeat.

Do you have a favorite Boston venue to play?

That’s a tough one, because it’s hard to compare a couple of them since the size of the rooms are different. I love the Sinclair, that is one of the best venues in the country. They divide up the back so that there’s lots of space there for the artist too. A lot of times you’ll find venues that basically use the whole room for the venue and then give the band a broom closet in the back, but the Sinclair is really kind and fair to the artists.

I have super fond memories of playing with some of my favorite bands [at Paradise Rock Club]. One of the first tours we went on was with mewithoutYou, and I’m pretty sure that show was at Paradise. Also, this really good ramen place is near Paradise, I can’t remember the name of it, but it’s in the back of a shopping center and it’s just a little room, and there’s another ramen place pretty close to that.

You’ve been touring nonstop it seems, since the newest album 

 was released on April 6th. I imagine touring for that long must be pretty exhausting, so do you have any go-to ways to combat that exhaustion?

Really the biggest issue is I miss my family. It’s not so much that I get tired — I mean it’s tiring to a degree, lots of people’s jobs are tiring — It’s just that I’m away from my daughter who is about to be two, and she’s developing quickly. I’ll be on tour and when I get back she’s learned new words, she does a couple of new things, and it’s hard. Face-timing with them is probably the best thing that calms me down on tour, but also I think I’ve binged the entire series of The Good Place, before season 3 came out. Parks and Rec is another one that I’ve been binging. Really it’s just about a nice pillow, noise-cancelling headphones, and your favorite show. Sometimes a good conversation breaks out in the band too which is soothing.

I gotta find that ramen place that I was talking about earlier, I’m thinking about it now, I’m definitely going to go there when we play our next show.

Your sister, Frances, is the lead singer in the band, and you both have different tastes in music, so do you find this is helpful in creating the dynamic style of Hop Along or has it posed a challenge?

I don’t necessarily know that I have a particular aesthetic; I used to, for sure, when I was younger. You identify yourself as this person who is a collection of sounds and experiences you have, and as you get older these things start to converge with more of the people I respect around me. It is helpful, because there is some breadth there and there’s a lot of variety, but also it does create a challenge because you’re trying to achieve each other’s visions to a degree that is honest. You throw a lot of darts at the board and see what sticks and the more tools you have in your tool belt, I think, the easier it is.

I try to remain as eclectic as possible with music. I try and keep my ears open too when the people in my band tell me they’re listening to something and it’s good, whether or not I agree right off the bat, I will certainly give it an honest try, and that’s been rewarding personally. I think that directly plays into my life, you know, just to listen, and if it’s something important to somebody you respect, give it an honest shot.

If you could play for a night in any current band, if their drummer couldn’t make it to a show and they called you up to fill in, what band would you want to play for?

Oh, there’s so many good ones. I get attached to drummers after watching them for so long, like Ricky from mewithoutYou. What he writes looks so fun to play and he is so engaging. Also, part of me wants to just go do-do-da do-do-da for like fifteen minutes and that makes me kinda wish I was Charlie from the War on Drugs sometimes, where I can just cruise and play a lead and zone out. Not zone out, but really get into just one beat, I always found that pretty interesting. You know what would be nice to play, some heavy music, something droney, so maybe Sleep would be kinda fun to play drums in. That’s such an exciting question, I have so many thoughts on it. I know at some point I’ll think of something and be like ah, I wish I said that.

I can’t wait to see you guys play on the 

, you should definitely get a bowl of ramen.

Yeah, well I think I’m maybe gonna get two. It’s funny because I want to give you the name of this place and it’s like walkable, like I walked to it from Paradise. I can’t remember the name of it but it was amazing, maybe it was Totto Ramen. There’s two super close ones, and they were both so good. Yeah, if you like ramen, that’s the spot.

Catch Hop Along tomorrow at Paradise Rock Club!

https://open.spotify.com/album/7taAuoHvZ4LJzEaB0OzuP3?si=ducR1AVNR_OtLUZ8p-iqiA

Q&A with Hop Along

On the last Tuesday of November, fans braved the cold evening air to see Wild Rivers and The Paper Kites at the Paradise Rock Club. The assortment of college students, middle-aged folks, and everyone in between who made up the audience was a lot rowdier than expected for a Tuesday night, as Devan Glover, singer in Wild Rivers, observed. After opening their set with a few energetic songs to liven up the audience, Wild Rivers jumped into a series of “sad break-up songs” — described as such by singer and guitarist, Khalid Yassein — including ‘Call it a Night’ and ‘Already Gone.’

Wild Rivers. Photo by Kailey Williams for WRBB.

The band had a great stage presence and a very conversational rapport with the audience. They spent time between songs discussing tour gags, anecdotes about song inspiration, and their tour with the Paper Kites coming to an end. I appreciated that they said the names of most of the songs they played, as I could take note of the ones I especially liked for future listening and playlist additions. One such song was newly written, ‘Moving Target,’ which they described as “kinda about long distance, cell service, and stuff like that”. The soothing harmonies and calm instrumentals will make it a great addition to any folk/indie/alternative heartbreak playlist as soon as it is released. ‘Mayday,’ written for singer and guitarist Khalid Yassein’s “best buddy in the world,” was another highlight of their set. It was written about texts sent about that friend’s relationship ending and a Canadian documentary series about plane crashes which the couple had watched together. The song is beautifully serene, despite the chaotic subject and lyrics like “just scream ‘mayday/ we’re going down.’”

The Paper Kites. Photo by Kailey Williams for WRBB.

After the members of Wild Rivers ended their set and helped move their instruments and gear, it was time for The Paper Kites to take the stage. They played all the fan-favorites: ‘Bloom,’ ‘Don’t Keep Driving,’ ‘Woodland,’ and ‘Paint.’ Between songs, lead singer and guitarist Sam Bentley shared his philosophy on songwriting and commented on the abnormal width of the room and the amount of vertical spooning going on. He also gave a shout out to the few single people, including himself. The Melbourne-based band is well known for switching instruments while playing live and for their ethereal, moody sound, and this show delivered on both fronts.

Wild Rivers and The Paper Kites provided an evening of calming folk/indie rock music. The concert came at a busy time, with the number of assignments and projects I had due and the impending finals. It gave me the chance to step away from it all for a couple hours, to get off campus, and to listen to some good music, which was a pleasant way to de-stress.

The Paper Kites and Wild Rivers bring infectious energy to Paradise Rock Club

 follows a multitude of narratives, about friendship, mental illness, romance, divorce, and much more.

Laura Jane Grace is the lead singer, guitarist, and songwriter of the punk band Against Me!, and has been an outspoken advocate for transgender awareness after coming out as transgender in a 2012 Rolling Stone interview. She is someone I admire immensely, so when I saw that she had something new in the works, I jumped at the chance to write about it.

 is the debut album by Laura Jane Grace & The Devouring Mothers, with Grace on guitar and vocals, Atom Willard (current drummer of Against Me!) on drums and Marc Hudson (long-time sound engineer and collaborator with Against Me!) on bass guitar. It brings a mix of styles together into what is intended to play like a mixtape, with a variety of topics. While it may not be as groundbreaking or revolutionary as some Against Me! albums (i.e. 

), it is still a great listen and will take you on an emotional journey.

 ensures that each song on the album could find its way onto a variety of different playlists. Not bound by a precedent of 20 years of discography and expectations, this project has provided Grace with a way to express aspects of her identity, experience, and stylistic inclinations which may not fit neatly into the established political punk framework of Against Me!. This freedom is relayed throughout album, both in the disparate dynamics and subjects of each song, and in the honesty with which she talks, sings, and yells about her life.

Highlights on the album include ‘I Hate Chicago’ and ‘Manic Depression,’ though ‘Airplane Song’ proved to be the one which stuck in my head the most with its catchy chorus. ‘I Hate Chicago’ presents itself as an angered diatribe about everything Grace hates about Chicago which proves to be a metaphor for feelings left in the wake of divorce, as she admits half-way through, “You caught me, this is actually just another divorce song.”

In ‘Manic Depression,’ Grace discusses the manifestations of depression in her life, accompanied by a continuous bluesy guitar riff which mirrors the obsessive nature of thoughts she experiences as a result of depression. In a climate that stigmatizes mental illness, Laura Jane Grace breaks ground by openly discussing her day-to-day experiences with depression.

 I wanted to revisit some of my favorite Against Me! albums. When listening to masterpieces such as 

, their 2014 release, and the first album written and recorded after Grace came out, I can’t help but feel that this album pales in comparison. However, each serves a different purpose and were created from two different points in Grace’s life.

 is a rallying cry for trans and queer folk, dealing directly with the challenges of coming out, transitioning, and experiencing gender dysphoria,

 follows a multitude of narratives, about friendship, mental illness, romance, divorce, and much more. For longtime Against Me! fans, fans of Laura Jane Grace herself, or for anyone who appreciates a solid alternative/rock/sort-of-punk (or at least with punk influences) album, 

 by Laura Jane Grace & The Devouring Mothers is definitely worth a listen.