My dream of being able to listen to live music while sitting on comfy couches finally came to fruition this past Saturday night at The Living Room in Ardmore. I had the absolute pleasure of attending a night of music hosted by the one and only That Mag of Philadelphia. The MC for the evening was no other than Brian Cronin, the publication’s publisher. That Mag has always presented live music nights and sponsored various open mic nights in Philadelphia. Due to the pandemic, it had stopped, and this was the first artist showcase since then.

It was a cold and stormy fall night, and the rain fell in buckets. As I walked into the venue, I was greeted with a wave of warmth from inside. The lights were dim to almost a candle lit, and the seats were full. It was exactly what I hoped for, with a welcoming, intimate atmosphere. The way that the living room is set up is that the room is sectioned off into two separate sections. The room starts at the front of the stage and goes almost all of the way back, and that part is filled with couches, which is the VIP. The rest of the room is GA and filled with comfy chairs and tables to sit at and enjoy as well. Couples and people were cozied on the couches, awaiting the night’s performers.

The lineup consisted of Maria Arroyo, Nick Lombardo and The Decent OK Duo, and Pawnshop Roses. All are local musicians who have been weaving themselves throughout the Philadelphia Music scene.

Maria was first up, and she is a local singer-songwriter. While opening the show, she explained that she makes “sad girl” music. I couldn’t have been more excited because I’m the biggest emo girl at heart. Like any true artist, she turns her pain into a work of art, with her ballads of heartbreak and pain. Maria made the stage look like her home with how she commanded it. Not to mention, her song’s lyrics are relatable to anyone with a pulse. From heartbreak to taking back your power, she covers it all, and you don’t want to miss out on her powerhouse voice and runs.

Next up was Nick Lombardo and The Decent OK duo. Typically, they play as a band, but this night, they featured Nick Lombardo and his Lead Guitarist, James Gaffield. Nick would come out to MilkBoy South‘s Home Grown open mic nights before the pandemic and play there. Now he had the stage and was sharing it with his exceptionally talented Lead Guitarist James. Watching the two of them on stage was a real treat. If it wasn’t Nick belting out those lyrics, it was James countering on the guitar. I couldn’t tell if I was listening to 90’s indie music or was at a rock concert in the 70s. Either way, I was getting lost in the sound and loving every second of it.

I am looking forward to seeing them again and with a full band. If you can listen to them play live, I highly suggest it.

Last but not least, Pawnshop Roses headlined the night. A Folk-Rock band that mixes influences of bluegrass and sounds of Americana into their sound. Pawnshop Roses is a five-piece band who have nothing but a blast as they perform on stage. They have been a staple in the Philadelphia music scene for the last twenty-one years, and they continue to push out music that is uniquely their own. Their sound reminds me of if The Avett Brothers had a hard rock cousin, from how they tell a story through their music to how they sound only like themselves. One second, I was in my feels with some of the lyrics, and the next moment, my foot wouldn’t stop tapping. It’s hard to pinpoint exactly what they sound like because each song differs from the next. They are certainly in a league of their own, to say the least, I’m pretty mad I have just discovered them because they are that good. The energy the guys bring onto the stage is refreshing and rare. The band’s frontman was jumping around the entire time and feeding off the bassist living in his world while ripping away at the chords. It was a blast hearing musicians play just for the love of the music. These days, the set lists consist of newer and older songs from the last 21 years. The evening ended with the most recent digital release from The Pawnshop Roses called “Not What it Used to Be,” which is them tipping their hat at growing older and growing up and living life differently at 40 than 20.

This evening was action-packed and full of talent from start to finish. I think it is a wonderful platform,That Mag gives for local musicians. It enables them to show off their talent and continue to work towards their dream of being musicians and performing. I am eager to see when the next one happens and what is brought to the table.

Pawnshop Roses

Website丨Facebook 丨Instagram 丨YouTube 丨Spotify丨Apple Music 

Nick Lombardo and the Decent OK

Facebook 丨Instagram 丨X 丨Tik Tok 丨 YouTube 丨Spotify丨Apple Music 

Maria Arroyo

Website丨Facebook 丨Instagram 丨Tik Tok 丨Sound Cloud

Photographed by Carianne Older

“I think surrounding yourself with like-minded and supportive people is important. However, I have learned that true happiness comes from self-love, not from the love of others.” – Izza

Recently I got a chance to interview viral artist Izza about her life and career, taking a deeper dive into the importance of mental health in her life and how she uses her platform to advocate for others experiencing the same things. 

Izza is an independent pop singer/songwriter and producer from the Los Angeles area. She uses her songwriting and creative production to cope with different relationships, mental health, and other things. 

Izza has always been moved by music. “I always knew I wanted to be an entertainer,” she explains. “Growing up, I took dance classes, played piano, and loved singing. There was no greater feeling of happiness I had than when I listened to music. It wasn’t until I was 13 when I discovered songwriting and I instantly knew I wanted to pursue music as a career.”

Izza describes her music as a “combination of upbeat pop dance music and strong and confident hip-hop-inspired cadences and lyricism.” 

 “I grew up listening to late 2000s pop artists like Gwen Stefani and Fergie and loved how they worked with hip-hop-driven producers like Pharrell Williams and Will.i.am. That is an era of music I will always go back to and want to emulate in a 2023 way.”

Izza has always made a few things very clear. She wants to open up the conversation surrounding mental health and empower and inspire the younger generation of women. 

Mental health is a vast topic that contains a ton of subtopics, but to Izza, it’s an ongoing journey that she works hard to prioritize daily. As a fellow songwriter, her connection to using music as a way to channel her feelings and experiences is something I really connect with.

“I started songwriting because I had no one to talk to about my struggles,” she explains. “Being able to write about my experiences in songs has helped me overcome difficult periods in my life and has encouraged me to follow my dreams. When I’m writing a song or performing on stage, I feel the happiest. If there’s one thing in life I want is to be happy, and for me, that’s achieved when making music. Through my story, I hope I can help others if they are going through a rough time and make them feel like they are not alone.”

She also uses her production process and music videos in partnership with her songwriting to express herself and connect with listeners. 

“I try to create fun music that is meaningful because I want to write songs that are high-energy and uplifting but that also inspire people to follow their dreams and believe in themselves. By writing about my experiences of overcoming the hardships of relationships and self-discovery, I hope to be a voice for people that have maybe lost their confidence or happiness and need someone to remind them that being yourself is more than enough.”

While opening up about her struggles with mental health, she’s also an advocate for more education and compassion on the subject. She shares about a Nonprofit, Hope For The Day where they focus on mental health education and suicide prevention. She also shared the insane opportunity to perform at the 320 Festival in 2020, which was incredibly special because it was her first public performance as an artist. 

The 320 Festival came to life with the help of Talinda Bennington, the wife of the late Linkin Park singer Chester Bennington. She saw how much her husband struggled with his mental health, leading to his passing in 2017. “Ever since then, I have felt compelled to help those struggling with their mental health to normalize the conversations surrounding it and educate people on how to cope.”

“The festival was also produced by Kevin Lyman, who is someone I respect, admire, and look up to in the industry,” Izza shares with me. 

She also explains that since she’s so passionate about mental health, she continues to look for ways to be involved in related events and help spread awareness. 

As I mentioned earlier, another huge driving force for Izza is empowering the younger girls to “take charge of their lives, encourage self-love, normalize vulnerability, and motivate listeners to live their dreams and follow their dreams.”

Knowing this, I was excited to hear in her own words how she uses her platform to empower the younger generation. 

“My songs have common threads of empowerment and self-discovery, which I believe are crucial in paving the way for women to express themselves through music,” she says. “I want to be able to inspire women that you can create music that is fun and meaningful without compromising your integrity. Music is my outlet to say whatever I want to say without feeling judged or criticized, and I hope that people can use their own creative passions to do the same.”

Along with wanting to empower others, Izza takes great pride in practicing self-love and owning her vulnerability in her day-to-day life. 

“I practice self-love and vulnerability by doing the things I love, such as writing music, playing tennis, and hanging out with my friends. By making sure I prioritize these things, I know it helps me be the best version of myself.”

While inspiring listeners and fans alike, she is also determined to help pave the way for artists and women like herself in the music industry.

“From an early age, I knew I wanted my music to represent women empowerment and be a model for artists that you can say whatever you want to say without censoring your thoughts or ideas to please others.”

I always like to leave my interviews by asking what their most significant piece of advice they wish they had earlier on in life that they’d like others to take away, and this is what she had to share with me.

“My advice would be to not listen to other people because as long as you focus on becoming the best version of yourself, that’s all that matters.”

She also wants fans to remember to be themselves and follow their dreams! 

Izza also shared that she recently dropped her second EP, STARGIRL, which is available on all streaming platforms! It features songs “Going Rogue,” “Galaxy,” “X-RAY,” and three new songs.

Website⼁Instagram⼁Facebook⼁Tik Tok⼁Twitter⼁Spotify⼁Apple Music⼁YouTube

Citizen Cope graces the Keswick Theatre’s stage with a beautiful and intimate setup for his All The Songs You Want to Hear– Solo Acoustic Tour. Also known as Clarence Greenwood, Citizen Cope is an American singer, songwriter, and producer known for his mix of blues, folk, rock, and soul music.

I’m a massive fan of acoustic tours because they allow listeners to hear the songs at their most vulnerable, so I was excited to learn that the incredible Citizen Cope was coming to the Philadelphia area.

Opening up for his stellar performance was singer/songwriter and teacher from Washington D.C. Courtney Dowe. She blessed the stage with her beautiful and soulful voice and rich storytelling. Cope came out on stage to introduce Dowe and thanked them for opening the show. He shares their history and his support for her musical talent and tells us that he is so happy that she’s come back to “share her gift with the world” and boy, did she live up to the hype.

She starts her set with a song dedicated to her late mother, which was very fitting for Mother’s Day weekend. Titled “Don’t You Worry,” this acapella opening is so moving and intimate that you can hear a pin drop in the room. Her intense and powerful voice fills the theatre with awe for her incredible performance.

Courtney Dowe shares her story, background, and inspirations in life in her music. She touches on many political topics that tend to be swept under the rug, like affordable housing and the history of the communist regime in China. I always admire artists who use their platform for social justice and to bring to light issues that mass media may only sometimes take an interest in.

Something else I noticed at the show was the amount of support that the crowd had for Cope’s opener. A lot of times at shows, concertgoers couldn’t care less whos on stage if it’s not the main act, but there was something so special and amazing about the love and support pouring out from the theatre seats for Courtney Dowe. She put on one hell of a set and is one of my favorite openers.

After a brief intermission, Citizen Cope stirs up some anticipation and finally comes out for what is clearly about to be an insane show. Right off the bat, his personality is infectious, and the crowd is absolutely in love with him. He looked so happy and grateful to be on stage in a room full of people ready to sing along to his songs, and that was something so special to witness. He has a knack for down-to-earth storytelling that every listener feeds off of. This guy entrances me, and now I see what all the hype is about. He has such a way with his fans, staying connected with them and making them feel so special for the entire show.

My favorite song, “Bullet and A Target,” from the Clarence Greenwood Recordings album, was one of the first songs played, which I loved. He played to his strengths as a singer and had many great vocal effects to add to the dimension of the show. His songwriting and delivery of these incredible songs will keep your eyes glued to him until the crowd erupts into a massive cheer.

The next killer song, titled “Brother Lee” from the Every Waking Moment album, has this immense energy surrounding the performance and a haunting aspect that keeps the listeners entranced for every second.

The next song, which by far had the crowd the loudest I had heard them throughout the show (and a personal favorite of mine), is from his debut self-titled album, which is “Let The Drummer Kick.” The performance raised the energy from a 10/10 to a solid 15/10, which never subsided. “This might be the only time you guys have to get up and move around during this set,” Cope tells the audience, and once he gives them permission to get up and dance, the crowd never sits back down.

During the show, he announced it was his birthday, to which the crowd responded by singing Happy Birthday to Cope on stage, leaving him speechless. Friday night’s show was also the release of his latest single, “Close to You,” available on all streaming platforms, which is part of his new LP Victory March.

Cope also shared that this would be his first time playing this song live and that he still needs to play it for his hometown! He chalks that up to that special “Philadelphia love.”

During the show, he talks about his upcoming release, Victory March” which is a love record. It’s a love record for romantic relationships, friendships, personal growth, and so much more. “We have a great opportunity to learn from people that we don’t think like,” he shares. “We have a lot of love and power, and that is what Victory March is about.”

He then played another song off this release titled “Good Will Overcome,” which had me in tears by the end. It was a moment to remember that we should be grateful for the gift of life, which I needed to hear at this time.

Cope then returns to one of his more well-known albums, Heroin and Helicopters, and shares some favorites off that record. The first is the album opener “Duck Confit,” which he does almost as a spoken word performance. This track resonated with the crowd, and not a soul was talking during the performance of this song.

Some other highlights of the show include songs like “Sideways” from the Clarence Greenwood Recordings, title-album track song “One Lovely Day,” and others. “One Lovely Day” seemed a fan favorite, with everyone singing and dancing. Eventually, what started as a seated show turned into a general admission show, with more than three-quarters of the crowd moving up to the front of the stage.

Cope plays his final song, thanks everyone from the bottom of his heart for coming out and supporting him, and exits off the stage.

Sure enough, the crowd shouts and chants for about 5 minutes for an encore. Finally, Cope is peaking out of stage left, teasing the crowd for a possible encore. He peeks out again, then runs out on stage and performs another handful of the songs for the crowd!

Overall, the great mix of high-energy songs and the beautiful and powerfully moving love songs really made this show one for the books. Cope’s performance made for an unbelievable night, and I was so honored to be able to check this show out for you all!

Cope is a fantastic example of great vocals, great music, and simple staging, which has been so underrated recently. I could have listened to him for hours. The simplicity and feeling of effortlessness are what make the show even better. Hats off to Citizen Cope for a spectacular and moving performance!

Be sure to stream his new single “Close To You.”

In this two-part series, contributing writers and musicians Maria Arroyo and Dustin Sclafani partake, perform, and report on the Play Music Conference.  They each give us an inside look at the spectacular annual event with an artist’s perspective to attending the music education panels as well as performing on their respective nights. That Mag readers, it’s time to prepare your favorite beverage and sit down to read a real treat.

We begin Part One with singer, song writer Maria Arroyo:

“She networked her ass off and that’s why this room is full. Give it up for Maria!” – Jim Logrando, Co-founder of Play Music Conference

Hearing this had me in tears for the best event of 2023! I’ve been writing for That Mag since 2019, and in that time, I haven’t really introduced myself. Aside from being a writer, I’m a singer/songwriter from the Philly area. I moved to the city to continue furthering my music career. Being able to see this conference come to life as the first Music Conference in the City of Brotherly Love is truly something special.

I was ecstatic when getting the email confirming that I, a singer/songwriter who just started playing live shows last year, got accepted to perform Play.  I was beside myself with excitement, anticipation, and a whole lotta nerves. 

I’ve gotten pretty comfortable performing my own songs, but there’s something about knowing that the professionals who live and breathe this industry every day are going to be watching you perform that really brings those nerves to a new level.

Some industry professionals I’ve known for a couple of years are co-founders of the Play Music Conference. Brian Cronin of That Mag and Mirror Image Media, Jim Logrando of Craft Services, and Rob Schwartz of Who?Mag. This also includes speakers Lou Plaia of Sentric Publishing, and Gino Caporale of 418 Music. This even includes some speakers who I’ve heard of through the grapevine during covid but never met in person like, Fiona Bloom of The Bloom Effect, Barry Heyman of Heyman Law, and producer Steve “Me. Mig” Migliore.  All of which I finally got to meet and were all lovely. 

I say all that to say there were a lot of industry professionals speaking and attending the conference, so I always want to make the best impression I can. 

Take me out to Play Music Conference: 

Thursday night was the kickoff party at Milkboy on Chestnut. I’ve been to a handful of conferences in the past years, and the kickoff parties are always one of my favorite parts. This is because it allows artists like me to network without the pressure of the official conference with other artists and industry professionals that we get to hear speak through the weekend. The introduction at the kickoff party makes it easier for me to approach people during the conference, because we’ve already met, but in a more low-key setting. 

The kickoff party was a blast. There were a ton of artists that I got to network with, that ended up being great conference buddies throughout the weekend. The atmosphere was great and I think went off without a hitch! Throughout the night, there were performers of all types that kept the music diverse and interesting. They also had a special award ceremony for “Play Recognized Champions of Music” highlighting Dyana Williams of Influence Entertainment, councilman David Oh, talent buyer John Harris, and producer/engineer David Ivory, who continue to help music creatives in any ways they can. 

Throughout the night, everyone I spoke to agreed that this type of event in Philly was long overdue. Another similarity was everyone’s excitement to be a part of this inaugural event. All the artists that were playing, myself included, were just so grateful to share their music with others but also revel in the success and promotion of each other.

Early Friday morning (but thankfully not too early as we were out wayyyy too late the night before) was the start of the official Play Music Conference at the University of the Arts.

Their space was incredible and I really loved their support for this event. Most of the day was full of incredible panels with topics on Touring, NTFs, and Networking, to Publishing, Distribution, and Finance. They were all incredibly insightful and educating. My favorite panel on Friday had to be the “Collecting Royalties: Distribution, Publishing Admin, & Mechanical” with speakers like Jennifer Costello of JC3 Publishing, Lou Plaia, creative Tim Pattison at BMI, and others. Panels that touch on publishing and distribution are always on all conference agendas because of how important it is in making sure you’re being paid for your work, and that your work is heard. This is also one of the most confusing parts of the music industry so it can’t hurt to hear it explained to you a couple more times. 

After each panel, the speakers were able to chat and answer any questions the crowd had in a smaller, more personalized setting upstairs. It allowed conference attendees to seize their moment to talk more with speakers that really stuck out to them. 

After the panels, there was a Networking Event in the host hotel, the DoubleTree by Hilton Philadelphia Center City, who created a fantastic atmosphere for the weekend. These are always fantastic times to try to catch the speakers that you weren’t able to during the day. I was able to network with a ton of different people, one being Nikisha Bailey, global Co-chair of D&I for Women in Music. We had a great conversation about the Philadelphia music scene and I got to know more about her on a personal level, which you can’t always get during the panels. She was open and incredibly honest about her experiences and truly inspired me to keep doing what I’m doing. 

After the Networking Event, it’s music time! 

Sometimes at conferences, you run into the issue of not being able to catch everyone that you want because the venues are so spread out. Having attended countless conferences before, the Play team knew this and stayed smart by keeping all the venues within a block or two of each other. With all of the sets being 20 minutes, the short walk made it easier to catch all of the acts throughout the night.

Since I didn’t perform until Saturday, I could take Friday night to just soak in as much music as possible, which is exactly what I did. Some of my favorite acts of the night were Supreem Da Rezarekta, Sean Eric, Madison Ryan Band, Big Rick Energy, and Nitro Nitra. Their stage presence, energy, and remarkable songs made the weekend a night to remember. The other thing I loved about all these acts was their approachability after their sets. They were all just as excited as we were about their music and conference, and that always makes the connections better. The sense of community with a ton of the acts that were selected to perform was immense and really added to such an amazing atmosphere to be a part of. 

Day Two of the Play Music Conference was just as amazing as the first one! The panels of this day included talks about radio, producing, music marketing, music videos, and knowing when to need a team. I felt that they did a great job in formulating the panels so it covered a lot of different aspects of the industry that are important to know. They also chose to not have panels running at the same time. A lot of bigger conferences will have multiple panels at the same time and you have to decide which one is of more value to you, which is a tough call to make. Having one panel at a time ensures you don’t have to miss anything unless you’re just not interested in the topic. And if the interest in that particular topic wasn’t there, the speakers from the previous panel were around so you can continue that conversation. 

I really loved the Music Videos and Visuals panel as I haven’t seen a panel on this specific topic before. Speakers included Rob Schwartz, Andy Gesner of HIP Video Promo, Dwayne McCleary of Uplifted Inc, and Anthony Flores of Obie Records. They all had different paths leading to where they are now, so they were able to offer a ton of different perspectives while remaining unanimous in the fact that the visuals are an increasing importance to the music being released today. They really dove deep into the fundamentals of visuals and how they can be used in a multitude of ways to help and enhance the music you’re releasing. Another panel that I really took an interest in was Knowing When To Need A Team which had everything from a publicist and an artist manager to an entertainment lawyer. Panels like this always interest me because it shows that there are many paths to take in order to be immersed in the industry that we love, even if it’s not as an artist. Once again, Play Music Conference knocked it out of the park with its panels and speakers and really did a great job of having something for everyone attending. 

The biggest thing that stood out for me for this conference in particular was the way that the advice and tools given to us were ones that actually pertained to the level that the majority of attendees were at. Most of us attending are either just starting out, or have been in the game, but only for a short period of time. We don’t have thousands of dollars for recording, or three grand to drop for a publicist to work our music. They gave us tangible advice for the level of our journey RIGHT NOW.

There were a lot of realistic tricks and tools shared that we could implement straight away and even if some of their services were out of our price range or not right for this stage in our career.  They were upfront about it, and also provided alternatives that suited our needs, and our pockets. The speakers were all well-spoken, talented, and stayed engaged throughout the conference, which I just appreciate so much. 

After the last set of panels, most everyone headed to the last networking event before the night of music, but not me. I had to head to soundcheck for my show at O’Neals Pub, which is really where the fun began!

They were incredible and had a loaded baked potato to die for.  Soundcheck went, well, okay. Honestly, it wasn’t great but to no fault of anyone. I just get super nervous before a show, overthinking until I explode, ya know, all the things you do when you are a perfectionist. I get back to my hotel room to warm up, get ready and give myself the biggest pep talk I can. 

I should also add that through the last two nights, I’ve been talking about my show, inviting people to check me out, handing out business cards, sharing my socials, etc. All the things you do when networking with others. While there were a lot of faces I remember from other conferences, there were definitely a lot more new ones, so I want to make a great impression and hope that I’ve engaged them enough that they’ll want to check me out in person! I try not to have a high expectations of a full house because sometimes things come up, people have friends that they want to see, and sometimes, they’re just not interested. With this in mind I try not to worry about who will/won’t be there. You have to put on a great show either way.

Fast forward: Back to O’Neal’s

That room, from the front of the stage to the end of the bar, was PACKED. Packed with all the people I invited, packed with those people telling OTHER people about me and them wanting to check me out for themselves. It hit me. “Maria, you are about to perform your first packed show full of music industry professionals and artists,” and my heart couldn’t be racing faster.

I try my best to settle my nerves, but it’s hard. I want to put on a great show. I want everyone to enjoy coming to listen to me, but I always think about the worst-case scenario. Luckily, I had a ton of day-ones on my side. The entire Big Fat Meanies band was there to support me, all of whom I went to college with and are the best cheerleaders,  and my fiance,who is truly my biggest fan, was there so I knew that even IF my worst-case scenario of “everyone is going to hate me” was true, I at least knew these guys didn’t. 

It’s now 8:10 pm and the biggest knot has formed in my stomach. I get on stage and start setting up. I look out and pinpoint my day-ones. My fiance, Todd, is in the back corner, just in eyesight where I need him, and BFM is in the other corner. My other cheerleaders, who I actually met at ANOTHER conference, Elle Taranis and Pepe were front-row recording for me. 

Showtime!

I sing my final song, and the loudest applause erupts from the crowd. I have absolutely put on the best show to date and I couldn’t be prouder of myself. I sang and sounded great, I didn’t fuck up the chords, and I really gave it my all. I said my thank yous and was about to head off the stage when the co-founder of Play Jim Logrando jumps on stage and hugs me and tells me what an amazing job I did. He looks to the crowd and says “This room is packed. She networked her ass off and that’s why this room is full. Give it up for Maria.”

This had me in tears. All my hard work of fiercely networking and creating relationships paid off in ways that I will never forget. I got off stage, and with the help of my friends tore down my set, and then got to enjoy the rest of the night knowing that I left it all on O’Neal’s stage. I spent the rest of the night on cloud nine knowing that this rush of adrenaline and excitement is what makes all the nerves worth it. We spent the rest of the night listening to some fantastic artists like Minerva, Big Fat Meanies, Shame Penguin, and so many more. This was truly a weekend to remember. 

Final thoughts

If you’re just starting out in your music career or you’re a seasoned vet, go to the music conference. You can’t learn enough, and this industry changes every day. The friends and people you met? You remember them for a long time and already looking forward to the next get-together. 

The inaugural Play Music Conference was definitely one of the biggest wins for 2023, and the sky is the limit with them. I know they are going to step it up even MORE for 2024. 

You can see Maria Arroyo perform this weekend at the “Women Against Abuse” Benefit Show on Saturday, March 4 in honor of International Women’s Week, located at The Fire, on West Girard Ave. Come out and support these incredible women, including Jershika Maple, finalist of NBC’s The Voice.

Click here for event and ticket information! 

Play Music Conference

The Philadelphia music scene is captivating in the way it houses and attracts all sorts of bands, performers, and listeners. This past Thursday, upstairs @Khyber Pass Pub in Old City had an incredible lineup of bands that packed the venue to the brim. 

Opening the show was an alternative rock band from Lancaster, 25th Hour, which immediately set the stage for a night of nasty guitar solos, killer vocals, and an overall great time. Headlining the show was the band Goings who describe themselves as a math rock-influenced, indie super-group. They did a fantastic job keeping with the momentum of this insanely energized show down to the last song. 

But let’s get right down to why I came to the show in the first place. This eight-piece band captivates an audience like no other. This horn-driven progressive rock band takes influences from all over: Genres like pop, punk, funk, and metal, to ska and even musical theatre. The second they get on stage, listeners smile from beginning to end. This showstopping band goes by the name Big Fat Meanies. 

Now I have to preface this because I am incredibly biased as two of the three bands I know very well from my college years. But that means I knew this would be one hell of a show that I did NOT want to miss.  

So let’s get into it! 

The moment Big Fat Meanies got on the stage, the venue packed shoulder to shoulder with people trying to get as close as possible to soak in every second of this lively band. The only downside was that the stage was tiny for an 8-piece band, but they made it work for them regardless. Even though they set up the horn section on the floor, to be at face level with some of the band members was a pretty neat experience. I have to say, not having them lit up like the rest of the members on stage was a pretty big bummer, but I digress. 

The lead singer Brenna is a vocalist that will shock you every time she performs. Her effortless vocals in these high-stamina songs only elevate how talented this group of musicians is. Her ability to glide effortlessly through her impeccable range is something that most singers hope to accomplish. Plus, her fun personality always shines through her stank face and fun dance moves.

Everyone in BFM is insanely talented, but the band’s soul will always come from their horn section. They bring life and excitement that is over-the-top infectious to anyone in earshot. Even though they weren’t on the same stage as their bandmates, their continued attention to each other is something to marvel at. 

Throughout the set, they constantly engaged with their fans to make them part of the show, which is always such a memorable experience. Their set consisted of some songs from the debut album, The Time Has Come… and their newest EP, Bad Hand, which kept things fresh and exciting. They played a huge fan favorite from their debut album, “Meet Me at the Downbeat,” which had the crowd singing along with every word. Some other songs were “Voyager” and “Fishin’ (For Compliments),” which were equally showstopping. 

A few highlights included Zander (Rhythm Guitar and backing vocals) shredding guitar solos and Sam (lead guitarist) keeping the crowd engaged with his mind-blowing riffs and infectious personality on stage. He even started a whole dance party with everyone! As always, the horn players Rick, Nicole, and Jason keep everything fun and exhilarating, while the tight rhythm from the bassist Eric and insane fills from their drummer Tristan only made the show that much more insane!

BFM can create incredible musical tension and anticipation while incorporating different elements for a truly unforgettable show. They continue to perform like every show is their last and cultivate excellent relationships with every single person supporting them. 

25th Hour and Goings had some memorable moments as well. 25th Hour had everything from an insanely in-sync rhythm section to a vocalist who blew me out of the water. The stamina and level of performance they played at will drop your jaw to the floor. Goings had a sweet flow throughout their set, ending the night with a bang! Their attention to detail and incredible musicianship tied the entire show together. 

While Big Fat Meanies didn’t headline the show, they stole it. They had the room packed the second they hit the stage and had the crowd screaming for an encore after an already killer performance! Big Fat Meanies will always be the band to watch, and I can’t wait till they come through Philadelphia again! 

Follow Big Fat Meanies! 

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YouTube cover artist, Caleb Hyles, is stepping into a whole new world with his debut album, In One Breath. Over the years, he has created a loyal fanbase that continues to stand by him in his new adventure as an original songwriter and performer. In One Breath has been best described as a “unique blend of theatrical, pop-punk, alt-rock, and ballad moments tied together to create a soundscape that will entice fans from first listen.”

Hyles shares that the listeners will “ask questions, face doubt, and find comfort,” and in return, allow fans to “connect more deeply with Caleb” than they have ever been able to before. Hyles says, “The two biggest themes of the album are ‘time’ and ‘memory.’ It’s crazy to me how both feel so fleeting yet are some of the most integral pieces of our existence… So much of who we are is shaped by what we remember and what we’re doing currently with the time we have left.”

Hyles’s first track, “Not My Own,” immediately hits us with his strong storytelling skills and musical talents. His musical theater style is not something new to those who have been around since the YouTube days, but hearing it with his own music is definitely something special. This song’s chorus is impactful and powerful, making it a pretty big highlight for the song. The contrast in the bridge and the rest of the song is exactly what I love in songs and he downright PERFECTED it!

“On My Own” highlights a more rock-esque style, similar to Rent – The Musical. His determination to highlight his different influences is unbelievable well done. Additionally, the contrast between the seriousness of the lyrics and the uplifting and playful feel of the instrumentation helps both songwriters and listeners better digest more serious topics like Hyles tackles in this song. This is probably one of the most relatable songs on the album, and I know, personally, this song hit really close to home, and I can do nothing but thank Hyles for bringing this narrative to life.

Hyles’s tracks “Goodbye, Monday” and “Stay” both have a strong percussive drive that pushes the songs forward. They both present a more dominant side of his emotions that really round out the overall sound of the album. The track, “Privilege,” creates a beautiful, chordal tension that is a high point of this song. He manages to create the perfect space for these dissonant chords to grow into a beautiful and satisfying release. If that wasn’t enough, the constant building up of the voices towards the end of the song just made this song soar higher than I thought was possible.

“Sometimes You Just Forget Things” mixes his talent for beautifully woven harmonies and his pop/musical theater style. Cleverly written, the ending couldn’t have been better for this song, but you’ll have to listen to it to know what I mean.

We push into a bit of a different direction with his next track, “Wasting Time.” I’m thinking to myself, “Did Caleb Hyles just relive his teenage angst emo phase in this song? Because if so, I’m here for it and I love it!” Another note: if anyone is planning on bringing a Rent 2 – The Musical, to life, please make sure Hyles is on the project because I don’t think a soul would be disappointed in that collaboration!

His next track, “Survival In Disguise,” is another strong one that sent goosebumps through my entire body. Personally, this is a song that I connected with on a more emotional and spiritual level. Another song that really pulled at my heartstrings is “Leave a Light On For Me.” I imagine this is one of the most personal looks into Hyles’s life which really made me cling to it so hard. After these two songs? All I can muster is a thank you to Caleb Hyles for sharing this song with the world over my tears.

After my crying session, we got back to the album, another gem titled “I’ll Name Her Song” came out. This song did its job with attention to detail when it came to delivering a true and honest vocal performance. Just like in all of Hyles‘ covers of our favorite Disney ballads, we get to feel the song like we haven’t in a long time. This song is both emotional and vulnerable, which leads us into another personal chapter of his life.

“Amber and Rain” sees Hyles collaborate with a vocalist, Jonathan Young, to bring this cinematic track to life. Their chemistry is nothing short of blissful. The final track of this long-awaited album is “In One Breath.” It was the perfect way to close out the album. It was hopeful, emotionally driven, and vocally stimulating. The concept that “life is a never-ending battle” lives strong in this song. Hyles brings a ton of different influences and styles together that highlight every aspect of his musical talents. His ability to translate how he feels into a cohesive song through his songwriting skills and vocal performance is nothing short of incredible.

Connect with Caleb Hyles

Website | Facebook | Instagram | Twitch | TikTok | YouTube | Spotify

The NYC-based alternative pop trio, January Jane, is sharing their show-stopping EP, Your Drug via  Whiskey Vinyl/BMG. Their music is best described as a “neon-drenched take on both modern and ’80s-influenced pop/rock” music. This phenomenal EP is “extremely catchy, overflowing with melodies that are at once smooth yet highly textured, seamlessly blended with unapologetically emotional lyrics.”

Bringing the up-and-coming trio to life are Pat Via (lead vocals), Mitchell C. Mitchell (guitars), and Peter Scialla (keys). Another huge part of their success goes to early supporter, Matt Pinfield, a DJ, journalist, TV host, and overall music industry legend!

Their opening track, “Your Drug,” is just the kind of anthem that we need for this year! They tell an amazing story with their intoxicating vocals and amazing rhythmically-driven instrumentals which take listeners on one hell of a journey.

“Addicted To The Night” is another super catchy track that I fell completely in love with. I get amazing glam-rock vibes similar to Adam Lambert, which is my favorite artist of all-time! It’s no surprise that this became my favorite band I’ve listened to this year! They continue to show their astounding musicianship skills through the buildup of tension and release, and their ear-worms of melodies that make the song pop.

Their next track, “NYC,” has that same iconic glam-rock sound, but with some 80s inspiration bringing it to life. Again, another incredible song! Any successful stars from the 80s would look down on them and be so proud of how they’re honoring such a staple time in the music industry.

Their next track, “I Can’t Go For That (No Can Do),” is another catchy and bouncy pop-driven track, and is a cover of Hall & Oates’ version of the song. I loved the vocal adlibs and immense attention to detail for the song. This track highlights the high energy they continue to bring to their music.

January Jane‘s final track is “Versions Of You.” Their show-stopping closer is captivating and vulnerable, which is the perfect blend for a beautifully-crafted release. I think they challenge a different perspective that maybe isn’t talked about as much, but I think a lot of people can resonate and connect with. Everything from the entrancing melodic structure to their insanely executed vocals make this the best song of Your Drug.

Check out their official lyric video for “Versions Of You” below.

January Jane is such a breath of fresh air, and hands down, the best release of 2021 yet! They explored everything from vulnerability, to good old fashion fun, and did so effortlessly!

Connect with January Jane

Website | Facebook | Instagram | Twitter | YouTube | Spotify | Apple Music

“Starting with yourself is always a good place. I think we can change.” – Anika

Nico-esque vocalist, Anika, is releasing her first solo album, Change, in 11 years via Sacred Bones. Anika, which is the ongoing project of the Berlin-based musician Annika Henderson, celebrates her first release in over a decade and describes it as a record centered in “heightened frustration buoyed by guarded optimism.”

After recording her initial ideas herself at Berlin’s Klangbild Studios, she was joined by producer, Martin Thulin (Exploded Views).

“This album had been planned for a little while and the circumstances of its inception were quite different to what had been expected,” says Anika. “This colored the album quite significantly. The lyrics were all written there on the spot. It’s a vomit of emotions, anxieties, and empowerment.” Anika also shares that “despite the subject matter and the circumstances around its creation,” that Change is a “treatise on optimism.”

Her opening track, “Finger Pies,” introduces us to her interesting and peculiar sound. The song is definitely far from conventional but maintains its connection with the listeners. Along with this opening track is a music video, which you can catch here.

Bringing a bit more bite to the table is her track, “Critical.” This lyrical story is straightforward and very concisely written and put together. There is a ton of movement within the song, which makes it easy to follow along with.

Showcasing itself as the pinnacle of the album is her title track, “Change.” This track is the most important and I think the most essential to bringing the album to life. The movement that’s created within the instrumentation and the sudden cry in her lyrics and vocal performance puts this song at the top of the track and really drives the meaning of this album home.

Catch the music video for “Change” below.

We start to feel a shift in the sound of this album with her next track, “Naysayer.” She brings to light a darker and more intense sound, which becomes present in the rest of the trucks going forward. “Sand Witches” has hypnotic energy to it that keeps you engaged from beginning to end with its strange and futuristic sound.

“Rights” has a similar aesthetic to the song prior but still manages to keep its individuality. There is tons of depth and color in this song, and the buildup of intensity with each section only becomes more and more explosive as it continues. This song speaks to her raw and unapologetically truthful approach to lyrical writing, which only furthers her connection to her listeners.

The closing track, “Wait For Something,” is a complete 360 from what we’ve been hearing, and came as a huge shock to me. This sound was more acoustic and stripped right down to the bare minimum, and she still manages to blow it out of the water. Her fluidity in her vocal deliverance helps to showcase her talent as a vocalist and all-around musician.

Change is far more different than what I’m used to listening to, but it did give me a new perspective and appreciation for those who go off the path and do something spectacular. Be sure to check it out on all streaming platforms!

Connect with Anika

Website | Facebook | Instagram | Twitter | Soundcloud | Bandcamp | YouTube

“‘Nobody’s Girl‘ is a testament to the power of three strong, independent songwriters with three, strong voices coming together as one, carrying their message along the beauty way with a ‘bubblicious’ roar like nobody else.”

The Austin, Texas-based female lead trio, Nobody’s Girl, shares their debut, self-titled album via Lucky Hound Music out now. This beautiful mix of talent is brought to life by musicians BettySoo, Grace Pettis, and Rebecca Loebe.

Nobody’s Girl is described as the “bridge” between folk and heavenly pop. The trio’s debut was recorded in September of 2019 and in January of 2021 at Lucky Hound’s own state-of-the-art studios at Fischer campus. Helping bring their songs to life is the experienced, Grammy-winning producer,  Michael Ramos.

“In a lot of ways, I think of Nobody’s Girl as a super fun project that lets us blow off steam because it gives us a whole different channel to tap into,” says Loebe. “But most of all, I’m always really moved by the power of what we’re able to access as a trio: just the power of three voices onstage together, carrying the same message.”

Their opening track, “Kansas,” is inspired by the original Wizard of Oz, which is a “stirring call to technicolor adventure and self-discovery.” This track is a beautiful song with the perfect mix of country-pop and modern ideas. Their lyrics are crafted so carefully and deliver the perfect blend of their voices, as sweet as can be. This was a great choice for an opener, especially for someone like me who’s hearing them for the first time.

“Rescued” is the first of two tracks, the other being “Tiger,” that bounce off one another “as two sides of the same coin.”

These two tracks are said to represent the “proverbial devil and angel over one’s shoulders,” with “Tiger” as the darker side and “Rescued” on the lighter end. “Rescued” is representative to Pettis as a “defiant paean to not just losing self-control, but owning that decision with unabashed pride.” This catchy and feminist-driven track is definitely all about independence for the girls! It’s such a fun and exciting track to listen to, and really translates so well to the listeners. “Tiger” on the other hand, is a “warning about the darker side of what happens when you let loose of your self-control,” Pettis warns. The alternative and haunting folk energy, both in the instrumentation and the vocals help bring that symbolism Pettis describes to life.

Their next track, “What’ll I Do,” is a favorite of mine. They wrote such a beautiful, compelling song and this track really does the album justice. This is also one of the first songs they wrote together in 2017 as friends who decided to go on tour together.

Another favorite of the album is “Waterline” with its deep, sentimental lyrics and moving instrumentation. This song had such a unique flow to it and was hands down, the most comprehensive track on the album.

“Birthright” is another deeply, thoughtful track on the album, and spreads a message that many of us should listen to. The lyrics “My family still lives on the land we bought with blood and pain. When our kids start asking, what do we tell them? How do we explain?” truly describe the essence and reason for this track. While listening to it, it dawned on me how important and necessary self-realization and reflection are and these women did that through their music. When you stop and think about straight facts, we are all on stolen land, and only when we start to recognize that, can we start to take responsibility for our actions as a country.

“So Far Away” is a beautiful song with the touch of soul to make it stand out from the rest. The blend of the timeless piano and the soothing jazz really brought this song to life, whereas “The Morning After” has a more somber feeling that focuses on its rich, lyrical story.

Their closing track, “Lark,” is a beautiful sendoff for such a lovely record. This track stays true to their sound and highlights them, not only as a group but as individuals, too. Loebe describes this song as an “abstract meditation on earth and life and letting go, chock full of love and loss and a whole lot of tenderness,” which couldn’t hit the nail on the head any more perfectly.

Their album is described as an album with “intriguing juxtapositions not unlike the aforementioned balance of lyrical depth and effervescent fun,” and I don’t think it could be explained anymore clearly or accurately. The amount of love, heart, pain, and soul poured into this album is indisputable and inspiring. I’m so proud that this stumbled into my lap because it gives me hope as a female songwriter that my music has a place in this world, so thank you to all three of you!

Connect with Nobody’s Girl

Website | Facebook | Instagram | Twitter | Soundcloud | YouTube | Spotify

I had the opportunity to video chat with and interview New Jersey’s rising pop/etc. artist, Taylor Tote. She’s been steadily rising in her success with her new music, and her incredible road trip story that she talks about in her last EP.

“I’ve been into music from the moment I could walk and talk,” Tote says. “And it was always just there, and not something I really had to think about. I always really liked being the center of attention. I would put on shows at recess with my friends at school, I’d get up on the pool deck and start singing for everybody and I’ve never felt really nervous or shy on stage, except maybe when I sang the national anthem.”

We talked about her experience singing the national anthem for our military and how it brings out something special because of the service they provide by protecting our country, she is able to give just a little back in the form of honoring and “representing our country,” as Tote explains it.

We then started talking about her recent EP, 21 Minute Drive, which was followed by a road trip from her home to California.

“My friend, who I’m visiting now, was moving to California and we were helping her, but one of the biggest reasons I felt I needed the road trip was because I felt trapped,” she shares. “I was in this state of being trapped in a box, and I knew exactly what I wanted and what I needed to do, but I just couldn’t get out… I felt like there was really a point where I thought I wasn’t going to do music anymore. I was experiencing imposter syndrome, and it kind of put me in a place of needing to think back on what I was doing. I felt like I was doing nothing, and I wasn’t being productive. I told my producer, Russell, when we were writing these songs, that I really want to have songs that people can apply to however they’re feeling. I don’t really want to center it entirely on love, I really wanted to talk about this mental state that I’ve fallen into that I know others have felt.

I had to tell myself ‘I got really far and I did a lot of this on my own,’ and told myself that I don’t need anybody to validate that for me. I’m not perfect and that’s okay because I shouldn’t be striving to be perfect. I saw this quote that read “We need to stop comparing our behind the scenes to everyone else’s highlight reel” and it really made sense to me. I think social media can be a really great place, but it could also be a toxic place. It’s a blessing and a curse and we have to be really careful about what we’re putting online, what we’re saying, what we’re seeing and how we perceive it all.

So as we were driving across California, my other really good friend had just moved to Hawaii, so I took the $99 flight from LAX, and it was just such a needed thing for me. I don’t know how to explain it, but when you start seeing different parts of the world, you think, ‘Wow, nature has the potential to crush me at any moment, so why am I so hung up on the little things?’ I also learned that we are not invincible and that’s okay. This trip put a lot of things in perspective, which brought me the inspiration for the track, ‘Multivitamin,’ and the two other songs I have coming out in July and August.

When I had the concept for ‘Multivitamin,’ I said to Russell, ‘I want people to listen to this and I want them to be like ‘this is weird, but it’s really cool,’‘ because I wanted to keep stepping out of my comfort zone. What I learned from 21 Minute Drive is this is the most me I’ve ever felt. Now I had been happy with the things that I put out in the past, but when [21 Minute Drive] came out everyone was saying ‘wow, this is so different for you,’ and I would tell Russell, ‘people are saying this is so different, but it doesn’t feel different,’ and he told me, ‘This is the most you, you’ve ever been like.’ I have been waiting for this for so long and now I finally have it. I went to go see one of my friends who I met through the music industry and worked on a lot of videos with her, and when I showed her the EP, we like sat in her car and listened to the EP, and within like the first five seconds she was like ‘yeah, this is like exactly what I thought you should have been doing years ago.’ I still want people to go ‘wow’ because I’m still continuing to grow and I’m not keeping myself in a box.”

“I think what you’re doing (in reference to her jumping out of the societal genre-specific box) is incredible,” I share with her. “You and others are opening the doors for other artists who also want to try new things and maybe bend their original sound to try something different.”

“I write how I’m feeling in the moment and I want to do what feels good,” she explains. “I’m just kind of just doing my thing and doing what feels right.”

We started talking about the genre-specific boxes I mentioned earlier, and how they truly do add to the compartmentalization of artists and their craft. While we are so used to our favorite artists sticking to what they know, it’s not uncommon for them to branch out and try different forms of expression. Whether that’s a different genre from what’s usually “expected” from them or even a new form of media entirely. Either way, that old idea that artists shouldn’t or don’t normally switch over is pretty much out the window, and I highly doubt that most artists are influenced by just one subset of genres and artists, so why would their music be any different?” she says.

“There’s a lot of crossovers happening now,” Tote says. “P!nk is doing songs with Keith Urban, Lil Nas X with Billy Ray Cyrus, even Florida Georgia Line and Bebe Rexha. They’ve been doing all of these amazing things and proving you don’t have to stick to just one thing. Taylor Swift is another example. I definitely admire her and her work ethic, but did people really think that she was going to doing the same music that she was at 15 years old with ‘Teardrops On My Guitar?’ No! She’s in her thirties, and she’s evolving and growing, and what you see is what you get.

I’m not putting on a face or a front, and that’s what I was proving with ‘Multivitamin.’ It’s silly and fun and I’m silly and fun. I make a lot of quirky comments and say a lot of bizarre things, so I like to put that into my music. The stories in my lyrics are always very true to what’s happening to me and my life. I feel like I can’t write about anything else because then it just becomes unauthentic and I really want to be as authentic as possible and represent myself the best way that I can.”

“When the [21 Minute Drive] EP came out, I was nervous about a lot of the interviews that I was gonna be doing because a lot of them were with people that had seen me do the rock stuff with my former band. All of them had nothing but great things to say except this one interview I did with somebody. He made it seem as if what I was doing wasn’t a good idea. That I was doing something easy or doing something that wasn’t as good as it was before, and I’m like ‘This is me. This is what I always wanted but even if it wasn’t what I always wanted, it’s what I want now.’ It’s crazy to me how many people think pop music is just easy music, because pop is, hands down, the hardest genre I’ve ever done.”

Tote also shares a point that we both agree on, which is the idea that just because something is unfamiliar to you, doesn’t mean it’s easier or any less you. It’s just different. She also shares that it’s okay to change your mind or ideas of what your music sounds like because it happens and we aren’t done growing.

“That same interviewer asked me a really great question, though. He asked, “Okay, you’ve been on tour, you’ve done all these really cool shows, and you performed with these people, etc. What is something that sticks out to you as your greatest accomplishment?” And it wasn’t anything I’d ever really thought about before, but without hesitation and without a beat, I said, ‘I’m releasing music that I am proud of. I’m releasing music that represents who I am, and that’s so important to me.'”

As we continued talking about her work, the biggest thing that stuck out to me, was the pace that she was able to keep to make all of this happen. She has had singles laid out for a while, but even things like photoshoots, music videos, writing and recording the songs, interviews, etc, all take a lot of time to come together seamlessly, which she is executing so incredibly, and with great results.

“I realized I didn’t have to wait on people. I don’t have to wait months or years to release a song I’m excited about. Like with 21 minute Drive, we wrote and recorded everything within three weeks and I asked Russell, ‘How soon can we get this out?’ and he’s like, ‘We can get this out in February.’ Now, I’m able to kind of release things on my own terms and not have to wait on anything.”

“How are you doing it so fast???” I ask her. “I’m so sorry to cut you off, but how are you able to get all of this done so fast? The music video? The photoshoot? The recording? I’m very confused and very interested in how you’re doing it all. I need to know how you’re doing it all???”

We both laughed for a little, and she shared a few of her secrets.

“As soon as we knew we had the songs and when we would be releasing them, I contacted one of my friends who’s a photographer and I told them I have three songs coming out so we need to do an all-day photoshoot to just get all the content done. It kind of ended up being split into two days which was fine, but in the end, it all worked out. I told them I needed the pictures and press items are done for ‘Multivitamin’ ASAP because it was coming up so quickly. We had to get it out to the distributor and Spotify playlists and all that stuff, so I told him if he wanted to put some of the other songs on pause to finish this one up, that’s fine. My producer, Russell, does the mixing and mastering himself, and he’s super fast. He dedicated all of his time to creating. I’ll give him an idea and he will have already written something within like five minutes, that’s just how fast he works!”

I wish I could explain the number of neurons that all fired at once when I realized the sheer talent and drive that Tote has in getting her music out there, and that really sparked something so special in me. It was like for a few moments, everything made sense, and it truly was one of the best ‘Ah-Ha’ moments I’ve had in a while. So Taylor, thank you so so much for sparking that fire in me.

Tote also talked about how important it was that she works with people that she’s friends with, and makes sure that she is completely comfortable around them.

“I really like to work with my friends. I don’t think that it’s possible for me to work with people who aren’t my friends, because I need that sort of friendship. So, Jonny, my photographer for these next few songs, I met through a friend. When we started working together, we clicked right away, and I told him I really liked the work that he did when we were together, and I just felt very comfortable with him. He was really excited about the project, the songs, and he genuinely cares about me as a person and my vision. If you don’t really understand my vision and what I’m doing, or if you just don’t even really care about working together and supporting each other, it just doesn’t work for me. I tell [Russell] literally every single detail of what’s happening in my life because we’re co-writing, so there are times like if he’s writing something for me, maybe he’ll come up with a verse and I’m like, ‘okay, yes, I like that but like we need to change this line because this isn’t what’s going on and it needs to be true to that,’ because like I said, I really try to be as authentic as possible and be really representative of my mind, my situation, everything.”

Another thing about finding people to work within the music industry is finding those who are willing to grow and learn with you, and Tote explains her view on this to a T.

“I’m a firm believer in the saying, ‘Don’t reach up, reach out.’ Don’t reach up to people who you think are gonna offer you opportunities just because you’re reaching out to them, or because they’re doing a little better than you, or because they have something to offer. Reach out to people who are on your level. Reach out to your friends, reach out to people that you can grow with because those are the people you’re gonna come up with. Those people up there? They’re already up there, so we usually don’t have anything to offer them. They might not care about helping you grow as a musician or anything because they are already there. I like to reach out to my friends because it’s important to have people that you can like regularly trust and regularly work with and build something with and grow and evolve with.

But also expanding that network too is really important,” She highlights. “But expanding it in a way that serves a purpose in terms of a genuine relationship. In this industry, it’s important to have a network that you can trust, but you can definitely expand that circle. I think it’s good to work with other people eventually at some point but there is that kind of circle that you know you can always go to.”

I’ve said it before and I’ll say it again. Those relationships that you build with fellow music industry people are so important, and they really carry you through your journey as a musician. I’ve talked about the countless number of people I’ve met at different conferences, and the most important thing to me is that they know me on a personal level, too. I truly care about the lives and well-being of the people I meet, which takes me a long way. Sure, you can just reach out to someone on strictly a professional level, but there’s something special about that personal bond that you can create with those, and those are so much more special than any strict business relationship can ever be.

At the end of all of the great things that we talked about, Tote brings it back to some of the more fundamental things we chatted about.

“Everything that I ever want people to know about me and my music is that it’s authentic. It’s authentically me. I want people to know that they’re not alone. We always feel like we are the only ones going through a certain situation, but then you’ll hear a song or you hear something and you’re like ‘Wow. I really relate to that.’ I just want people to understand that they are not in things and in their feelings by themselves. I like giving people a safe space, I guess. I really hope people can take something away from what I do.”

Connect with Taylor Tote

Website | Facebook | Instagram | Twitter | YouTube | ReverbNation | Spotify | Apple Music