Issue 13 by Focus Magazine

FOCUS MAGAZINE // 1

founders penelope martinez mariana patino editor-in-chief + design penelope martinez managing + copy editor lori gutman writers eddie chisham, leah dickerman, lindsy carr, kelly fadden, vivien bui, photographers bethan miller, jason cox, laura harvey, leah dickerman, lori gutman, penelope martinez

connect: @focuszine facebook.com/focuszine focuszine.tumblr.com website: focuszine.com for any inquiries: info@focuszine.com

THANK YOU northlane austin griswold // secret service pr this wild life michele stephens // epitaph records bright light bright light rey roldan // reybee lydia chelsea dunstall // 8123 vinyl theatre amy laudicano // atlantic records

sheppard becca wilson // big picture media boymeetsworld kelly berger // midwest rising pr anne jojo, bobby mathias, garret capone, jake carruthers, steve karas, the press war, trophy wives, and anyone who has supported us.

FOCUS MAGAZINE // 3

CONTENTS 6 artist of the month 12 behind the band 14 local spotlight 16 20 24 28 34 38 44 48

trophy wives boymeetsworld this wild life bright light bright light lydia sheppard vinyl theatre northlane

60 gallery

ON THE COVER

FOCUS MAGAZINE // 5

C A R R U T H E R S

WHO: jake carruthers WHAT: illustration WHERE: @cakejarruthers WHAT WAS IT LIKE GROWING UP IN AN ARTISTIC HOUSEHOLD? Very encouraging. Although I can’t imagine growing up with people who do not understand creativity, I consider myself lucky to have had a support system. However, art was not what I wanted to pursue as a career when I was a child; the title of an aerospace engineer seemed much more appealing.

Internet than having any integrity whatsoever. I haven’t seen any of my work for sale before, and so I haven’t had a legitimate reason to be affected by it. However, I have seen dozens of Instagram accounts of people trying to pass my work off as theirs, usually just to get some sort of social approval without actually having the work ethic involved with learning how to draw.

DO YOU THINK THAT BEING AN ARTIST HAS MADE YOU A BETTER PERSON? Yes. The ability to build allows one to reverse the process, and to deconstruct and understand, which isn’t limited to a particular facet of life.

MANY PEOPLE SAY THAT IMITATION IS FLATTERY. DO YOU AGREE? Based on the circumstances, I do. I have tried to imitate shading techniques, subject matters, etc. from a lot of artists before I tried bending them into something of my own, and so it makes me happy to be on the other end. Still, there comes a point where a line has to be drawn between inspiration and theft.

IT’S PRETTY EVIDENT THAT YOU HAVE A STYLE WITH YOUR ART. HOW DID YOU DEVELOP THIS, AND WHY DO YOU LIKE IT? There was never a moment when I sat down and decided what I wanted my art to look like, or that I even knew where my art would fit within a bigger industry. In fact, until I started to see the possibility of art being a career, I had to be begged to use reference. If you were to look at a drawing that I made when I was six years old and then at one of my most current projects, you might actually be able to see a connection. Many different artists have had an influence on me, and I’ve taken small aspects of their work throughout the years, but only in ways that I’ve felt would lend toward creating a ‘drawing’. That is the only way I have ever looked at it. Now that my work has made its way into several different types of media, I have had to twist and manipulate it to fit a particular outlet. These experiences have all had a subtle but lasting effect on my work’s current state. I like the direction that my work is moving in because, as my ability increases, I feel like I am strengthening the connection between how I would like a piece to look, and my ability to bring that to life. HAVE YOU COME ACROSS ANYONE TRYING TO PASS YOUR WORK OFF AS THEIR OWN? Yes, I have. Unfortunately, we now live in a society where people care more about being cool on the

ASSUMING YOU USE BOTH PHOTOSHOP AND ILLUSTRATOR—IF YOU COULD ONLY USE ONE, WHICH WOULD IT BE AND WHY? Photoshop, for sure. I started working in Photoshop about a decade ago, and have spent more time exploring it than almost anything else in the world. Illustrator, however, is my immortal enemy. In recent years, I have had an interest in understanding it, but, ultimately, I have little to no use for it in my work. I am aware that it helps other designers make things that I wouldn’t even know where to begin with, though. MANY PEOPLE BELIEVE THAT ART SCHOOL IS A WASTE OF TIME, WHILE OTHERS THINK THAT ART SCHOOL IS ONE OF THE MOST CHALLENGING PATHS ONE COULD TAKE. BASED ON YOUR EXPERIENCES, WHAT DO YOU THINK? I recently decided to bring my experience with art school to a halt. I attended The Ontario College of Art and Design University (OCAD U… the C is silent) for three years, and, the entire time, I felt like they were trying to make every part of the experience as unnecessarily difficult as they could. On top of this, I felt like I hadn’t learned a single thing after my freshmen year. This being said, I did learn a lot in the first year I went there, and although I felt the

FOCUS MAGAZINE // 7

classes weren’t helpful to me after that, I was surrounded by thousands of people who were still interested in creating. I constantly crave knowledge, and the means to improve. Now, it’s just up to me to find that. Still, this was just my personal experience. Despite that, I do entirely agree with artistic education, and I would recommend it a thousand times over to anyone. At least try it out if you have an interest in bettering your work and understanding art and design in general. It is an amazing place that offers life-changing opportunities… It just wasn’t for me. WAS BUILDING A CLIENTELE DIFFICULT FOR YOU? Very much so. In fact, I am constantly working on maintaining and expanding my clientele. It’s very important to put out as much work as you can, and to make sure you push every piece that you put out. The entire business relies on word of mouth. WHAT DID YOU TRY IN ORDER TO GET PEOPLE’S ATTENTION? WHAT DID YOU NOTICE WORKED BEST? I worked really, really hard. Once I started to believe that my work was at a level that I was comfortable with in terms of sending it out into the world, I started (and haven’t stopped) emailing everyone and anyone who I believed might have a use for it. On top of that, I am always consistently trying to improve the quality of my work. Working with bands was definitely something that has helped me in many different parts of my career. WHAT WAS THE MOST CHALLENGING THING TO LEARN ABOUT ILLUSTRATION AND DRAWING? Drawing from life is so outrageously important. There was a time when I believed that I could draw everything based on what I thought it looked like, and, thinking back on it, that seems ridiculous. The more you understand how things are supposed to look, the easier and more accurate your manipulations of them will be. WHAT IS YOUR FAVORITE THING ABOUT DOT SHADING? It’s meditative in nature. After the initial process of mapping out a design and placing the base line work, I am able to zone out for hours. The repetitive motion rids me of the need for focus, and I can thoroughly enjoy working on a piece while also keeping calm. It also translates to print incredibly well. DO YOU PREFER DOING YOUR ART ON THE COMPUTER OR SOLELY WITH A PEN AND SOME PAPER? I wouldn’t necessarily say that I prefer one to the other as it is somewhere between the two that my work finds a home. The process of physically drawing can be challenging while also therapeutic, whereas the digital half of the process provides me with the

tools that I need to bring the graphics to life. WHEN WORKING ON A DESIGN, WHERE DO YOU GATHER INSPIRATION? There is no specific way to gather inspiration. Illustration occupies the majority of my brain most of the time, and so I feel like I am constantly analyzing many different aspects of visual language—whether that be subway ads, t-shirts on passersby, car decals, architecture, nature, etc. I’m not just analyzing on a level akin to a mental note; I’m always taking photographs of anything that stands out to me. The subject matter is irrelevant. These cell phone pictures have leant reference to many pieces that I have worked on. However, when branching out, I turn to the outlets that originally made me want to pursue design professionally. For example: tattoos, comic books, 50’s pulp, propaganda, record covers, religious texts, renaissance and other classical art movements, etc. DO YOU EVER FEEL ARTISTICALLY STUCK? HOW DO YOU SNAP OUT OF THIS STATE? I don’t consider myself to be an artist most of the time. The majority of the time, I build for function, as most of my work is client-based and it needs to serve a purpose. When I have trouble thinking of ideas, I look to designs that serve the same purpose, and build and combine from there. I am focused more on the way something should be designed, rather than on what I’d like to say with it. This being said, I have the opportunity to make work that represents myself once in a blue moon, and, because this opportunity is so rare, there is so much that I feel I can say when I’m able to exercise expression. HAVE YOU DESIGNED ANY TATTOOS? IF SO, DID YOU ENJOY IT, AND WOULD YOU CONSIDER BECOMING A TATTOO ARTIST? Yes, actually. I completed an apprenticeship at a shop in Toronto where I was able to make quite a few tattoos. I realized as I progressed that both tattooing and illustration are two-feet-in type professions, and I didn’t want to give up what I had started with illustration. I had too much respect for tattooing to continue to take it only half seriously. WHAT HAVE BEEN SOME CHALLENGES YOU’VE FACED AS AN ARTIST? HOW DID YOU OVERCOME THEM? Sharing a home with bugs and rats and not being able to pay rent or buy groceries was very tough, but I knew I would make it through. This isn’t to say that I’m entirely well off now, but money isn’t something I worry about anymore. What has been, and will always be, incomprehensibly tough is justifying to older generations that I know what I’m doing. Even if not directly said, I feel that between having tattoos and drawing for a living, I always have to justify my actions. This is something that I will only be able to overcome by continuing on my journey, and proving myself adequate.

FOCUS MAGAZINE // 9

WHAT MADE YOU TO WANT TO START WORKING WITH MUSICIANS? Music has always been one of my biggest passions, and it has always been something that I’ve been involved in. I’ve been playing guitar for over ten years, and have been in and out of hardcore bands as a vocalist. Music helps me whenever depression hits me like a truck. In short, music has meant and continues to mean a lot to me. I’m happy to be working with musicians, because I feel that I’m still able to be involved in creating a safe world for people that are not unlike myself to be able to express themselves and to understand their place. IS YOUR GOAL TO CONTINUE BEING AN INDEPENDENT ARTIST, OR DO YOU SEE YOURSELF JOINING A CREATIVE TEAM IN A COMPANY? I will always be independent. This is actually why I care so much about succeeding in my own game—it allows me to have as much freedom as I would like. I’m not attached to money, but rather to experience. Still, this is not to say that I wouldn’t join a creative team that allowed me to work within my own boundaries. WHAT WAS THE BEST ADVICE YOU HAVE EVER RECEIVED? WHAT ADVICE WOULD YOU GIVE TO OTHER ASPIRING ILLUSTRATORS? Burn your boats. Realize that there is no finish line, and do nothing but follow your passion. Wake up every day and think about how you can better yourself. Don’t have a backup plan. You are in control of your life. Never give up… Ever.

ALL WORK BY JAKE CARRUTHERS

FOCUS MAGAZINE // 11

BEHIND THE BAND NAME: Bobby Mathias JOB: Lighting Design, Production, Operation RESUME: Sleigh Bells, Modest Mouse, Leon Bridges, Iron and Wine, Austin City Limits, VEVO + MORE

HOW DID YOU FIRST GET INTERESTED IN PRODUCTION AND VIDEO? Growing up, my father was a drummer in a legendary San Antonio wedding band, Fahrenheit. I would take naps in his kick drum and request “Brown Sugar” ad nauseam. By the time middle school came around, I became obsessed with the Pink Floyd Pulse DVD. Once I realized I couldn't play guitar, I started seeing live music as often as I could, sneaking away to Austin on the weekends and submerging myself in it all. DID YOU GET A LOT OF HANDS-ON EXPERIENCE WHILE IN HIGH SCHOOL? I wish. Hindsight is always 20/20, right? At the time, I just loved going to Austin to experience live music. I didn't know what my place was in that world yet. I just knew I wanted in. If I could go back, I would jump head first into the theater program and build from there. WAS THERE ANYONE WHO HELPED YOU GET STARTED? I was very fortunate to be a part of a small collective of young lighting designers in Austin early on. Jack Davis, Megan Metcalf, Bryan Azar, and myself started Ilios Lighting in Austin, Texas. In the beginning, we were all learning together and pushing each other to learn more. These fine folks are all esteemed designers themselves today, and are still some of my best friends. DID YOU ATTEND UNIVERSITY? IF SO, WHAT DID YOU MAJOR IN? DID IT HELP YOU IN THE LONG RUN? I attended St. Edward’s University in Austin and studied Psychology. I never finished up (sorry mom!), as all of this kind of took on a life of its own during my senior year. In the end, I guess it didn't directly help me. But, again, who knows? WHAT DO YOU THINK WAS THE MOST CHALLENGING THING TO LEARN? The challenges change all the time. The technology changes so fast and so often that the most consistent challenge is keeping up with it all. At this point, though, I am juggling a number of different artists and projects at once, so my biggest challenge is prioritizing. HOW DO YOU GENERALLY LAND JOBS IN THE MUSIC INDUSTRY? Like with every other job in the industry, the relationships I’ve made are what continue to keep me busy. Hard work and no ego go a long way, because it’s a super small industry. WHAT WERE SOME CHALLENGES YOU FACED WHEN YOU FIRST BEGAN WORKING IN THE INDUSTRY? Well, being part of a startup company always has its challenges. At Ilios, in the beginning, we worked such crazy long hours and were tackling huge projects. In the end, it began to take its toll, and I knew it was time for me to take the leap and go out on my own.

Without those years, though, I never would’ve had the confidence to do it alone, and I wouldn't have changed it for the world. Without that hands-on experience, along with Bryan Azar giving me the opportunity to learn, I would never be in this industry! WHAT ARE SOME THINGS THAT TOOK YOU BY SURPRISE IN THE WORLD OF MUSIC AND ENTERTAINMENT? I think the thing that surprised me the most when I really started getting into it was just how much it takes to pull off a show. From a fan’s perspective, when the house lights go up, it’s all over. In reality, the real labor aspect of it only just begins. Being on the road is not what all those old Motley Crue videos made it out to be. It’s really difficult sometimes. My amazing wife has been the rock in our relationship and in our home. Without her, I would never have been able to pursue this dream. She amazes me everyday. DO YOU HAVE YOUR OWN GEAR? IF NOT, WHY DO YOU THINK IT'S BETTER TO RENT? I have a nice pre-viz suite at home that saves me. It lets me work up the whole show in visualizer software and program each song cue for cues. Without this tool and the hours upon hours of pre-production, all those amazing shows we get taken back by would never be possible. Technology is a wonderful thing. HOW DO YOU FIND INSPIRATION FOR EACH ARTIST YOU WORK WITH? I spend time with them. Plain and simple. It’s all about intention and, although I may have some general idea on what an artist is trying to convey, it’s not until I get to know them that it all becomes clear and we both end up on the same page. Opening up those conversations takes time and trust. When it all comes together, amazing things can happen. HOW FAR IN ADVANCE DO YOU PLAN OUT YOUR LAYOUT FOR AN ARTIST OR PERFORMANCE? It depends. I have a base show file I can always defer to for last second gigs so I can still make it happen. At this point, for most artists, we start working months out on a stage design for an entire year album cycle. WHAT IS THE BIGGEST LESSON YOU LEARNED SINCE STARTING OUT? If you come at things with no ego, there is no shortage of amazing teachers willing to share. The longer I remain in this industry, the more I value the lifelong friendships it has given me. I am lucky enough to work with some of the most talented people on the planet. WHAT IS THE BEST ADVICE THAT HAS BEEN GIVEN TO YOU? Without lights, it’s just radio! GET CONNECTED: W W W. P I O N E E R P R O D U C T I O N D E S I G N . C O M P H O T O // L O R I G U T M A N

FOCUS MAGAZINE // 13

LOCAL SPOTLIGHT F E AT U R I N G

THE PRESS WAR

I N T E R V I E W // L I N D S Y C A R R P H O T O S // J A S O N C O X

GET CONNECTED F A C E B O O K . C O M / T H E P R E S S WA R T H E P R E S S WA R . C O M

CAN YOU TELL US ABOUT SOME OF YOUR INFLUENCES AS A BAND OR AS PEOPLE, MUSICAL OR OTHERWISE? Our influences as a band range very broadly and encompass not only our daily lives, but also very much the art we consume. I say consume only because I believe it very much becomes a part of you. I think that, personally, music and film affect me the most. From Michael Jackson to Blink-182, from The 1975 and Florence and the Machine to The Wonder Years, we’re always looking for something fresh to make us feel something. And in film, I love horror and comedy, but I’m a sucker for dramas like “Her” and “Synecdoche, NY”. The score, thematic content, and cinematography combine to make a beautiful piece of art that tells us, or makes us question, something about ourselves. WHY DID YOU CHOOSE “FOLLOW ME” AS THE NEW SINGLE? “Follow Me” was chosen as a second single because, to us, it was the second most accessible song we recorded. IN JULY, YOU DID A SHORT TOUR WITH YOU, ME, AND EVERYONE WE KNOW. WHAT IS THE MOST IMPORTANT THING YOU LEARNED DURING THAT TIME? WHAT DID YOU ENJOY MOST ABOUT IT? The most important thing I learned on that tour was to stop overthinking things during our live performances and to really let go of myself. Essentially, I learned to just dance and have fun! It’s easy to get caught up in a constant analysis of how well you think you’re doing, especially when your goal is perfection. But once you get that out of your

head and start truly enjoying yourself, your audience will too. The thing I enjoyed the most was definitely performing. At the end of the day, that’s the only reason we’re out on the road. WHAT ARE THE EASIEST AND HARDEST PARTS OF BEING ON TOUR? In my experience, there is no easy part. It’s super fun, but it’s still a lot of work to be on the road. From long drives, to being in a constant state of fatigue from lack of sleep, to trying to prepare for each performance—both mentally and physically, to keeping tensions low between your friends, it can be incredibly grueling and challenging. But, despite all that, it’s still the most fun and rewarding thing I do. BIGGEST LESSON YOU’VE LEARNED IN THE MUSIC INDUSTRY? Work hard, work hard, work hard. You can do this, but it takes a lot of patience, a lot of sacrifice, and an insane amount of perseverance. WHAT ARE SOME GOALS OR FUTURE PLANS FOR THE BAND? I think my biggest goal is to be a better songwriter with each release. On the non-musical end of things, I’d really like to incorporate a specific aesthetic into the next album that we portray consistently across the board. I think branding yourself is super important and can substantially differentiate you from a lot of other artists. Aside from that, we’d love to continue to tour as much as we can. If we can do full U.S. tours two years from now, and then tours in the UK and Japan in a few years, I think we’ll be pretty stoked, haha.

FOCUS MAGAZINE // 15

When you think of musical cities in the U.S., three generally come to mind: Nashville, Los Angeles, and New York City. Unless you’re from the North East, Providence, Rhode Island, probably isn’t even remotely on your radar. Although that may be the case for a lot of people, TROPHY WIVES’ guitarist and vocalist Chris Piquette wholeheartedly believes that “Providence is so healthy for bands. It actually gives you a place to rise out of. If we were from Massachusetts, I don’t know if we would be where we are right now.” With so many bands and musicians trying to make their voices stand out in an oversaturated industry, the guys in Trophy Wives are well on their way to separating themselves from many of the pop-punk acts—not only in New England, but in the rest of the country as well. Still, despite their recent growth and successes, it hasn’t exactly been an easy journey.

In 2014, the guys reached a huge milestone in their career when they had the opportunity to perform on the Ernie Ball stage at Vans Warped Tour. However, days after the show, Trophy Wives had to announce a lineup change. “How do you come off the most spirited day of the year, post a picture of the crowd, and then have to announce, ‘Thanks everybody, but Pat and Dave are leaving the band!’? That’s literally what we did,” Chris details. Fortunately, the split was done amicably and was as peaceful as it possibly could have been. “People are in music for different reasons, and you have to respect what they’re in for,” he elaborates. Alongside Chris, Trophy Wives’ current lineup consists of Sam Boxold (vocals), Tyler Young (guitar), Travis Danforth (bass), and Mike Crawley (drums).

Ironically, Chris, Travis, and Mike, who were all in the band before the change, felt that their final show with the old lineup was the first time they truly believed that being full-time musicians could be a reality. On top of meeting and performing for new fans, they had the opportunity to introduce themselves to other musicians on the tour and make new connections. Instead of just complimenting other artists’ music, they now shared a common ground with them. “We looked around and said, ‘We’ve been coming to this festival for ten years, and here we are playing it.’ Last year, we stuck our noses in some places, and we found that the industry is here,” Chris comments. Their participation in 2014’s Warped Tour also put Trophy Wives in the running for the Ernie Ball Battle of the Bands contest. As finalists, they were flown out to Los Angeles to play a show in the hopes of winning it all. Unfortunately, they didn’t win first place, but Chris points out that a perk of being selected to go to LA was getting a small run on Warped Tour the following year—in 2015. In their eyes, that was worth as much as the grand prize. The overall experience was a turning point for the band, and, on top of being eye-opening, it is also a notable highlight of their time as a band thus far. Chris expands on that, adding, “There’s something involving our new music that we are working on that we never could’ve imagined coming out of the trip, even if we wanted to. We lost, and yet we got more out of it than we ever thought possible. We made the best friendships and connections we could have made. A lot of things are starting to happen, and it’s going to be wild. We actually know what we’re going to do with our music now. We know where we’re headed and what’s in front of us.”

recorded the band’s first EP. This particular aspect isn’t something they necessarily advertise, but the guys also don’t try to hide it. Naturally, they do this because recording in a studio can add up in costs, on top of the fees that come with hiring a producer— especially for an unsigned band. Hesitantly, Chris hopes that, in the future, bands won’t need record labels. But the band understands why labels are so important. “You need financial backing. It’s absolutely necessary,” Sam exclaims. Still, there is a plus side to producing their own music, especially because they managed to do it successfully. This accomplishment shows fans as well as the rest of the industry what these guys are capable of as a band. Chris details, “For us, it just means we haven’t even tapped into what we can do. We haven’t broken out of the walls of our own minds yet.” As people realize the potential Trophy Wives truly has, the band gains more and more fans. “At the end of the day, I think a more important part for a band like us is the fanbase and the loyalty behind it,” Sam adds. “We hear even the biggest bands say, ‘Hey, if you don’t mean something to your hometown kids, you don’t mean anything.’ It’s about connecting with kids, and we’ve found a way to do that.”

That one show from over a year ago was the catalyst that fueled a snowball effect for Trophy Wives, and, once Sam joined the band shortly after, everything slowly started falling into place. According to him, the band’s writing process “constantly evolving. Everything is pretty much a collaboration between me and Chris at first. Either one of us has an idea, or we just bounce off of each other.” Chris explains that “just welcoming another writer into the band and having a very cohesive writing process among five guys is a huge step up from what it used to be.” Difficulties can still arise, of course—as people have different opinions—but Sam also mentions that “if something doesn’t feel right to someone, he speaks up, and we try to fix it.” With this in mind, not everything has changed for Trophy Wives. Chris has always been heavily involved with the band’s creative process, since he deals with all the instrumentals and also self-produced and

FOCUS MAGAZINE // 17

This is especially true in the small city of Providence, where Trophy Wives have gained a loyal fanbase and developed friendships with bands in the surrounding cities—namely Worcester and Boston. Chris exclaims, “What’s cool about our music scene is that all the bands share our interests. Some of the stuff we say about wanting to be in a band and traveling and waking up on floors… People look at us like, ‘What are you thinking?!’ But there are people who say, ‘Aw, yeah, dude! Yes!’” Together, they are all are able to create a community of avid musicians. Unfortunately, fans aren’t always packing out venues, but that’s when these bonds that bands form amongst themselves are the strongest. Even if there aren’t many people attending the shows, these bands— these friends—can all enjoy each other’s music and still make the most of it. “You throw four or five bands on a show—they all know each other, they all love each other, and they’re all sticking around for each other’s sets,” Chris explains. Through all the difficult times and struggles, it is necessary to love what you’re doing and to make the most out of every situation. Trophy Wives is a great example of a band that does exactly that. “When we think about it, we aren’t here because we want to strike guitars. We’re here because we love traveling, meeting people, playing music, writing lyrics, and hearing people singing them back. There are things you can’t do if you don’t open your mind up to them,” Chris expresses. This is a band that’s been through a lot already: a lineup change, getting themselves out on the road, producing their music. Through all that, the guys have had smiles on their faces as they consistently persevered, because this is what they love to do. Chris concludes, “You have to find a way to enjoy everything, because there’s the good and there’s the bad, and you have no idea which it’s gonna be when you wake up. You have to be ready for anything, and never let it get you down.”

“YOU HAVE TO FIND A WAY TO ENJOY EVERYTHING, BECAUSE THERE’S THE GOOD AND THERE’S THE BAD, AND YOU HAVE NO IDEA WHICH IT’S GONNA BE WHEN YOU WAKE UP.”

I N T E R V I E W + S T O R Y + L I V E P H O T O S // L E A H D I C K E R M A N P O S E D P H O T O // P R O V I D E D L A U R E N F L E T C H E R

FOCUS MAGAZINE // 19

BOYMEETSWORLD 20

“ARE YOU SURE YOU WANT TO DO THAT?” Ryan Sulken’s parents asked when he announced his plans of pursuing music full time. Unlike Ryan, his twin Craig opted to go to college... Only to come back and join Ryan. Luckily for them, their parents weren’t disappointed. “They said, ‘If this is definitely what you want to do, then go for it,’” Ryan discloses. With their parents’ blessing, Ryan and Craig, along with their older brother, Brad, came together to create BOYMEETSWORLD. They soon added Drew [Andy] Richter and Drew Thomason to the band, solidifying the line-up. “I think growing up, all of us were really into music,” shares Craig. “We listened to Good Charlotte, Simple Plan, Sum 41. All of those bands sparked something in us.” With these influences, the guys began writing music collectively and, before they knew it, they won first place at their tri-state Battle of the Bands. It wasn’t long until people began paying attention, and the five-piece began forming a solid following. Part of the reason many people took notice is due to their name. Because so many are familiar with the show, the name BoyMeetsWorld resonates with audiences. Craig expands on this, saying, “I think our name is going to stick with people because it was a TV show. They’re going to be able to remember our name over a lot of other names.” Drew explains that, aside from this, the name fits them because “most of our music is about being a person who’s young at heart and is growing up and facing the kinds of challenges depicted in the show.”

FOCUS MAGAZINE // 21

Another thing bystanders take note of is the band’s live shows. There are only a handful of bands that consistently interact with the crowd during live shows the way BoyMeetsWorld does—namely letlive., Being As An Ocean, Emarosa, New Politics, and Beartooth. “We just like to keep everyone entertained,” Ryan comments. “I hate going to watch bands that don’t really doing anything besides playing their music.” Drew adds that although there’s nothing wrong with focusing on playing the music, if he can make a show more fun for everyone, he will do it. “If you very clearly can be doing something else, and you’re not, that’s a problem with your life,” he continues. The guys were able to give this experience to the fans during this year’s Warped Tour. “You gotta work your way up. That’s where you wanna start,” Ryan states, and that’s exactly what the guys did. In 2014, BoyMeetsWorld was one of the official catering bands of Warped tour, which ultimately helped them land the tour this year. “When you’re a catering band, it means you’re a low man on the totem pole,” Craig clarifies. “You work for the catering company as an endured servant,” Drew jokes. Still, being a catering band comes with its advantages. Although they don’t get paid, they are able to promote their music throughout the whole tour. “You get to sell your CDs, you get free food, and, in some cases, you even get to play,” Ryan stated. “We got to play four dates last year.” Had they not done catering in 2014, the band would have not played the whole tour this year. “[We] all worked so hard last summer in catering, volunteering for extra shifts. We were really nice to production, and everyone else on Warped Tour,” Craig reveals. Their hard work and efforts made a lasting impression on everyone involved with the tour, which led to them being invited back for 2015. This past June, while on Warped, their debut fulllength, Become Someone, was released. The album was recorded in Moonlight Studios, where their Do What’s Best For You EP was also done. “We would always just go into the studio, knock out our songs, do what we needed to do, and just get out of there,” Ryan tells us. “This time, however, we sat there and wrote a little more.” Over one hundred studio hours later, the album was finally ready. They toured Warped Tour in support of it, and, luckily, the guys were met with positive feedback from the

fans. Despite the good reception, the summer tour isn’t all glamour and fun. Their bus failed various times during those weeks on the road, and this issue often made them miss shows. Craig and Ryan joke that they often cried, but, in reality, they were simply stuck in mechanic shops. “We were basically bored out of our minds because we were stranded,” Craig explains. “We can’t drive, and we’re in a random city. It’s hard to keep yourself entertained.”

“YOU GOTTA WORK YOUR WAY UP.” On top of this, living in a small space with eight others is always difficult. “No one has personal space, and you get agitated with each other,” Ryan confesses. And, often, people have different personalities that can sometimes clash. Drew builds on this, explaining that he enjoys staying in while a majority of the guys like to go out. “It gets to a point where it’s like… You don’t have any time to just keep to yourself. That can be a little rough sometimes,” he admits. That’s not to say he isn’t appreciative of touring, difficulties or not. “Once you get past it, I mean, just the freedom of waking up every day knowing you can do whatever you want... You don’t have to go to work or anything like that. All you have to do is something that you love to do: play music. That’s awesome,” he muses. Even with the bad days and the challenges thrown at them, it’s moments like the one they experienced in Texas that make it all worth it for BoyMeetsWorld. “We were standing in line, and some fans said they came from Mexico for the show. They flew two hours pretty much just for us,” Craig exclaims. “I get goosebumps just thinking about it!” Ultimately, this is the life that they have chosen, and the guys have made too much progress and worked too hard to get to where they are to give up now. EDITOR’S NOTE: At time of press, Brad has decided to part ways with the band. We wish them all the best, and we can’t wait to see what the future holds for them.

I N T E R V I E W // L E A H D I C K E R M A N P O S E D P H O T O // M A R YA M T U N I O S T O R Y + L I V E P H O T O S // P E N E L O P E M A R T I N E Z

FOCUS MAGAZINE // 23

e f i l d l i w s thi IE INTERV

ORY W + ST

+ P

LO // P E N E HOTOS

TIN PE MAR

FOCUS MAGAZINE // 25

KEVIN JORDAN and ANTHONY DEL GROSSO never imagined that their cover of Bring Me The Horizon’s “Sleepwalking” would lead them to the success they have found. “We knew it was cool when we had finished it, but we didn’t imagine it would help us propel the record that we were making at the time,” shares Anthony.

“It was truly both of our last shots at creating music for a living,” reveals Anthony. “If this record didn’t catch on the way it did and get us involved with the team that we work with, we’d both just be getting jobs and playing music as a hobby. Luckily, when Epitaph heard the album, they were confident in it, and that lifted any pressures the duo had.

While growing up, Anthony’s mom played a lot of music while doing yard work or chores in their home. Around the time that his older brother was given a drum set, they both began getting into rock music, and Anthony soon developed a passion for drumming as well.

Despite all the positives that come with being a signed band, there are evidently still some drawbacks. “Release times are slower for a label because they want to plan a release more effectively,” Anthony says. Still, this is usually a positive thing, because it means the label is trying their best to help an artist reach a larger audience.

After having played in a few other bands, both Anthony and Kevin learned from their mistakes and began to do things differently. “I’ve played in bands that went out and booked DIY tours to try and play for any people possible,” Anthony shares. “It takes a lot of heart, but it also takes a lot of money... Which we didn’t have.” Instead, the duo decided to focus on creating music and gathering a loyal fanbase by promoting their music online instead of playing shows for five to thirty people. Although things were slow at first, they eventually began picking up, and the two of them soon built up a following. “We’d get together a few days a week after work and practice in our original guitarist’s garage,” Anthony discloses. The writing, on the other hand, was usually done separately instead of having everyone brainstorming in the same room. The music they worked on, whether they were originals or covers, went online for anyone to see. Even with the millions of artists, musicians, and bloggers on YouTube, TWL chose to not pay attention to them. “We never felt like ‘YouTubers’,” they admit. “We don’t do bullshit vlogs or tutorials or anything like that. We just make music, and then we put it online so people can be exposed to it in whatever medium they see fit.” Ultimately, doing so has worked out for them. In 2014, the band was signed to Epitaph Records, who, according to Anthony, was “the only label that really got what we were doing.” Unlike Epitaph, other labels wanted to change This Wild Life. “They wanted us to tweak our image and art style to suit the music, but that’s just not us,” explains Anthony. “Our image may contrast with our music, but we’re musicians, not models.” On top of this, the guys had already finished writing, funding, and recording their full-length album, so changing it wasn’t a viable option.

Since being signed, This Wild Life has played multiple festivals—such as Self Help, Warped Tour, and Soundwave—and recently wrapped up a tour with Mayday Parade. Being an acoustic band could have stopped them from playing certain gigs, but Kevin and Anthony didn’t allow that to happen. “There is no ceiling whatsoever for a band like us. We’re glad we haven’t pigeonholed ourselves into a gimmick or any particular scene,” Anthony comments. “There are tons of artists playing acoustic music that pack arenas, so I don’t think it will hinder us from developing a live fanbase.” Nevertheless, their success comes with a price. Since touring is an essential part of being a musician, it is much harder for Kevin and Anthony to keep relationships and friendships strong while on the road. “Being gone two thirds of the year isn’t a recipe for being a great family member, significant other, or friend,” they confess. Aside from that, living on the road in a small space can be challenging. “We’ve had to learn how to give each other space and to communicate,” Anthony admits. Even with the many obstacles that come with being in a band, there are plenty of moments that make it all worth it at the end. For This Wild Life, their headlining show in California was one of those memorable moments. The show sold out in advance, and the money that was raised through ticket sales, merch, and donations reached nearly $12,000. To top it all off, it was donated to the National Breast Cancer Foundation. Even though This Wild Life has done some incredible things this year, we know that there is much more to come. We can’t wait to hear new music, and we’re stoked on what 2016 will bring them.

FOCUS MAGAZINE // 27

P H O T O S + I N T E R V I E W + S T O R Y // P E N E L O P E M A R T I N E Z

FOCUS MAGAZINE // 29

“I WAS SO EXCITED TO DO THOSE SHOWS BACK IN 2007. I HAD JUST GOTTEN MY FIRST PLAYS ON RADIO 1, AND I HAD PEOPLE FROM THE STATION COMING DOWN TO THE LONDON SHOW ON THE SECOND NIGHT… BUT I COULD BARELY SING. I HAD TO FINISH THE SET FIVE SONGS IN.” For Rod Thomas, the man behind BRIGHT LIGHT BRIGHT LIGHT, losing his voice on the first show of a two-week tour left him at a cross. “I went to the doctor the next day and he told me I had to stop singing for two weeks or else I’d cause permanent damage. I had to cancel the whole run. I was pretty depressed about that. Since that rough patch, Rod created Bright Light Bright Light, toured with Ellie Goulding and Elton John, moved to a new country, and gained significantly more confidence in his music. “I started to have a lot more fun,” he exclaims about his decision to leave folk music behind and continue making music as BLBL. “I felt really energized being able to play fun shows where people could dance and let go. It felt so amazing.” On top of that, the transition from folk to pop meant that he could start experimenting with different sounds. “I felt like my horizons grew wider and wider,” he expresses. Switching to pop was natural for him despite having played a variety of styles of music in the past. Many genres of music were always in his head, but, more importantly, pop made him feel differently. “It took me to a very different world,” he comments. “The beats, the synths, and the layers of pop music always intrigued me,” he states, before admitting that growing up in a very rural environment played a role in his connection to pop. Ultimately, growing up in a small town came with its ups and downs. “It was beautiful and quite magical, if a little isolated,” he explains. “I’m always a little sad that I was never part of a band.” Still, he chooses not to ponder on the “what ifs” and instead focuses on what he has already done and what he can still accomplish in the future. “You don’t know any different than what you have when you’re growing up, do you?”

A few years ago, Rod moved to New York due to some unfortunate circumstances. “The breakdown of a personal and work relationship led me to leave London,” he reveals. However, this transition ended up being what he considers to be the best decision he’s made thus far. “My life since then has been really amazing. Without that, I wouldn’t have achieved anything I have over the last few years.” Thankfully, New York brought a lot of positivity and great people into his life. The move, he feels, has helped his career in many ways. For one, it’s made his hometown shows in the UK a lot more special. Aside from that, he feels more at home as a musician in NYC. “I feel like I have a real musical family. It has helped me so much with putting music records together and finding people I feel really happy to share the stage with—which is the most important thing,” he expresses. Unfortunately, the big move didn’t take away the stress that comes with being an artist. From touring to having to be strict with those working with him, the different environment and career path continually takes a toll on his life. “Tours anywhere can be very exhausting. Long travel days—especially in the U.S because the country is massive—can be very draining,” Rod explains. “Aside from the shows, there are lots of things I do that people don’t see, like tour managing, handling merchandise, staying ‘til the very end of a night to settle up, and more.” Despite these challenges, being on the road and doing what he loves gives Rod the energy he needs. “The only real trauma is when you get sick, which does happen sometimes because each state has a really different climate,” he comments. “I always get sick when I get to LA because the air is so dry and everywhere has insane AC.”

FOCUS MAGAZINE // 31

“I DON’T THINK LIFE IS ‘EASY,’ BUT I THINK THAT, IF YOU STOP FOCUSING ON THE NEGATIVES, THERE IS SO MUCH TO ENJOY IN THE WORLD, AND IT’S PRETTY GREAT.” Apart from these difficulties, just managing people in and of itself can be a great challenge for a DIY artist like him. “I’m the boss, the musical director, the tour manager, and the bank account that pays everyone,” he points out. Taking on so many roles can have a negative impact on someone, especially someone like Rod who enjoys getting to know people beyond their work relationships. On top of that, he hates having to play bad cop if something goes wrong. Luckily for him, the people he’s worked with thus far have been undoubtedly amazing. “I’ve met some incredible people who have really changed my life through music, and, without them, I honestly don’t know where I would be.” Evidently, these past few years have been great for Rod, musically and otherwise. He successfully landed and completed a tour with Ellie Goulding when he had only one single out. After that, not only did he tour with the Scissor Sisters and Erasure, who had a deep influence on him, but he was also able to open for Elton John—someone who he has looked up to ever since he was young. Just recently, he wrapped up a tour with John Grant, whom he’s a big fan of as well. He admits that “[John] and his band are the most incredible people I could have toured with. I love them so much.” Being on the road with all these influential people ultimately taught him many lessons about life and music. One of the most important things he learned was how things work behind the scenes, and exactly how much labor and passion goes into everything. “It’s very hard to express just how much it’s changed everything,” Rod acknowledges. “It’s amazing to see the thrill everyone gets from performing, and to tour with musicians as totally in love with making music as I am. That’s the real dream.” Because of these great opportunities, one of his best memories happens to be the first U.S show he did with Elton John in the summer of 2014. “I’d always wanted to tour the US, and he made this intro video

for me to walk on onto the stage, where he introduced me to the audience,” he shares. “I mean, WHO DOES THAT? It’s so special. I was really overwhelmed, and the reality of what I’d achieved kicked in. It was so incredible, and so humbling. I still can’t believe that.” Around the same time, he released his latest album, Life is Easy, and it made it onto the UK Charts. This achievement was quite a special one for Rod, seeing as how it was such an honest record. “It is the true snapshot of my year of moving to New York and really healing from lots of things: confidence crises, and breakdowns of professional and personal relations. It really came from the heart,” Rod reveals. He shares that the album was mostly recorded in his home studio in Brooklyn, as well as mostly mixed by him, and this experience helped him gain a lot of new skills. Remarkably, he was able to get Elton John, his hero, on one of the songs. “Never in a million years did I think that was possible,” he remarks. With 2015 almost over, it’s nice to reminisce on the good and the bad the past few months have brought into his life. For Rod, they were full of exhaustion, and lots of it. Still, he shares that “the most important lesson is that—despite all the tiredness, the flying (which I hate), the stress of logistics, and the crazy time zone switches—every second is worth it. I get to do something I love every day, so there is something positive in every day.” Amongst all the incredible goals Rod has accomplished, things are still falling into place, and he continues to reflect on how moving overseas has helped him in ways that he couldn’t even imagine. “I really felt myself let go of things that were holding me back. I just shifted my gaze slightly to the side and started appreciating the amazing things I had in my life,” he shares. “I don’t think life is ‘easy,’ but I think that, if you stop focusing on the negatives, there is so much to enjoy in the world, and it’s pretty great.”

FOCUS MAGAZINE // 33

catching up with

LYDIA I N T E R V I E W + S T O R Y // E D D I E C H I S H A M P H O T O S // K AY L A S U R I C O

FOCUS MAGAZINE // 35

or some bands, finding a reason to continue after years of playing together and going through hard times is a tough task. But for LYDIA, it’s as simple as loving to write music. Lydia is comprised of lead vocalist and founder Leighton Antelman, keyboardist Matt Keller, and guitarist Justin Camacho. The threesome has been touring their new album, Run Wild, all over the United States since September. Although Lydia has been through several member changes since the band’s inception in 2003—with Antelman being the sole constant—the guys feel as though their sound is now more focused than ever. Of course the changes to Lydia’s lineup affected their songwriting, recording and live performance, but change never seemed to be a bad thing for the band. “I don’t know, I guess different people write different ways. Different people perform different ways. I like playing with a lot of different people,” Leighton explains. “If you compare Run Wild to our past records, it’s more focused than anything that we’ve ever done,” Matt adds. “It’s darker, moodier pop music played by a rock band.” Lydia’s newfound focus could be attributed to their pure love of songwriting and the inspiration that they acquire from the fans. “I think that the fact that we can get in a van and drive across the entire country or fly across the entire world and find people in these different places who actually come out to see us is inspiring to all of us. It makes us wanna work harder,” Justin exclaims. The shift in direction that is evident in Run Wild’s sound could also be attributed to Lydia’s new recording style. This time around, the band opted to use the help of two producers instead of their usual one. This resulted in more heads asking more questions and giving more input. Ultimately, the guys enjoyed the process more with the added input.

“I liked working with two different producers,” Leighton comments. “I’ve even said that, on the next record, we might try to work with three or four. Different heads and different ideas coming together—it’s cool.” Matt echoed this thought, adding, “We all have our ideas of where things should go, but the three of us naturally gravitate towards the same things, and we find ourselves agreeing on a lot of factors. So it was nice to have more than one producer chime in and say, ‘I know you guys do that. Why don’t you try this?’” According to Justin, the two producers, Aaron Marsh and Colby Wedgeworth, couldn’t be more contrastive with their ideas. In turn, this amplified the diversity of the options and sounds which eventually influenced the album. And because each of Lydia’s albums have a different style and feel, the experimental sound on Run Wild isn’t necessarily indicative of future works. “We don’t have a set style that we go for. We all just write songs. However they turn out, that’s the direction we go in, I guess,” Leighton ponders. “We won’t really know until we write it,” Matt adds. Ultimately, their latest attempt was a success, and the fans’ reception to Run Wild and its supporting tour makes traveling around the country in Michelle Obama, their tour van, a lot easier. “It’s always good to see people singing along to your new songs,” Justin exclaims. “That brings a lot of life into the set for us.” It’s clear that Lydia is going to keep on keeping on with the new life and momentum that their latest album and tour have brought the band. And, most importantly, because of all the positivity the band has garnered in response, the guys have proper, simple motivation for any upcoming work. “We all just like to write music, and in a way where people still give a shit. When people care, it inspires us to create more,” Leighton declares.

FOCUS MAGAZINE // 37

S T O R Y // L E A H D I C K E R M A N I N T E R V I E W // P E N E L O P E M A R T I N E Z

P H O T O // P E N E L O P E M A R T I N E Z

“We may look like an overnight success, but it has honestly been a challenge the whole way. Nothing has just fallen in our laps,” Amy shares. Seemingly out of nowhere, Australian music sensation, SHEPPARD, have burst onto the scene with their hit single “Geronimo.” After paving their way through Australia, they are well on their way to conquering the American industry. To some, it may seem as though the band caught a big break with their overseas success coming seemingly quickly and easily. However, brother and sister George and Amy Sheppard have been collectively working hard as a band since 2009. Sheppard was a duo until 2011, when their sister Emma joined them on bass. During that same year, Michael Butler and Jason Bovino joined the team as guitarists. Eventually, drummer Dean Gordon rounded out their current lineup, and everything finally fell into place. If you asked ten-year-old Amy what she wanted to be when she grew up, she would have said a musician. “Having a career in music has been something I’ve dreamed of for a long time. I think the realization came when my music teacher, Baruka Tau, told me stories of his touring days with the likes of Madonna and Janet Jackson. It lit a spark in me,” she explains. From then on, it’s been full steam ahead in order to make her dreams become a reality. “I think we knew we had something special when the three songwriters—George, Jason, and myself—came together, and we wrote and recorded our first song,” she reminisces. Unfortunately, when many see the end result of someone’s success, they sometimes forget to recognize the hurdles that had to be overcome to achieve it. One of the first difficulties Sheppard had to deal with was establishing an audience for their music. Australia’s music industry is slightly different

Sheppard

FOCUS MAGAZINE // 39

P H O T O // P R O V I D E D

from America’s. The biggest difference is, of course, the size of each industry. “In Australia, there are plenty of avenues to be heard. There’s commercial radio and there’s alternative radio. In the States, there are quite a few radio stations for every single genre. It’s a lot easier to get lost, and we’ve had to work a lot harder to get our name out across the country,” Amy elaborates. The band utilized this avenue of the Aussie radio as their self-produced first single, “Let Me Down Easy,” shot straight to number one. Although their track to success may have been faster than others, Amy highlights some of the struggles Sheppard have faced throughout their career: “finding the right producer for our sound, starting our own independent record label, touring and the abundance of struggles which come with touring, deciding whether to sign with an overseas label.” Sheppard began as a DIY band, doing practically everything themselves. As their success grew, they needed someone who was familiar with this newfound territory. Of course, that ‘someone’ is ultimately a major record label. Although they are able to stay solely independent in Australia, crossing oceans into other markets “is a completely different

kettle of fish” and was something the six-piece knew they couldn’t do on their own. “Although it’s best to have complete control over your music, I think it definitely helps to have the resources that a major label can give you. We were fortunate enough that our risk of going independent paid off in Australia.” Amy believes that, one day, independent, DIY bands will definitely have an easier time making it on their own in every market. “I think that as technology advances further, it will only become easier and easier to release music by yourself on an international scale, which is ultimately what every songwriter and performer wants: to have complete control over their art and the way it reaches people,” she explains. Unfortunately, that still isn’t the case today, and many artists need the help from the talented promotions and publicity teams that come with major labels so that their music can reach as many listeners as possible. After getting signed, Sheppard got the best of both worlds—the band’s creative process remains completely in their power, and having players like Republic Records in the US, and Decca in the UK, on their side definitely gives them a leg up.

Their partnership with Republic has especially paid off, as their song “Geronimo” off their debut album, Bombs Away, has had monumental success in the US. “It’s hard to describe the feeling of its success,” Amy confesses. “The song has launched us internationally, and it will always hold a special place in our hearts. We’ve had the year of our lives thanks to that song,” she adds. She reveals that “Geronimo” is about taking a leap of faith even if you think it might fail. “‘You gotta risk it to get the biscuit,’ as they say, and I think it was a very fitting theme for our first release.” While many people have a hard time getting “Geronimo” out of their heads, that song is just a scratch on the surface of the rest of their album. Their debut record holds themes of hope and resilience. “Bombs Away is an underdog story. I hope people find strength and confidence through these songs,” she divulges. Some of Amy’s favorite tracks include “Halfway to Hell,” “A Grade Playa,” and “The Best Is Yet to Come.” The album’s artwork completes the message of the record. After having a few artists draft concepts for its artwork, “the astronaut by Jefferton James stood out for us. We felt like it signified our

exploration and charting into the unknown with our first album. If you look on the back on the album cover, there are six astronauts who represent the six band members,” she points out. While they did risk a lot by “charting into the unknown,” with great risk comes great reward. “It feels as though each opportunity that comes our way has greater potential than the last. I guess this comes with learning from each experience and growing along the way,” she remarks. To touch on a few of Sheppard’s career highlights, Amy tells us that the band’s first overseas tour, signing with Chugg Entertainment and Scooter Braun management, winning Best Group from the Australian Record Industry Association, and performing on The Tonight Show with Jimmy Fallon and The Ellen Degeneres Show are some of their best moments so far. As Sheppard marches on in their voyage to share their passion with as many as they possibly can, they have more once in a lifetime opportunities headed their way. For example, at the end of this year, they will be supporting the legendary Elton John in their home country. “It will be the show of a lifetime.

FOCUS MAGAZINE // 41

P H O T O // P E N E L O P E M A R T I N E Z

“MUSIC IS MY PASSION. IT’S MY CAREER. IT’S MY WHOLE LIFE. PEOPLE ALWAYS ASK WHAT JOB I WOULD BE DOING IF IT WEREN’T FOR MUSIC, AND I NEVER KNOW HOW TO ANSWER. I’D BE A VERY UNHAPPY, UNFULFILLED PERSON.” “Elton John?! I’m still pinching myself,” she muses. If you’re wondering how this all came about, it was simple. Elton’s teams asked them to. Their great connection, though, and ultimately how this all came together, is through their manager—who also happens to be Elton John’s promoter. Small world the music industry is! Evidently, if you have the passion and drive to make your dreams come true, you have the potential to eventually get there, and Sheppard are proof of this statement. “Music is my passion. It’s my career. It’s my whole life. People always ask what job I would be doing if it weren’t for music, and I never know how to answer. I’d be a very unhappy, unfulfilled person,” Amy professes. However, even while living your dreams, nothing is perfect—especially not in this business. “The music industry is going through a massive shift right now, and the majority of people in this industry are suffering big time,” she discloses. “It would be nice to see people getting paid when they deserve it. So many musicians are desperate enough to get their name out there that it’s easy for people in the industry people to exploit them. It’s frustrating to experience, and it’s frustrating to witness,” she continues. Even with the tumultuous ups and downs that come with being a musician, at the end of the day, many like Amy and the rest of Sheppard are here to create and share their stories with the world. If you’ve heard their infectiously catchy song, then you should absolutely check out their debut album, see them at a show, and join Sheppard on their expedition across the globe as they set out to make a difference the best way they know how: through music.

FOCUS MAGAZINE // 43

P H O T O S // P R O V I D E D I N T E R V I E W + S T O R Y // P E N E L O P E M A R T I N E Z

WHEN KEEGAN CALMES

was learning how to play the guitar, he discovered he had a new passion: creating music. “I never really wanted to play anyone else’s music when I first began playing,” he shares. “I always wanted to make my own version of everything.” He thinks back to a time when he was around twelve years old; he had just finished a music lesson during which he wrote over the music sheet his instructor gave him with his own version. “I always wanted to create. I never really found a lot of meaning behind covering other songs, or playing other people’s songs,” he stresses. Keegan met keyboardist Chris Senner while still in high school. Chris then recruited drummer Nick Cesarz and bassist Josh Pothier. Their addition was “seamless,” according to Keegan. “They were the missing pieces to the band,” he shares. However, their progress came to a halt once they graduated high school. Most went to different colleges, which meant they had to work on the music apart. Despite the various means of communication they had, including email, Skype, and texting, creating music while being so far from each other was one of the most challenging things they’ve faced thus far. “I think that music—true music—really shines when you’re with somebody else,” Keegan explained. “It’s just so different... So much more real. I feel like maybe those difficulties got harder and harder by just emailing. When we got together in person, it all changed and washed away.” Evidently, they persevered and moved forward together, and their sound was a work in progress for a long time. Keegan was playing mostly acoustic music, and he wasn’t a fan of synthesizers—which is hard to believe considering their sound. Ultimately, with everyone having their own ideas, the band didn’t know what kind of music they wanted to make. It was then that Chris stepped up and pushed the boundaries. He gave them an upbeat and electronic sound, and continued to work on making the music unique. While he was doing this, the rest of the band was trying to figure out how to maintain a rock sound instead of turning into an EDM group. Finally, things started to fall into place and the four-piece began working on Chromatic. Ultimately, it was a challenge, and the process consisted of a lot of trial and error. They continually pushed themselves to try new techniques and sounds, hoping that the outcome worked out and sounded the way they intended it to. Unfortunately, the difficulties didn’t stop there. After releasing Chromatic, the guys were ready to play shows, but the public wasn’t showing them the support they had hoped for. “No matter how much hype we got around our band in Milwaukee, it was hard to get people into a room,” shares Keegan. “People would rather stay in and watch Netflix than go see a band.” Although they weren’t getting attention from audiences, one record label had been watching them for some time. It wasn’t long before Fueled By Ramen, who is home to artists such as Panic! At The Disco, Paramore, fun., and more, sent out representatives to watch the guys as they practiced in Nick’s basement. After the band played some songs off of Chromatic, it was pretty evident that the label representatives loved them. Vinyl Theatre was signed soon afterwards.

FOCUS MAGAZINE // 45

Getting signed to Fueled By Ramen was just what the band needed to prove that their hard work was paying off. Initially, Keegan’s family wasn’t too happy with him leaving school to pursue music full-time, but the signing finally proved that he made the right decision. Keegan explains that it can be hard to see your kid create a life for themselves, only to then drop everything and get a job bussing tables—which is what his parents were experiencing. Despite it all, his parents were fully supportive. Now, Keegan and the rest of the guys have a second family: Fueled By Ramen. “Fueled By Ramen is a big family,” Keegan reveals. “The band’s failures are Fueled By Ramen’s failures and vice versa. We take every hurdle together,” he continues. Their debut full-length, Electrogram, was released via FBR, which ultimately gave them some reassurance about its quality. “It makes you feel like, ‘Okay. These songs are good now.’ And it’s proven because there are multiple opinions in here, and there are people with a lot of credibility behind this record,” Keegan explains. However, being a signed band doesn’t mean that they don’t have obstacles to tackle. For the past year, the band has been touring non-stop. Being away from their family and friends, and doing that while living in a van, has been stressful on all of them. Despite the challenges that it brings, the guys of Vinyl Theatre know that touring and having people experience your music in person is an essential part of being a band. “You should give that album life,” Keegan believes. “It’s unfair to the songs to not give them a chance.”

Ever since the band was in the works, Keegan was hungry for success. And, even with all the band has done, he doesn’t really feel accomplished. Because of this, the band takes note on how many people show up to their shows and compare ticket counts from each time they play in a city. “We look at radio counts, how many singles and albums we’ve sold that week,” Keegan admits. “Everyone in the band has taken it upon themselves to learn something new about the business.” They believe that they can concentrate on their music more if they have a better understanding of the business side of the band. Despite the lack of accomplishment Keegan feels, it is evident that their hard work has paid off. The guys played their first sold out show earlier this year, which they thought was “magical.” Still, what the guys enjoy more than the ticket sales, however, is the fans who are dedicated to meeting them and bringing them gifts. Whether they bring the guys snacks or original art, the band is always caught off guard by their kindness. “It’s one of my favorite moments: seeing their reactions, and knowing that they care about us like that,” Keegan muses. Going into the new year, Vinyl Theatre will continue working on new music, while simultaneously teasing a new music video. They will also be embarking on a tour with Finish Ticket in February. Keep your eyes and ears open, because they’ve got big plans for the future.

“THE BAND’S FAILURES ARE FUELED BY RAMEN’S FAILURES AND VICE VERSA. WE TAKE EVERY HURDLE TOGETHER.” FOCUS MAGAZINE // 47

JOSH SMITH, GUITARIST OF AUSTRALIAN METALCORE BAND NORTHLANE, DESCRIBED THE BAND’S FIRST PRACTICE AS COMICAL. JON DEILEY, THE BAND’S OTHER GUITARIST, SHOWED UP TO PRACTICE WITHOUT A GUITAR SPEAKER CAB, WHICH MEANT THAT BOTH AMPS HAD TO BE PLUGGED INTO THE SAME ONE. “MORE THAN ANYTHING, I JUST REMEMBER HOW BADLY WE SUCKED,” JOSH LAUGHS.

FOCUS MAGAZINE // 49

SOMETIMES THINGS TEND TO COME FULL CIRCLE. In 2009, at the

band’s inception, Northlane didn’t even have a vocalist. Just a little over a year ago, towards the end of 2014, the guys once again found themselves without a lead singer when Adrian Fitipaldes, the band’s original vocalist, decided to leave the band. Unsurprisingly, this posed one of Northlane’s biggest challenges to date. In regards to the situation, Josh explains that “it’s the kind of event you’re extremely unlikely to recover from. Most people expected us to disband, but we had worked so hard to build up our career. That being at stake was what worried us the most.” With all the uncertainty surrounding the future of the band, only one thing was absolute: Josh, Jon, bassist Alex Milovic, and drummer Nic Pettersen were not going to let a departing member derail the momentum they had built. Initially, they were unsure of the direction they wanted to go in or how to proceed. Still, quitting was never an option. “We’d already been writing music for [our current release], Node, before Adrian left. We were more uncertain about whether or not we’d make it through this process without serious problems,” Josh shares. “It was a huge blow, but we were equally as determined to make this an opportunity and match the right voice to where we wanted to take our music.” Evidently, Northlane decided that holding open auditions was a step in the right direction. The guys were going to stop at nothing to find a vocalist who fit seamlessly with the band. While they easily could have asked another musician or a friend to fill the space, they knew it wasn’t what they needed at the time. “[The remaining members and I] wanted to be completely honest and open with our fans, and leave absolutely no stone unturned,” Josh points out. During the audition process, the band even discussed and considered relocating, depending on where their future vocalist was from. Luckily, after an exhaustive search, they found Marcus Bridge, conveniently in their own hometown of Sydney, Australia. “Meeting [him] was inspiring in itself. It was meant to be,” muses Josh.

FOCUS MAGAZINE // 51

In the midst of the search, the rest of Northlane continued writing the band’s third album, Node. With Marcus’ arrival in November of 2014 and with the album set to be released in July, there was little time between such unprecedented events in the guys’ careers. “Node was the biggest trial of our careers and probably our lives too,” Josh comments. Naturally, it was one of the most stressful times, as well as the most rushed. “We’ve never before felt like our careers hung in the balance of a record like we did with this one. The pressure was massive. Although our previous album, Singularity, was done on a tight turnaround, we definitely didn’t face the same challenges,” he continues. Unfortunately, this was nowhere near the first roadblock that the band has encountered. When a band first starts off, touring the whole country—let alone the world—is merely a top-tier goal. Luckily, after playing whatever shows they could, their local music scene proved helpful in getting their name out there. “We had to book our own tours and play in small country towns to build up a following because we couldn’t get bookings in any of the inner city clubs. When things started to catch on, the scene in western Sydney definitely helped, but it wasn’t an easy road for us,” Josh tells us. Still, the guys knew they were going to have obstacles coming their way, and they were ready to fight whatever speed bump they faced. “When we founded the band, we were one hundred percent committed to pushing it as far as we could,” he mentions. Their commitment to making this work meant that, ultimately, they had to abandon the stability that comes with having “normal” jobs. They made the decision to leave both

their jobs and university once they realized that labels and fans were taking notice of their music. Shortly after, UNFD signed them, and Northlane released Discoveries with their help. Although it seems as though it all worked out for the best, Josh acknowledges the fact that they almost broke up before they had even reached that point. “We spent our own savings recording our first album, Discoveries. We then shopped it to labels, but we didn’t have much luck,” Josh explains. “Nobody was really interested in us, but persistence really paid off there. We just kept touring to prove our worth, and kept trying.” They somehow always managed to scrape by with the little money they made from small tours and sales, but every musician knows this struggle. It’s one of those things that go hand-in-hand with being an artist of any medium. After getting signed, Northlane set out to expand their fanbase beyond Australia, which was a whole other challenge in itself. Undoubtedly, word of mouth and social media were instrumental in helping them get an international following. “The hardest thing for an Australian band is the insurmountable costs associated with touring in these overseas markets,” Josh discusses. Having a fanbase in another country doesn’t guarantee that a band won’t have losses, and it doesn’t mean that they can immediately go on the first international tour they’re offered. Eventually, they made their way to America in 2013 in support of Veil of Maya. “We lost almost thirty thousand dollars the first time we went to North America,” Josh discloses.

FOCUS MAGAZINE // 53

FOCUS MAGAZINE // 55

“THIS MAKES IT SO MUCH MORE DIFFICULT TO SPREAD

your name, even if you’re lucky enough to get the tour offers in the first place… Which is super difficult being Aussie, too.” Since then, they’ve been able to tour the States as well as Europe a lot more frequently. He admits that “[touring has] gotten easier financially, but it’s never easy, and it never gets any easier.” Despite all the issues they may face, the guys have a blast doing what they do. Northlane have put their all into their music, and fans across the world have noticed. Many fans have latched onto songs, connecting with them on such a personal level that it sometimes makes the guys emotional. “Sometimes, you become emotional playing certain songs because of the reaction you get from people. You see how much it means to them and how it’s touched them. It’s very rewarding,” Josh shares. Moments like that make all the struggles and hardships worth it, and it’s why they haven’t let anything stand in their way. Music doesn’t just affect the fans, however, and Josh continues to say that making music “has definitely opened my eyes to a lot of things, and made me more appreciative of what I have physically and within my relationships.” As cliché as it is, everything happens for a reason. Lineup changes can be brutal on a band, but, for Northlane, it has proved to be one of the best things that could’ve happened. This was evident early on, once they played their first show with Marcus at UNIFY Festival this past January. “We’d found Marcus and recorded a single, and this was his debut to Australia. He smashed it,” Josh details. “We played one of the best shows of our careers, with all of our friends present. People were even chanting for him.”

“THE THING THAT’S HELPED ME THE MOST THOUGH IS NOT TO EMULATE THE MUSIC OF WHO’S SUCCESSFUL IN THIS BUSINESS, BUT TO EMULATE THEIR WORK ETHIC.”

FOCUS MAGAZINE // 57

“WE’VE NEVER BEEN IN SUCH A GOOD PLACE BEFORE IN OUR CAREERS.” “It was a very special night for us. We truly felt like we’d overcame the odds,” Josh continues. That reaction from their fans was a precedent for all those around the world who accepted Marcus with open arms. When Node, their first album with a new vocalist, was finally released, it became Northlane’s highest-charting record to date. Coming in at number one on the Australian Recording Industry Association’s chart, the guys proved once and for all that they were here to stay. Ultimately, when it comes down to it, the guys of Northlane have worked their asses off to be where they are today. Josh reveals that, through it all, he’s learned “not to emulate the music of who’s successful in this business, but to emulate their work ethic.” With this in mind, aspiring musicians should look no further than to the work ethic of Northlane. With the year coming to an end, the band isn’t slowing down any time soon. Just this year, they completed their first headlining tour in Europe, a headlining tour in Australia, three U.S. tours—two of which were headliners—and a handful of festivals. “A normal life, a regular paycheck, a lot of money, my hearing, spending time with friends and family, my partner, special events… And that’s only the beginning,” Josh lists when asked what they have had to give up in order to play music. Even so, all the money spent and the countless hours delegated to traveling, practicing, departures, doubts, and shows have paid off in the best ways imaginable. “We’ve never been in such a good place before in our careers. Touring has never been so much fun, and we’re very excited about where the future will take us,” Josh declares. With enough drive and determination, absolutely anything is possible, and Northlane is perfect proof of that. P O S E D P H O T O S // P E N E L O P E M A R T I N E Z L I V E P H O T O S // L O R I G U T M A N I N T E R V I E W // P E N E L O P E M A R T I N E Z S T O R Y // L E A H D I C K E R M A N

FOCUS MAGAZINE // 59

RHYMESAYERS’ 20TH ANNIVERSARY CONCERT C O V E R A G E // T R E V O R S W E E N E Y

FOCUS MAGAZINE // 61

THE ACADEMY IS C O V E R A G E // P E N E L O P E M A R T I N E Z

FOCUS MAGAZINE // 63

CROSSFAITH BY LORI GUTMAN

FOCUS MAGAZINE // 65

DASHBOARD CONFESSIONAL BY PENELOPE MARTINEZ

FOCUS MAGAZINE // 67

PANIC! AT THE DISCO BY PENELOPE MARTINEZ

FOCUS MAGAZINE // 69

LETLIVE. BY LORI GUTMAN

FOCUS MAGAZINE // 71

LIGHTS BY PENELOPE MARTINEZ

FOCUS MAGAZINE // 73

MELANIE MARTINEZ BY PENELOPE MARTINEZ

FOCUS MAGAZINE // 75

HOLLYWOOD UNDEAD BY PENELOPE MARTINEZ

FOCUS MAGAZINE // 77

THIRD EYE BLIND BY PENELOPE MARTINEZ

FOCUS MAGAZINE // 79

THE WONDER YEARS BY PENELOPE MARTINEZ

FOCUS MAGAZINE // 81