OSEES Announce Tour Dates for 2023

OSEES Announce Tour Dates for 2023

OSEES in 2021 (photo by Kate Hoos)


OSEES, the prolific garage punks and title holders of “one of the hardest working bands on the planet” have just announced a slew of tour dates for 2023 that will see them heading Down Under, hitting SXSW, jumping over to the UK and playing a number of festivals. All this comes before a US run in the fall which will have them returning to NYC in September for a pair of dates at Warsaw on 9/22 and 9/23.


They released their most recent album, the “brain stem cracking scum-punk” opus, A Foul Form (one of our favorites of 2022), last August and not that he’s not busy enough, but front man John Dwyer is also gearing up to release another improv album with his project Posh Swat on 2/17 (read our thoughts on their most recent single).


Tickets for all dates go on sale Friday 2/3. See below for full list.




OSEES 2023 Tour Dates:

2/3- Brisbane, AUS @ The Princess Theatre w/ Straight Arrows
2/4- Maroochydore, AUS @ Eleven – Sunshine Coast w/ Straight Arrows
2/5- Gold Coast, AUS @ Miami Marketta w/ Straight Arrows
2/8- Fremantle, AUS @ Freo Social
2/10- Melbourne, AUS @ The Croxton Bandroom w/ The Blinds
2/11- Melbourne, AUS @ The Croxton Bandroom w/ Modal Melodies
2/15- Sydney, AUS 2 The Factory w/ R.M.F.C.
3/14- Austin, TX @ Hotel Vegas – SXSW
3/15- Austin, TX @ Hotel Vegas – SXSW
3/16- Austin, TX @ Hotel Vegas – SXSW
3/17- Austin, TX @ Hotel Vegas – SXSW
4/27- Los Angeles, CA @ The Viper Room
5/13- Salt Lake City, UT @ Kilby Block Party
5/18- Manchester, ENG @ Albert Hall
5/19- Glasgow, SCT @ Old Fruit Market
5/22- Dublin, IE @ Button Factory
5/26- Birmingham, ENG @ The Crossing
5/27- London, ENG @ Wide Awake Festival
5/28- Brighton, ENG @ Chalk
5/30- Bristol, ENG @ Marble Factory
5/31- Leeds, ENG @ Brudnell Social Club
6/22- Vancouver, BC @ Commodore Ballroom
6/23- Calgary, AB @ Sled Island Music & Arts Festival
6/25- Montreal, QC @ Club Soda w/ Hot Garbage and Tha Retail Simp$
8/25- Málaga, ES @ Canela Party
9/3- San Francisco, CA @ The Chapel
9/4- San Francisco, CA @ The Chapel
9/5- San Francisco, CA @ The Chapel
9/6- San Francisco, CA @ The Chapel
9/8- Portland, OR @ Crystal Ballroom
9/9- Seattle, WA @ Neumos
9/10- Seattle, WA @ Neumos
9/14- Minneapolis, MN @ First Avenue
9/15- Chicago, IL @ Thalia Hall
9/16- Chicago, IL @ Thalia Hall
9/17- Cleveland, OH @ Beachland Ballroom
9/18- Detroit, MI @ El Club
9/20- Boston, MA @ Royale
9/22- Brooklyn, NY @ Warsaw
9/23- Brooklyn, NY @ Warsaw
9/25- Philadelphia, PA @ Union Transfer
9/26- Carrboro, NC @ Cat’s Cradle
10/3- Albuquerque, NM @ Sister Bar



Sunday Brunch 002

Sunday Brunch 002


There’s so much going on in any given week in the music press/world of pop culture, I can’t possibly keep up with it all. That being said, there are definitely things I see that I want to comment on and that being the case, I thought it would be fun to share some thoughts/anecdotes/snarky observations on a few things and get a little cheeky each week on things that I either liked or scoffed at that happened in the world of music/pop culture. I always love a chance to be sassy, sarcastic, and a bit over-the-top-gay, so here we are! Welcome to me serving up my aging punk nerd thoughts—not all of them polite—on some pop culture moments and music news from the preceding week. A little Sunday Brunch if you will. Enjoy!




In more exciting—and may I add very gay (insert heart eye emoji here)— boygenius news, it seems that sapphic heartthrob, Kristen Stewart, will be directing three videos for the holy trinity of indie rock, much to the rejoicing of queer women everywhere. While Rolling Stone did report it in a companion article to their recent cover story, they did not elaborate on any further details other than to mention it was happening. Nice tease, we see what you did there! Rolling Stone has been going hard on their boygenius coverage in general since they seem to be the only outlet that has thus far done a current interview with the band, so this selective parsing out of info is on track with that and I would expect yet another article with more fleshed out details on the videos is coming.


Without such details currently available, fans will most definitely be intensely debating and musing on what those videos will entail and for which songs, though the currently released ones seem like the most obvious choices.


And I’ll let you straights in on a little secret, lesbian/queer fandoms tend to be exceptionally rabid and unflinchingly loyal to their heroes, much more so than “regular” fandoms which can already be pretty ardent. This stems from the fact that we don’t get much that caters to us in popular media, so fans tend to cling to sapphic and queer characters/stories/artists/actors/musicians etc with a much more fervent grasp than their straight counterparts. Figures such as Stewart and “the Boys” (both as a collective unit and as individuals) are very hot discussion topics online in fan communities. I don’t tend to interact with any of that much at all other than to occasionally dip in and lurk once in a while on Twitter when big pop culture moments such as this happen, but I don’t need to even do that to know the bees are buzzing and speculation is flying! I guess we will just have to wait and see what this very gay partnership yields.


The companion article also had some fun and cute anecdotes from the band that didn’t make the full cover interview, so take a peak to find out about what they think about tarot, actual “boy geniuses,” what happens when you start eating meat again and more.




Fuck Phil Anselmo. Let me say it again in case you didn’t catch my drift, fuck Phil Anselmo. The racist lead singer of Pantera gets no sympathy from me after a number of European festival appearances were canceled this week over backlash concerning his bullshit of flashing Nazi salutes and yelling “white power” at a concert in 2016 which he claimed was a “joke about white wine”………..sure, yeah okay, I often scream racially motivated hate slogans about the beverages I partake in while displaying hateful gestures too and then pretend I don’t know what those words/gestures mean, doesn’t everyone?! It’s just a joke man, lighten up! (Cue tired middle aged gay eye roll please.)


The metal world was polarized over the return of the band in 2021, but to me it is astounding how this is even a question whether they should be playing or not. The answer is NO, they should not. Yes, Anselmo apologized and said he “owns” what he did, but forgive me for not buying it (because he has subsequently made statements to the effect of “it was one joke come on get over it!”). He was only sorry that he got caught. And unfortunately there are enough right leaning “it’s just free speech” bros in the metal world to let him continue to get away with this kind of stuff and have some semblance of a career. But it is definitely one of those “are you for fucking real right now?!” moments for me.


There is free speech and then there is hate speech and causing harm with your words. Screaming “white power” definitely falls under the latter category, no question about it. And either way you slice it, “free speech” only guarantees you won’t get arrested or imprisoned for saying it. It doesn’t guarantee you freedom from other consequences and being held accountable by non government actors up to and including not being allowed to bring your shitty metal bro attitude to a music festival and losing out on business opportunties. You’d think these fools would have grasped that by now. (Or better yet, evolved from being disgusting bigots/bigot enablers, but apparently that’s too much to ask.)


So far only a few dates have been canceled and everyone else seems content to let the “cowboys from hell” roll into town, as they are currently scheduled to complete dates throughout the year with Metallica and Lamb of God. While I’m not a fan of either (okay, I do like some old Metallica stuff from the 80s), it is extremely disappointing to see those bands looking the other way on this kind of behavior. One can hope they’ll wise up and address it but that remains to be seen (and I’m not going to hold my breath). There is no place in metal or otherwise for yelling racist language or displaying gestures that symbolize despicable genocidal maniacs, full stop.


Stereogum reported on the cancelations (as did many other outlets) and you can read more about the initial cancelations here or the subsequent ones here. Blabbermouth has a more nuanced article that includes some of the painful history in the locations that the events are being held and quotes Anselmo weakly defending himself in 2019 which was, to quote my favorite meme cat, “pathetic.”





Ummm what? Let me get this straight….you launched a cereal product at some point in the very recent past (aka 2022)…apparently without doing any research…or even a simple Google search…so you ended up naming it the same name as an already established musical artist who has used the name since the not very recent past (aka 1998)…and it turns out you actually previously collaborated with said musical artist on an ad campaign at another point in the not so recent past (aka 2011)…so you definitely knew about them…but apparently must have conveniently forgotten about it…and then when that musical artist sent you cease and desist letters you tried to dodge them…then buy them off…which they declined…leading to threat of a lawsuit from the band…which you then countered with your own suit…to try to steal the name that you already stole…rather than just admitting you fucked up and dropping the name that you’re trying to/already did steal…………………………………………..right! Got it!


Now that I’m up to speed here, damn, what an adventure in the theater of the capitalist absurd! The band commented to Billboard “A big corporation chose to steal the name of our band to market disposable plastic cups of sugar to children. That was an unwelcome surprise, to say the least,” they said. “But then they sue US about it? Presumably, the idea is that they can just bully us out of our own name, since they have so much more money to spend on lawyers? I guess that’s often how it works, but hopefully, we’ll be the exception.”


And Post’s lawyers countered with this snarky statement (which I swear I did not write!) “Given the length of time that has passed since that limited collaboration over a decade ago, the very small number of views indicated on the YouTube videos you referenced, and the general consuming public’s rather short attention span, it will also have absolutely no bearing on consumer perception of Post’s mark OK GO! used with cereal or cereal-based snacks, and will not lead to any mistaken association with OK Go.”


It remains to be seen how this Indie David vs. Cereal Goliath situation will play out but I really hope Ok Go (the real one) fights tooth and nail to defeat Ok Go (the soggy one). And as for the imposter cereal killer Ok Go and their behavior, let’s cue the cat meme again…


Read more about it on Consequence or the above linked Billboard article.



Last week, I mentioned a bit about conservatives raging at cartoon pieces of candy not being sexy enough and well…….now those cartoon pieces of candy are being dropped to avoid the controversy that has arisen over M&M’s changing their branding because right wing commentators screamed about them being “too woke.” I just don’t even know what to say about this. My eyes are bulging out of my head because wow. Just…wow. If ever it felt like the world is in flames and we are in a culture war, then this is the epitome of the clown car rhetoric that these people push on a daily basis. It’s literally cartoons…of pieces of candy…just say you hate anyone who isn’t a cis, straight, white Christian man and move on. Let’s be real that this isn’t about candy at all.


The ever fabulous and snarky queer Instagram personality Matt Bernstein weighed in on it with his typical razor sharp wit and hit the nail on the head, “remember what they took from you.” Remember indeed.




Live Survives Photo Show Opening

Live Survives Photo Show Opening

Photos by Cirsty Burton 

FTA recently sponsored a group photography show, Live Survives, which was curated by local photographer/booker, Jeff Schaer-Moses. What better way to demonstrate the persistence of the arts than to bring photography and live music together under one roof to celebrate the NYC community? The photographers were in the trenches these past few years alongside the musicians documenting the ever-changing conditions and challenges faced during the pandemic.

To quote our EIC, Kate Hoos (who also had work in the show):

“Music photography is many things—a window into the dark and subterranean world of live music and the various scenes that surround it, an obsession for those partake in it, and even more than that, it was a living archive and a lifeline when we were all sidelined during the early days of the pandemic and all shows were shut down.”


A lot of photographers whose work I love and respect and who’ve shot my bands over the years before and during the pandemic were on display. And many bands I love and respect were showcased with many of them there to support too. There of course was live music at the event too, with performances by noise punk band Red Tank! and singer songwriter Juan Soria. There was a cool moments while I was watching Soria perform and to my right was Brad Wagner of Paste Magazine in the flesh with his wife and to my left was a video screen of mixed media art with Brad Wagner interviewing musicians.


Soria, who hails from Argentina and who has traveled the world playing music, shared that he had spent the last 30 hours traveling from Argentina to Chile to the US only to catch a couple hours sleep in NJ before performing at the show. That truly represents the spirit of live survives to a “t.” Red Tank! was supremely woven into the fabric of the show as a performer and also as a photo subject in the show, and their singer, Clipper, designed the poster for the event.


As for some of my favorite photographers, Pete Perry and Aleksei Postinov were both huge huge documenters of the scene throughout the pandemic and I worked with them both separately on various events related to the war in Ukraine. I met both of them from them shooting my band, Nihiloceros, at many many outdoor, backyard, rooftop, street corner, public park spaces and they eventually followed us back into the venues when music came back to the stages. I believe it was the first time for both of them showing their work in a physical way at an event. And both of them graciously went out of their way to find me and individually thank us for coming out and supporting.

Photos by Pete Perry

Photos by Aleksei Postinov


Live music returning to the BIG stages was definitely a thing too and to document that, our very own EIC, Kate Hoos, had a collection of photos from artists such as IDLES, Bikini Kill, Otoboke Beaver, Julien Baker and more, all of whom hit the road post pandemic; she blended this work with coverage of the local scene as well. Jeanette D. Moses (of Frida Kill) also did a piece on bigger stages that focused on her time touring with hometown heroes, Thick. And for me, that really reinforced the “underdog success story,” since the pandemic hit right as they were about to make good on signing to Epitaph. They released their first album with the label, 5 Years Behind, on March 6, 2020 and right as their biggest dreams came true, it was all torn away…almost forever. But…fortunately, Live Survives, it always does.

Photos by Kate Hoos

Photos by Jeanette D. Moses


At the end of of the night, we kept talking in the back of the room as BandNada and Full Time Aesthetic came together to brainstorm ideas to sustainably support each other and be a resource for the music scene. If that’s not the epitome of the spirit of the night, I don’t know what is.

Scroll down for pics of the show (photos by Kate Hoos)

 Curator Jeff Schaer-Moses

Photos by Cirsty Burton 

photos by Video Punk’s Not Dead

photos by Jeff Schaer-Moses

photos by Michael Jung









Le Tigre Announce First Tour in 18 Years

Le Tigre Announce First Tour in 18 Years

Le Tigre (photo by Leeta Harding)


The iconic feminist electro trio, Le Tigre, which features Kathleen Hanna, JD Samson and Johanna Fateman, have just announced a full tour, their first in 18 years. They returned to the stage in 2022 at This Ain’t No Picnic after an eleven year absence and had already announced some festival dates this year including Primavera Sound in June and The Mosswood Meltdown in July. Now fans in many more cities can enjoy their post riot grrrl electro clash sounds of the “party after the protest” with dates in the US and Europe coming this spring into the summer.


The tour will commence with one date in Philadelphia on 5/27 that will serve as a warm-up before the European leg kicks off. They will return to North America in July, concluding in Brooklyn on 7/28 at Brooklyn Steel. Tickets go on sale at 9am on Friday 1/27. See below for all dates.



The band members have hardly stayed still in their time away from the project though, and tell us via a press release “Recently, Kathleen has been touring with Bikini Kill (see pics), running Tees 4 Togo (which sells artist-designed T-shirts to fund the non-profit organization Peace Sisters), and writing a book. JD has a full-time teaching position (as Assistant Arts Professor and Area Head of Performance at The Clive Davis Institute at NYU/Tisch), performs with CRICKETS, and tours with the original live score for the film 32 Sounds, directed by Sam Green. Johanna is an author and art critic who writes regularly for the “Goings on About Town” section of the New Yorker and for 4Columns; she is a contributing editor of Artforum.” They also released the song “I’m With Her” in 2016 to support of then presidential candidate Hillary Clinton.


Le Tigre tour flyer


Le Tigre 2023 tour dates:

5/27- Philadelphia, PA @ Union Transfer

6/1- Barcelona, Spain @ Primavera Sound Barcelona 2023

6/3- London, UK @ Troxy

6/5- Manchester, UK @ Albert Hall

6/6- Glasgow, Scotland @ Barrowland Ballroom

6/8- Madrid, Spain @ Primavera Sound Madrid 2023

6/9- Porto, Portugal @ Nos Primavera Sound Porto 2023

6/11- Paris, France @ Le Trianon

6/14- Amsterdam, Netherlands @ Paradiso

6/16- Berlin, Germany @ Huxleys Neue Welt

6/17- Hamburg, Germany @ Markthalle

7/1- Oakland, CA @ Mosswood Meltdown Festival

7/3- Vancouver, BC @ Commodore Ballroom

7/6- Seattle, WA @ Paramount Theatre

7/7- Portland, OR @ Roseland Theater

7/9- Los Angeles, CA @ The Greek Theatre

7/15- Chicago, IL @ The Salt Shed

7/17- Cleveland, OH @ Agora Theatre

7/18- Millvale, PA @ Mr. Smalls Theatre

7/19- Baltimore, MD @ Baltimore Soundstage

7/21- Toronto, ON @ History

7/22- Montreal, QC @ L’Olympia

7/24- Boston, MA @ Royale

7/28- Brooklyn, NY @ Brooklyn Steel





Sunday Brunch 002

Sunday Brunch 001


There’s so much going on in any given week in the music press/world of pop culture, I can’t possibly keep up with it all. That being said, there are definitely things I see that I want to comment on and that being the case, I thought it would be fun to share some thoughts/anecdotes/snarky observations on a few things and get a little cheeky each week on things that I either liked or scoffed at that happened in the world of music/pop culture. I always love a chance to be sassy, sarcastic, and a bit over-the-top-gay, so here we are! Welcome to me serving up my aging punk nerd thoughts—not all of them polite—on some pop culture moments and music news from the preceding week. A little Sunday Brunch if you will. Enjoy!



boygenius rolling stone


You couldn’t go anywhere this week in terms of the music press corners of the internet without seeing the news that the holy trinity of indie rock, aka boygenius, had finally announced their debut full length. Indeed we, among probably 500 other outlets, offered our take on it too (read here). And while I’m certainly chuffed at the news, me being a teen of the 90s meant I was arguably even more excited by their re-interpretation of two iconic Nirvana photo shoots of the 90s, which they very accurately nailed right down to the posture and inflection of the poses. Kudos not only to the band but to the photographer, Ryan Pfluger, and particularly the art directors and the team behind it who made it look so good. I haven’t purchased a print copy of Rolling Stone in years but I may just have to get a copy of this one.


I am also cackling with glee at the thought of the crusty old gatekeeping white men who you just know are losing their minds over three queer women replicating this classic photo of their grunge rock heroes. I’ve stayed away from Twitter/Reddit commentary on this, because it is surely a cesspool of toxic masculine chest beating that I don’t need in my life, but I also don’t even need to go there to know the trolls have most definitely emerged from underneath their rocks to comment. And to that I say oh well, fuck ’em, who is on the cover of Rolling Stone and who is bitching about it on the internet, amirite?


Also, I fully believe that if Kurt Cobain were alive today, he’d be one of the loudest voices cheering this on. He was always vocal in support of women and queers (for example, read the liner notes to Incesticide) decades before it was fashionable for men to be. He said shit/spoke up about inequality when so many of his contemporaries kept their mouths shut and/or looked the other way. I also do not believe it was some empty statement or lip service on his part like so often is the case from men in his position, it was his ethos. So really, the troll dudes can keep their mouths shut because anything else would just be these bros playing themselves.


[Update: I did crack and go look the day after I posted this and wow was I right! Loooots of triggered men flapping their gums in the wind. Refer back to my last sentence of paragraph two.]




If you wanted to take a peek at the pics that inspired the current colorful skirt/sweater shots, click the link here to see 20 photos from the original Nirvana shoot which appeared in a 1993 issue of Mademoiselle. (I’m still deciding if I love or hate the original headline from 1993, or the one that appears on the linked article, which in the context of 2023, both feel a little cringey.)



SF Chronicle

Photos by Chris Parker via Surprise Privilege


Okay this one was last week but since I didn’t decide to think up and launch this column til this week, here it is! A few different people sent this to me because well, I’m me, and they know that and know that this is exactly the type of shit I fucking live for. I have seen (and played) shows in all kinds of wild places (including on top of more than one skate ramp and one on the Williamsburg Bridge at sunrise), unfortunately never on a moving train though, so I’m pretty bummed I wasn’t able to see this in person. I also really hope someone pulls this off in NYC soon. (And while tempting to go for it myself, I’m not currently in an active band or booking shows much these days so it will not be me, but I would be happy to attend if someone else went for it.)


I looked up the two bands, False Flag and Surprise Privilege, and they’re pretty good, both playing crusty d-beatish hardcore which I always dig. The members are pretty young so not sure if or when they’ll be touring out this way, but I’d go to a show if they did. Read the full article from the San Francisco Chronicle and check the bands out below:




Ah conservatives! Is there anything a right wing nut bag won’t lose their mind at? When they aren’t busy raging at cartoon pieces of candy not being sexy enough or trying to strip more marginalized communities of their basic human rights, they find time to be angry at classic rock bands celebrating the anniversary of landmark albums. Such was the case this week when people of a right leaning persuasion (aka mostly men) lost their damn minds over Pink Floyd unveiling a new logo with a rainbow on it to celebrate the 50th anniversary of their legendary album, Dark Side of the Moon.


You would think any fan of the band would be fully aware of what the album cover looks like and know what the logo is referring to already, since they are ahem, fans and all, but as we already know, this is the internet in the age of idiocy and extreme/immediate reactionary takes, so the comment section was quite the experience in the theater of the absurd. Read more about this on NME (or The Music) and be ready to roll your eyes a lot.


One of my favorite queer Instagram personalities, Matt Bernstein, who routinely roasts these clowns and beats them at their own game made an incredible post on this. I highly recommend following the account to see more hilarious takedowns.



Can we talk about Fat Mike for a second? Just a second though because I don’t really want to give him any more thought than that. He’s long been someone revered in the punk world and I have never understood why (though it’s mostly been by white men who are safe inside their bubbles of unrecognized privilege so consider the source). Sure, I listened to NOFX a lot as a teenager, it was the 90s and that’s just what you did if you liked punk. And he could get away with a lot more of his shit back then. But now, thankfully, not so much. Also thankfully, NOFX will be calling it quits this year. 40 years of doing the same thing over and over and Fat Mike saying/getting away with stupid edge-lord shit, I think it’s well past time.


While I can’t comment on the “emo nostalgia” aspect of this or much about it in general considering I was never a fan of emo or part of that scene, I think it’s great Hayley Williams called a spade a spade and pointed out some of the toxic attitudes and behavior of the past while specifically calling Fat Mike on his BS. In a Billboard interview (which the cited Loudwire article summarizes), Williams talked about how things weren’t always so great in the punk/emo scenes “if you were different, if you were a young woman, if you were a person of color, if you were queer. And that’s really fucked up if you think about it, because this was supposed to be the safe place, wasn’t it?” She further elaborated that “Fat Mike used to tell people that I gave good rim jobs onstage when I was 19 years old. I do not think that that’s punk. I don’t think that’s the essence of punk. And I feel strongly that without young women, people of color and also the queer community, I just think we would still be where we were then.” She said it best and I one million per cent agree. And as I said in the Facebook group I first saw this article in, “that guy ain’t it, never has been.”


There are innumerable other instances I could call upon for this that stem to way before he ran his mouth off about mass murder victims, but again, this is meant to be brief. Suffice it to say, I was pretty much done with him after he released a dis track about Kathleen Hanna on 1997’s So Long & Thanks For All The Shoes. I bought that album when it first came out and even saw them play on that tour as a tiny baby punk, but I wised up not long after that (probably in reaction to being at that show) that I was not in a place where it was going to be safe or affirming for me as a woman or queer person to be among their fanbase. I haven’t spent a dime on anything else they have done in the 26 years since.


And yes, I did recently review one of their new singles because I figured at the time oh why not, nostalgia factor and all (and in my admittedly weak defense, I was also on a bus from London to Cardiff with three hours to kill) but it will be the first and last time they receive anything remotely akin to positive press from me.


To bring it full circle for this article, I think this 2020 tweet from Phoebe Bridgers sums it up nicely!




boygenius announce “the record”

boygenius announce “the record”

boygenius (photo by Harrison Whitford)


The holy trinity of indie rock, boygenius, aka the super group of Julien Baker, Phoebe Bridgers and Lucy Dacus, have  just announced their official return and are set to release their debut full length, the record, on 3/31 via Interscope. It’s been a long time coming, arriving over four years after their lauded and much loved first self titled EP was released at the end of 2018. In that time, busy individual careers and acclaimed albums by each of the three followed and there was that whole pandemic thing to navigate too, so the wait is understandable.


The announcement was understated, with each band member’s individual account and the band’s main account simply stating “‘the record’ is out march 31st and three songs are out now.” It comes amid much speculation and online talk that more was coming from the group after they were mentioned on several “anticipated albums of 2023 lists” and which only intensified when their name appeared on the recently announced Coachella lineup. And while no other live dates have been announced at this moment, it seems very likely a full tour will be in the cards for 2023. If the very active comment sections on social media and scores of articles already out are any indication, people are more than excited about all of this, the album in particular, with Rolling Stone declaring “Boygenius Are Back in Town to Save 2023” (I see what you did there. I love what you did there.)


boygenius the record

the record artwork


In fitting fashion, the album announcement comes with the release of not one, but three songs, one by each member of the trio taking songwriting/lead vocal duty. Each song bears the distinct hallmarks of the individual woman behind it, but allows the space for her band mates to have strong supporting roles, holding her up in the spotlight before their chance to shuffle the chairs and take the lead. The album will contain 12 songs in all (see below for tracklist) so it’s safe to assume we will get four songs from each creative force for an intriguing blend of their styles much like the EP was in 2018.


The harder edged “$20” of course comes courtesy of Baker, the more delicate “Emily I’m Sorry” was penned by Bridgers and “True Blue” is very much a true blue Dacus song. While there is sure to be much debate among fans online which is “best” (and likely what to expect/who wrote each of the as-of-yet-unreleased remaining tracks) that hardly seems the point. Each song absolutely is distinctly that of its main songwriter and could have appeared on one of their solo records, but were saved for this purpose because there is no room for ego in a project like this (something the band spoke about in past interviews after their 2018 debut EP). It is frankly refreshing to see in the world of today with so much noise and competition for “likes” and “streams” and “whatever” permeating our daily lives. boygenius may just indeed be back in town to save 2023.


Listen to the new songs below.



boygenius the record


  1. Without You Without Them
  2. $20
  3. Emily I’m Sorry
  4. True Blue
  5. Cool About It
  6. Not Strong Enough
  7. Revolution O
  8. Leonard Cohen
  9. Satanist
  10. We’re In Love
  11. Anti-Curse
  12. Letter To An Old Poet