This past Sunday, January 15th, I got to ring in my first show of 2023 with the tender indie beats of Kississippi, Highnoon, and Jane Lai as they performed in front of a packed room at Brooklyn’s Baby’s All Right. The three bands complemented each other’s sounds quite well as they all shared similar vibes but had distinct musical styles, with Kississippi and Highnoon even sharing a few band members. Brooklyn-based outfit Jane Lai kicked things off first, followed by Highnoon and finally Kississippi, both of whom are from Philadelphia.
Jane Lai played six songs, including a few from her 2022 album, Received Receipt, as well as a brand new track. While I was only familiar with Kississippi’s music at the start of the show, it didn’t take much to convert me into a member of the Jane Lai Fan Club. Along with an endearing stage presence, Lai cleverly incorporated elements of daily life in a manner that manages to be beautifully philosophical in her music. Contemplative, soft, and exploratory are all useful words to describe the tone of Lai’s music and I would not be surprised to see her playing even bigger stages in the not-so-distant future.
Highnoon took things in a more 90’s alt direction with their set as they played several unreleased tracks as well as some of their newer singles such as “Back to You” and “Are You With Me.” Front-person Kennedy Freeman even rocked a Deftones shirt with a cat on it to give a nod to some of the band’s influences (which many of us cat parents and devotees here at Full Time Aesthetic can greatly appreciate!). The band delivered a highly energized set, complete with a guitar solo from guitarist Brendan Simpson and plenty of rocking out around the room with some of Highnoon’s friends and family present. Interspersed between moments of rocking out were times of reflection and the band have struck a balance with the emotional pacing of their songs, many of which address topics of relationships and life’s complexities. They also announced that they are working on new tunes and we very much look forward to what lies ahead.
Kississippi ripened the room with feeling throughout the entirety of their dreamy and captivating set, mostly playing songs off their fantastic 2021 album, Mood Ring, in addition to a sweet cover of Sixpence None the Richer‘s classic “Kiss Me.” I had been wanting to see Kississippi for quite some time and was not only enamored by how they embodied the emotional landscape of their songs but also by how they connected with the crowd. During “We’re So In Tune,” frontwoman Zoe Reynolds even led the audience through a YMCA-style dance routine as folks moved their arms around to make the shapes of W, S, I, and T. (I’m personally in favor of more bands leading their audience through dance routines like this since not only is it fun, but also helps bridge the gap between artist and fan.) Towards the end of their set, Kississippi brought out a few members of Highnoon to join them onstage as they performed Sixpence None the Richer’s “Kiss Me,” a fitting song for them to cover.
I’m so glad I was able to kick off 2023 with Kississippi, Highnoon, and Jane Lai. I had especially been wanting to see Kississippi for quite some time and am so grateful to have been present for the show, especially at a venue as intimate as Baby’s All Right. If there’s anything to take away from Sunday night, it’s that it is going to be an excellent year for music.
Scroll down for setlist, pics of the show (photos by Amanda Meth)
Kississippi setlist: Twin Flame, Dreams, Cut Yr Teeth, Indigo, Big Dipper, Moon Over, We’re So In Tune, Around Room, Kiss Me (Sixpence None the Richer cover), Greyhound
As the clock struck midnight on January 1, 2023, Detroit-based rock band, Fireworks, surprise released Higher Lonely Power, their highly anticipated first record in nine years. Following a 2014-2019 hiatus, it is the band’s fourth studio album after 2014’s Oh, Common Life and marks a notable shift in Fireworks’ earlier pop-punk stylings while still staying true to their ethos of making music that is rooted in the complexity of being alive. Refreshingly unpredictable yet strikingly cohesive, Higher Lonely Power marks a profound new chapter for the band as they consider their past, present, and future.
With the help of orchestral arrangements from Adam Mercer and backing vocals from Steven Branstrom and Ali Mosshart on several tracks, Higher Lonely Power is Fireworks’ most diverse and ambitious LP yet. Spanning twelve songs in just over 43 minutes, the band generously explores topics of religious fundamentalism, self-sacrifice, and mortality against a wide range of instrumental backdrops, including synth and string sections. From the bracing post-hardcore opener of “God Approved Insurance Plan” to the contemplative closer of “How Did It Used to Be So Easy?,” every track on the record manages to hold its own while simultaneously bringing Higher Lonely together.
Although their 2019 single “Demitasse” was left off of the record, the ethereal track set the stage for the spiritually distressed motif and evolved sound that their latest music is rooted in. Fireworks are well aware that a lot has changed since their last release and the album brilliantly encapsulates how the band have evolved with searing insight in relation to their place in the world.
Spiritual, professional, and personal disenfranchisement are all substantial hallmarks of Higher Lonely Power. “Megachurch” brilliantly references the demands and hypocrisy of evangelical institutions while also taking a jab at the deep-rooted homophobia of those establishments. “Funeral Plant” considers how the experience of grief can result in dramatically different existential paths. “Woods II” explores complicated feelings about starting a band after high school and the sacrifices that had to be made to keep Fireworks afloat.
By far the most haunting song on the album is “Blood in the Milk,” a remarkable track where the band reflects on their trajectory and how their view on mortality has transformed. The track alludes to singer David Mackinder and guitarist Chris Mojan’s days of undergoing medical tests for money with references to being poked with needles and sleeping on the floors of hotel rooms, which they spoke about in a recent Stereogum interview. Beyond that, it reveals the lengths the band went to to keep themselves alive in a world that severely disparages working artists. With “Blood in the milk and pesticides on the honey/Woke up afraid to die when we used to think it was funny” as the song’s chorus, Fireworks use their ingenious poetic insight to express just how much they’ve changed. Featuring a mix of synth and rock instrumentation with a brilliant build-up of emotion, it is easily one of the best songs Fireworks have ever written.
Whether it’s coming to terms with an existential crisis or realizing that some things just shouldn’t stay the same, Fireworks have proven that getting wiser with age often means letting go. The sky is truly the limit for these Detroit Bad Boys and Higher Lonely Power has certainly secured a spot as one of my favorite releases of 2023.
In her debut EP ThePuppy Game, Canadian singer-songwriter Blair Lee leans into vulnerability, reflection, and the inevitable passing of time to deliver a wondrously beautiful and expansive record. Named after a game Lee used to play as a kid with her cousins and siblings (according to her official press release), The Puppy Game is both an ode to her past and a practice in choosing how to shape her future. With five songs spanning just over 16 minutes, The Puppy Game is a refreshing and striking listen that proves Lee is fully capable of making some serious waves in the indie music scene.
Opening the record is “Hurdles,” a song about Lee’s grandparents growing older and grappling with missed family moments. The music video features a montage of her grandparents spending time with her and her family as a very young child, a deeply thoughtful homage to those from whom she came. Sonically, “Hurdles” is rooted in an electro-indie soundscape. Softly strummed guitars, smooth synth, and dreamy keyboards create an expansive backdrop to her soaring vocal melodies. “You take your time/roll the window down and wave goodbye/am I your anchor?/You move in a straight line/but you’re circling my mind/’till next time, ‘till next time” sings Lee during the chorus, making clear the impact the aging of her grandparents has had on her psyche.
In addition to successfully creating a unique and cohesive sonic identity with The Puppy Game, Lee also manages to explore a variety of themes throughout the record. Following “Hurdles” is “Peachy World,” a more uptempo track about coming to terms with the possibility of a romance ending. The EP’s third song, “Flower Mind” addresses the kind of person she aspires to be and how she can achieve her dreams in the midst of doubts and setbacks by focusing on the positives in her life. With lyrics such as “Every day/I wake up and I wonder/How I’ll change/With this rain I’m under/Start to doubt it’s all in my head/If I shut up and drive/Could I leave the storm behind/For open skies” reveals her struggle with staying positive and how she wants to “be the girl smiling for no reason.” In addition to“Flower Mind” being the most introspective track on the record, it is also the most grunge-like, making its placement as the EP’s middle song ideal. After “Flower Mind” comes “All Day,” an ethereal track about Lee further recognizing her agency as a person and artist to be able to pull herself out of darkness.
The Puppy Game ends with “Last Bite,” a profoundly beautiful track rooted deep in reflection and an absolute gem of an album closer. The first thirty seconds of the song are particularly chill-inducing and capable of melting even the hardest of hearts. Featuring a tender chord progression paired with Lee’s soft yet searing vocals singing “When the sky burns pink before the night/people stop to take a picture of the light/the water” “Last Bite”brings The Puppy Game to a bracing close, appointing Lee as a force to be reckoned with. In the song’s music video, she is situated alone along a snowy beach in what could be presumed is the middle of winter. The camera captures the essence of the song perfectly with alternating clips of her singing towards the sky, looking contemplative on a tree stump, and running along the beach with her arms outstretched, holding the blanket up behind her as if she were a bird soaring above the ocean.
With an astonishingly gorgeous EP under her belt, Blair Lee has a wide open road on which to drive when it comes to her future. The Puppy Game is best listened when able to view the sky or in a quiet room since Lee’s vocals and the accompanying instrumentation can be heard as acutely as possible. She is worth checking out if you like good music but especially if you’re a fan of MUNA, Soccer Mommy, or Maggie Rogers. We are eager to see what lies ahead for Blair Lee and certainly hope that she comes down to the US from Canada to play some shows in the not-so-distant future!
The Puppy Game was self released and is available now via all major streaming platforms.
The Antibuddiesthat’s what I said (art by Scott Thomas Christie & Emily Hanson)
On September 28, 2022, Detroit-based band, The Antibuddies, released their third EP titled that’s what i said. Featuring seven songs in just under ten minutes, they cover a lot of ground with fast-paced, catchy songs that further establish them as a staple of feminist punk music with a distinct flavor of heavy 90’s grunge. And while discussing social issues in music is nothing new, The Antibuddies have a uniquely sarcastic and snarky style of political messaging that makes their songs memorable, entertaining, and motivating. Like Dead Kennedys and War on Women (whom they have opened for), this band understands that incorporating a hefty dose of sarcasm can be an effective way of relaying their feelings while still drawing attention to what’s going on in the world. While many of the EP’s tracks are about societal issues such as feminism and upholding radical values, the band also leaves room for songs about pro wrestling (“Hits Like a Grl”), gardening (“Drt”), and cats (“Malcolm”).
On this recording, the band consists of bassist Jenny, guitarist Cale, and drummer Emily (who has since moved to Seattle so the group has a new drummer), with Jenny and Cale lending a balanced mix of higher and lower-pitched vocals which complement each other very well. The songs would still be good if there were only one vocalist, but the dual vocals layered on top of rich instrumentals take the tracks one step further.
The Antibuddies— L-R Emily- drums, Jenny- bass/vocals, Cale- guitar/vocals (photo by James Sterling Lees)
Opening the album is “Luv Jail,” an energetic and frantic song that encompasses what it’s like to be in an insular romantic connection. “I don’t need to live my life/I don’t need my friends/Let’s get stuck in a cell/We’re in love jail–they can go to hell” sings Jenny halfway through the track, making it clear that she feels just fine being in “luv jail.” While this is the only song on the album that explicitly addresses the topic of romantic love, the song’s placement as the opener in relation to the closing track, “Malcolm,” is rather poetic since the record opens with a track about being caught up in a relationship and ends with a song about preventing a beloved cat from wanting to escape, perhaps signifying a larger theme of protecting what we love through containment.
“Malcolm” was written about drummer Emily’s cat, who—according to the band—”is a special boy who liked to run out of the house at every practice. He’s also the cat on the cover art of the EP. We love him.” His song is only a minute long and features lyrics directed right to him as he plots his escape from a warm and cozy home in the Midwest. “Malcolm no/Stay inside/Malcolm no/Don’t go outside/You stay inside cause there’s too many cars/You can’t go outside cause it’s too damn cold/You can’t go outside cause I FUCKING LOVE YOUUUUU” sings mostly Cale with Jenny joining in at the very end.
In “Drunk Bro”, the band’s brand of snarky commentary comes across loud and clear. The song is about a guy who’s had too much to drink at a show and is ruining the night for everyone around him, with Jenny and Cale singing switching off throughout the song. “Drunk bro, heavy limbs swinging to and fro/Kicked my glasses right off my face/Drunk bro, smacked five women in a row/Are you trying to ruin this space?” According to their press release, the band has stated that the song is “Based on a real life experience probably everyone has had. Alcohol culture is a plague. Have a good time but know your limits and treat others with respect.”
In that’s what i said, The Antibuddies have continued to establish themselves as an important punk band, especially in a scene where femme-centered music can easily be overlooked and/or dismissed. Fans of War on Women, Dead Kennedys, and early 90’s grunge outfits will certainly appreciate this bandand we look forward to seeing what’s next for them!
that’s what i said is out now via Bandcampand is available on all major streaming platforms. Find The Antibuddies on Instagram, Facebook, YouTube.
Three years after announcing their reunion, esteemed American rock band My Chemical Romance finally went back out on tour and—for many of us—provided a much-needed space to collectively scream while donning our darkest eyeshadows. Here in the New York City area, the group played two nights at Brooklyn’s Barclays Center on September 10th and 11th before playing their largest hometown shows yet on September 20th and 21st at Newark’s Prudential Center. Many convened from around the country to see the band on these dates, with some purchasing plane tickets and hotel rooms to see them in different cities along their tour route.
Although I didn’t make a road trip out of seeing the band, I did attend all four of their NYC-area shows, which marked my first time seeing them since 2005. I had even been lucky enough to see them play a 2,300 cap venue as a teenager in San Francisco opening for Story of the Year. Things have changed a lot since then and this time around, the band had a few more songs under their belts (and I no longer had a studded belt).
My Chemical Romance
When it came to their setlists, My Chemical Romance honored their past while leaving room for their future by including a wide variety of songs from their discography. They opened every show with their latest single, “The Foundations of Decay,” while also programming select visuals and sound effects from the song’s music video onto the venue’s screens about 15 minutes prior to the start time of their set to get the audience buzzing. Setlist staples included hits such as “Helena,” “I’m Not Okay,” “Teenagers,” and “Welcome to the Black Parade,” while tracks such as “Boy Division,” “Cemetery Drive,” and “S/C/A/R/E/C/R/O/W” also made an appearance a few times across the four shows. A few songs were also played for the first time in several years at their Newark and Brooklyn shows. “I Never Told You What I Do for a Living” and “Desert Song” were both played live for the first time since 2008 while “Demolition Lovers” was performed for the first time since 2004 on their first night at Prudential Center.
Visually, the stage featured a backdrop of crumbling infrastructure and debris, perhaps a nod to their most recent single. Most of the band members wore casual clothing while Gerard Way had on a few different costumes for different shows, including a bat costume and a glittery gold blazer with a bow tie, designed by Marina Toybina. No matter how they were dressed, the band’s energy radiated throughout the venue, getting people to rock from all parts of the arena.
In addition to the band’s intense preparation being obvious was the level of care the band had for the audience. Singer Gerard Way instructed members of the pit to take “three steps back” throughout the night to make more room for others on the floor. The band also stopped and then restarted “It’s Not a Fashion Statement, It’s a Fucking Deathwish” after a man was trying to start a fight with someone in the crowd. And while MCR didn’t make many remarks about their Newark concerts being their first hometown shows in over ten years, the setlist, costumes, and band lineups spoke for themselves.
My Chemical Romance
Joining My Chemical Romance onstage for both Brooklyn shows and their first night in Newark was New Jersey’s legendary post-hardcore band Thursday—singer Geoff Rickly is a longtime friend of the band who also produced their first record, I Brought You My Bullets, You Brought Me Your Love. Rickly played a substantial role in helping MCR get to where they are today so getting to witness the camaraderie between the two bands was particularly special. During their second Newark show, Gerard Way joined Thursday onstage for a spectacular performance of Thursday’s “Jet Black New Year” while Rickly later joined MCR onstage for “This Is The Best Day Ever,” which Rickly also sang on for Bullets. Thursday were also joined by Anthony Green for “Understanding In a Car Crash,” who had been touring with them on several of their headlining dates.
Thursday
On their second night in New Jersey, pop-punk outfit Midtown opened for MCR, marking the band’s first show since 2014 after briefly reuniting to play Asbury Park’s Skate and Surf festival. They played fan favorites such as “Become What You Hate,” “Like a Movie,” and “Just Rock and Roll,” without missing a beat, at one point instructing the entire pit to all kneel down and jump back up during one of their songs. They also covered The Killers’ “When You Were Young,” a logical and refreshing addition to a nostalgia-heavy set.
Other supporting acts on MCR’s tour included Badflower, The Lemon Twigs, and Homeless Gospel Choir, the latter of whom were joined by MCR rhythm guitarist Frank Iero for a song in Newark.
The memory of these incredible shows will carry on for years to come and it’s enthralling to exist in an era where My Chemical Romance are truly at their peak. I am hopeful that there’s much more to come from them in the months ahead and I can’t wait until I’m right back in the pit again, singing along with thousands of other people and rocking out with my favorite band of all time.
Scroll down for fan shot videos and pics from across the four shows (photos by Amanda Meth)
