Kinda Cool Magazine: Issue 06

issue 06

SET IT OFF ANDREW MCMAHON GRAYSCALE THEORY OF A DEADMAN JOAN + MORE

BISHOP BRIGGS the anniversary edition

BLACK HISTORY

MONTH PLAYLIST February is Black History Month; a great time for reflection upon the gamechanging artists of color who have had an impact on the history of the music industry and popular culture. Below, we’ve brainstormed a few tracks we love from black artists big and small, old and new, and coming from a wide variety of genres.

This Is America Karaoke (feat. Lizzo) I Wanna Dance with Somebody (Who Loves Me) Thinkin Bout You Bitch Better Have My Money Top Man Better NO HALO Lucid Dreams When Doves Cry Boo’d Up Remember Me Addicted

Childish Gambino Big Freedia Whitney Houston Frank Ocean Rihanna De’Wayne Jackson Khalid BROCKHAMPTON Juice WRLD Prince Ella Mai UMI Stacy Capers

Make Me Feel

Janelle Monáe

Sound & Color

Alabama Shakes

Broken Clocks

SZA

Honey Girl (feat. KAYTRANADA) Listen on Spotify: https://spoti.fi/3a05RxU

Kehlani The Internet

contents issue 6

february 2020

5 Maggie Schneider 10 Andrew McMahon 16 Halsey 18 Coachella 22 joan 26 Grayscale 34 Photo Editing 36 Theory of a Deadman 40 Set It Off 48 Bishop Briggs 58 Harry Styles 60 KCM Birthday Letters

10 Andrew Mcmahon

22

48

joan

Bishop Briggs

26

Grayscale

Founder/Manager Meg Clemmensen Copy Designer Rebekah Witt Copy Editor/Distributor Mary Perez Cover photo courtesy of Eric Ray Davidson

kindacoolmagazine.com

Contributors Mia Andrea, Polina Bakgof, Ravyn Cavanaugh, Gianna Cicchetti, JenaRose Dahlstrom, Lexie Dopwell, Emily Ellis, Sarah Evangelista, Ashley Gallegos, Sophie Harris, Jenni Johnson, Emily Lantzy, Faith Logue, Katie Marks, Jessica Matilszki, Lexi Matuson, Natalie Melendez, McKenzie Moore, Emilia Rangel, Emily Richardson, Piper Rosas, Cris Rulli, Ibbi Schwartz, Leeann Spangler, Kariann Tan, Mallory Thompson, Chelsea Tiso, Devyn Vaughan, Hannah Wayland, Mickayla Whitt, Tanya Wright, Emily Young

@kindacoolmag

on our radar...

Written and photographed by Sophie Harris

A self-described optimistic rocker, Maggie Schneider uses her lyrics and melodies to empower everyone with the courage to stand up for themselves in tough situations — whether those situations deal with friendships, love, or selfconfidence.

Maggie Schneider has been an integral part of Atlanta’s rock music scene for several years. She played her first show at Atlanta’s iconic Masquerade when she was just 12. Now, 9 years later, she’s written music with Rian Dawson of All Time Low, performed with prominent bands in the pop-punk scene such as State Champs and Like Pacific, and has headlined several shows across the States. She’s also a regular at Emo Nite DJ events, collaborating and hosting with artists such as Tyler Carter of Issues and Jake Marquis of Sleep On It.

Ever since Maggie started writing and recording music, she’s wanted to lift up the people who listen. She knows that standing up for yourself and knowing your worth can be hard, but music can help. For instance, her 2017 release, “Chuck Bass,” was heavily inspired by the Gossip Girl character of the same name. For those not familiar with the show, Chuck Bass is a heartthrob with a huge ego who cares deeply about physical appearance and materialistic things. In the song, Maggie paints a picture of an emotionally abusive relationship masked by tangible, materialistic things. She stands up for herself throughout the song, reminding herself that being treated with respect and honesty is the most important part of a relationship, no matter the materials that may come with it.

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Maggie’s recent release, “Don’t Tell Me,” is the first single off her forthcoming album.

It’s a vulnerable and honest ballad backed by impressive piano skills. This honesty clearly resonates with fans because “Don’t Tell Me” boasts almost 40,000 streams on Spotify — which is a huge milestone.

“I wrote ‘Don’t Tell Me’ when I was in a bad funk,” Maggie told Kinda Cool Magazine.

“I was tossing and turning one night, thinking about someone who kept telling me the kind of person and artist I should be — I was hurt and angry, and lyrics began popping into my mind at 2 am. I wrote them down as they hit me, and the next day I sang the hook (“don’t tell me who to be”) at the top of my lungs in the car. That was when I knew I had something important to say, and needed to get all of my emotions out. Two hours later, I finished the song. I’m even planning on my first tattoo being dedicated to ‘Don’t Tell Me.’ This song has truly changed my life, and I

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can’t wait to share it with more people.”

Maggie Schneider’s most recent single is “Mixed Signals,” which is also from her forthcoming album. She expresses her frustration for people who refuse to say what they actually mean in relationships. It’s upbeat, catchy, and impossible not to fall in love with — especially if you’ve been ghosted before and need to express your frustration. Maggie has completely written and recorded her debut album, which is set to release sometime soon in early 2020. Until the album’s release, she’ll be performing various shows in Atlanta and the surrounding states, closing most shows with her favorite song, “Don’t Tell Me.”

“I hope when people listen to ‘Don’t Tell Me,’ they feel inspired to be their truest selves.

When someone comes to a Maggie Schneider show, I want them to leave wanting to follow and pursue their biggest dreams. I want to inspire people!”

Conan Gray

by Tanya Wright

Periphery

by Sophie Harris

debut single

AMBIVALENCE out now on all streaming platforms

RainDivision

RainDivisionBand

ANDREW MCMAHON combines music with activism for young adults with cancer At the end of 2019, alt-rock singer/songwriter Andrew McMahon gave 12 North American cities a stripped-down solo performance with his piano. I caught his performance in Charleston, South Carolina and spoke to him before his set about his artistic vision, his upcoming plans, and most importantly, his charity work helping young adults with cancer.

Interview and photos by Sophie Harris This is the first time in 19 years that you’ve ever played with just you and your piano.

How is that different than everything you’ve done before?

It’s a lot different. It’s not that I haven’t done shows here and there where I’ve done it. I did do some of this style in the UK, but it’s the first time in the States where I’ve done two hours of music that’s pretty much just me. It becomes very personal, because you’re not sharing the stage with anybody else. The crowd sort of becomes the band in a sense, you know, they become your collaborators because it has to be interactive and you have to play off of each other to carry a show. It’s a tightrope walk, but it’s really fun.

Was [the process] scary for you?

Totally! I started doing shows like this for radio [stations] with myself and my keyboard player, and from time to time we go out and do acoustic shows. So I started getting more confident doing it. Especially starting out, I was super nervous — even just finding breath for my notes and my first song as I was going out. I had the jitters for sure. But it’s fun — that means it’s still exciting. And that’s kind of why I chose to do it.

During the Upside Down Flowers era, you 10 • kinda cool.

took a lot of inspiration from legendary rock stars that you’ve looked up to — specifically David Bowie and Tom Petty on “Goodnight, Rock And Roll” and then Billy Joel on “Monday Flowers.” How were you able to pick out those specific elements from them but still stay true to your style?

I’m sure any artist would tell you this — you are a vessel for the things that inspire you and influence you. So, especially the artists that you listened to growing up; there are going to be pieces of their styles, voices and storytelling that are always going to be built into what I do.

I think that’s where you develop your own style.

How do I take all of these things and then really find out what makes me, myself as an artist?

You know, like, where’s the truth that I’m trying to tell? And when you start, a lot of times you’re just trying on different personas of the artists that you loved. For sure, when I started listening to music, it was Billy Joel and the Counting Crows. Now it’s Elton John, Tom Petty, and Paul Simon. And I think over time as you collect more influences, then you start channeling them into your own voice. On the last record, because it was much more stripped-down and there was a lot more of a classical approach to the recording and the songwriting, I definitely felt closer to my influences in a sense.

Yeah. It’s like you came full circle.

Yeah, for sure. It was a fun record to do for that

reason alone — to revisit those early influences and lay them bare as opposed to dressed up in a different way.

Right! But you still kept some elements from the last couple of records, especially in the live show. Like, I love what you do with the pool floaties in the crowd. *laughs* That’s a lot of fun for me too.

How did you come up with that idea?

I collaborate with an artist consortium out of Brooklyn called The Window Factory. They do major art installations and live theater, interactive theater, things like that. When I was getting ready to do Coachella, I reached out to a buddy of mine, John Morris, who’s in the art world in New York. I told him I was looking for a collaborator so I can take elements of interactive theater and play it onto the stage.

And I wanted Coachella to be that place because not a lot of artists get that shot — I wanted to spend the money that I made enhancing the experience for anybody who showed up to the stage.

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We use the shows as a way to draw people in and make them feel like they’re a part of something fun that hopefully disconnects them a little bit from the outside world and says, “You’re in your own environment here. You don’t have to carry the trouble of your day into this space unless it’s cathartic.” More than ever nowadays, I think it can be a service, as a musician, to provide people with an outlet and a place where they can unplug from all of the stimulus of the outside world and just freak out for a second and have fun. That’s why I continue to collaborate with those guys.

[On this tour] we have a Christmas tree and a fireplace out there. We want people to feel like they’re kids, whether they are or not.

Yeah. That’s awesome. I was wondering how you were going to do installations with this acoustic setup.

There’s less of that for sure. There really isn’t much freedom when it’s just me [as opposed

to a full band] to do as much of the interactivity.

So, the interaction is really my dialogue with the fans throughout the night — but we did a really beautiful scene [on stage].

Is that why you chose smaller cities for this tour?

If I’m going to be perfectly honest, no.

Originally, I was going to do a larger tour, but then AWOLNATION came on board and asked if we would want to go out and play with them in the spring and summer. I love Aaron [Bruno] and I love their music.

Something I really admire is the way you can use advocacy with your music.

Thank you.

You do that in a really unique way. You started the Dear Jack Foundation in 2006 and then hosted the first benefit in 2009. So then in November, the “300K Project” was kind of the 10-year anniversary of the first benefit, right?

That’s exactly right.

Sweet. Can you give me a little bit of background on how your leukemia survival story grew into this big level of advocacy with your music?

It really started with the community that was around Something Corporate and Jack’s Mannequin at the time. When I got sick, there was just this really beautiful outreach and outpouring of support from fans of those bands. And as I started to get better, I was looking around at different charities that we had at the time, and told them in lieu of flowers, you can make a donation to Pediatric Cancer Research Foundation or Leukemia and Lymphoma Society. We were generating real money for these organizations — so it occurred to me as I started getting back on my feet that if I can be at the helm of this and really try and drive awareness and fundraising dollars, instead of telling people, “Go donate here, here, and here,” let’s start a foundation and have conversations with these organizations that are doing good work and decide where we want the money to go.

Somewhere around year six or seven, after we’d really put some roots down, I started seeing a real gap in awareness for adolescents and young adults 15 to 39 years of age. All of this data started coming out about how there had been no improvement in survival ratings for that demographic in over 30 years, whereas every other demographic had seen massive improvement. There was this chasm of research of support services and awareness for this particular group, and it was the age range I was in when I got sick. I was treated on a floor with a bunch of people in their late sixties to eighties.

My other option would have been to be treated with people who are much younger than me.

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There are all these social issues that go along with this. A lot of young adults will survive, and then they’re faced with having been taken out of high school or college, or losing their career that they just started, or a relationship or a marriage.

You know, there are all these really pivotal things that are happening for young people. So, I really shifted focus to that demographic specifically.

We have two programs that are housed within Dear Jack that we execute entirely on our own.

We do still partner with other organizations, but I would say from the time that we started to now, we’ve really become self-sufficient. We have five employees and we help hundreds of people a year and their families through the two big programs that we do.

What was the most recent one like? What was the process of raising all of that money?

It was really intense, honestly. It was a nailbiter. The previous year we had done a 200K project, and we were like, “Well, it’s year 10, let’s shoot the moon on this one.” Every year people turn in a lot of their donations at the very end, so you’re just sitting there biting your nails, but it’s really beautiful. So many of these fans who have gone from just being supporters of my music over the years have really taken on this cause, I think because a lot of them have encountered it in their own lives or have family members or friends who have dealt with it. I think it’s become a cathartic place for them to say, “Hey, I can actually rally around this music and this artist, but I can rally around this cause too.” The benefits every year are, like, this huge love fest. Butch Walker came out and played this year and Zach, my keyboard player — it was his last show with us — and he did a set. It was a very loving environment. That’s the best way I can describe it. We raised over 300 grand between both nights of the benefit and the actual fundraising effort that went on up to that point, and that doesn’t even include our other fundraising throughout the year.

That’s so impressive. The most important

part of live music is giving back to the community.

It really is. It’s rewarding work to do something that’s not really about me, but it’s about helping people who need it. You know the need once you’ve been through it.

I have one more question from one of my best friends from college. We always go to your shows together. She wants to know: which of your songs means the most to you and why?

I think it’s “Cecilia And The Satellite” on so many levels. On one hand, it’s very much about meeting this new person that you’ve created out of thin air and, you know, just the fact that my wife and I were even fortunate enough to have a kid with everything that I went through when I was sick and we had to go through IVF, and, I mean, it was not easy to have her. But also, at that point I had been in the business and putting out records for 15 or 16 years, and to have your biggest song hit that far into your career and then have it be something that was both about her and about educating her on where I had been. Each verse in that song is a reflection on the things that I’ve gone through in my life and let her know that she’s going to go through these things and I’m going to be here and be there for her. In that sense, that song might be the most important because it really says a lot about who I am and where I come from, and magically, it ended up being the one that hit.

We’re in a world where you’ll have people try and tell you that the best way to get a hit is to be as broad as possible. To have a song that has a really vivid and personal lyric, one that speaks directly to my, at the time, unborn child, is a beautiful way to get your foot in the door way after you started.

Be sure to catch Andrew McMahon on tour this summer with AWOLNATION. If you feel called to donate to the Dear Jack Foundation, every cent helps adolescents and young adults with cancer. Donate at give.dearjackfoundation.org.

kindacoolmagazine.com • 15

a journey into mind Written by Polina Bakgof

N

o matter how long you’ve been a music enthusiast, there is always one album you can’t help but keep coming back to. Much like a good page-turner, its story grows and sticks around with you for years. This album is invariably as fresh as it was when you first listened to it, and it bears or even overcomes the time frames. Halsey’s Manic, which came out this January, is one of those game-changers. The singer went beyond the industry and wrote this LP not only as a reputable singer-songwriter Halsey, but also as Ashley Frangipane, the side she’d been avoiding since the beginning of her music career. Unapologetically bold, culturally relatable, and incredibly vulnerable, Manic is written in an explorative manner, allowing listeners to delve into the singer’s inner world.

The album opens up with “Ashley.” This authentic track simultaneously touches upon a lot of topics like social and personal responsibility, mental health and expectations. For the first time in her career, Halsey stepped away from her alterego and let herself be just Ashley — a girl from New Jersey who’s obsessed with music. Not a famous singer with critically-acclaimed LPs, not an idol people look up to. She discusses how her desire to leave is confronted by the responsibility she holds to her fans. Combining electronic and rock elements in the verse, Frangipane screams, “Someday, someday, when I burst into flames / I’ll

H3

leave you the dust, my love.” At the end of the day, it is the burden that every musician has to carry — they lead their fans by example while struggling to make an every-day decision to keep going.

When the second track, “clementine,” first came out before the album release, I was struck. I had never heard anything so personal from Halsey before. Although the entirety of the singer’s artwork focuses on real-life events, this song made me realize Manic would feel completely different. Despairing, breath-taking, and completely translucent, the track discovers the dualistic nature of Halsey that stems from bipolar disorder. There isn’t a lot going on with the instrumentation, but it’s done on purpose — the quiet piano doesn’t distract you from the singer’s storytelling. The joyful high-pitched vocals, reminiscent of hysteria, overlay the main melancholic, soft voice and uncover the mania Halsey is dealing with. She bridges unreal with the unreal — she appears to be seven-feet tall like a giant, yet talks about very material earthly things like making out on the floor of the mezzanine.

Following a dreamy pop hit, “Graveyard,” and an experimental country song, “You should be sad,” the album takes a different turn with heartbreaking “Forever ... (is a long time).” It’s a tune to listen to when your heart is filled with both love and uncertainty. What’s interesting to me is that the track is less than three minutes but manages to narrate a story. Unlike in “clementine,” Halsey now refers to herself as “not even six feet high” — it’s a song that openly talks about self-doubt and anxiety. The singer commented on Twitter, “It showcases the journey of falling in love and then sabotaging it with your own paranoia and insecurity.” The melody progresses from major to minor throughout the song, which allows listeners to fully immerse themselves in the world of Manic.

A soft piano interlude then takes a different turn

A01 and slowly grows into an aggressive verse, in which the singer is almost crying out of desperation.

The next track, “Dominic’s Interlude,” incorporates some of the lyrics from its prior track and smoothly flows into the fun “I HATE EVERYBODY,” which blends elements of doowop and barocco-pop. In my opinion, this is one of the most exciting songs in the entire singer’s discography: it doesn’t sound like anything she has put out before, and at the same time, it’s still a very catchy Halsey song. The lyrics on this one are pretty much straightforward and the melody is quite simple, but in a way, it’s also a production trick — it’s what makes “I HATE EVERYBODY” a track everyone can relate to. It also features hands-down of the best instrumentals on the LP. I imagine it to be really fun live!

Another song that took me by surprise is “Alanis’ Interlude” featuring Alanis Morissette, which discovers the theme of sexuality. Halsey has always been open about her bisexuality in her music, making songs like “Bad at Love” and “Strangers” into queer anthems.

However, this time, the 25-year-old is also talking directly about her experience with sexuality and labels: “Cause he is she is her / And her and he are love / And I have never felt the difference.” She has previously addressed the stigma that surrounds bisexuality on Twitter: “So if I’m dating a guy, I’m straight, and if I date a woman, I’m a lesbian. The only way to be a true bisexual is to date 2 people at once.” Here, Halsey is towering over labels and acknowledges the power she holds as a queer woman.

Have you ever felt angry or bitter about your ex? This upbeat girl power song, rebellious at its best, might be just right for you. It seems

that Halsey finally decides to let go of her abusive relationship in “killing boys,” which she has talked about in the abovementioned “clementine” and “Forever ... (is a long time).” Although the lyrics are fueled by anger and regret, the instrumentals sound very light — the singer brought in strings and drums to accompany her vocals. “And all I want in return is revenge / ‘Cause I don’t need you anymore” — honestly, this track is an apotheosis of empowerment and relief that you experience when you cut toxic people off your life.

Finally, all these overwhelming and contradictory feelings fuse into a heart-rending, cathartic cry. “929” brings us to an end of the sensitive journey though Manic. The numbers in the title stand for Halsey’s birth date, September 29th, which she also has tattooed on her hand.

Starting off with recorded dialogue, it already feels different to everything Halsey has ever released before. This song is like a window that reflects the entirety of the singer’s life — from her birth, failed relationships and substance abuse, self-destructive thoughts, to family issues. “I lost the love of my life to an ivory powder / But then I realize that I’m no higher power / That I wasn’t in love then and I’m still not now” are probably some of the most hard-hitting lyrics off the LP. Like all the previous songs, “929” represents the polar opposites of Halsey’s mind, conveying both disappointment and hopefulness.

Soft voice, quiet melody, and intense emotions — that’s how Manic reaches its cathartic denouement.

You can enjoy the experience of Manic by purchasing a physical copy or listening to the album on Spotify and Apple Music.

kindacoolmagazine.com • 17

COACHELLA: a “no” or “go”?

Written by Gianna Cicchetti

W

ith the approaching of spring and summer also comes music festival season. Out of the many options across the country, Coachella is undoubtedly the most well-known music and arts festival in the United States. Located in Indio, California, the festival features artists from a wide range of genres over the course of two weekends. The festival has come under fire in recent years because Philip Anshutz, owner of AEG (the corporation that has bought the company that puts on Coachella), has a history of donating his money to anti-LGBTQ+ organizations. He also has denied climate change and has supported other right-leaning causes, but the primary issue at hand is his support of discriminating against LGBTQ+ individuals. What this has resulted in is a battle of choosing between supporting one’s favorite artists and upholding one’s own beliefs of inclusivity and acceptance.

There are public records of Anshutz’s donating habits online, which allowed this information to be spread across the internet, especially around the time that the Coachella lineup and tickets are announced each year. Though Coachella maintains a high attendance rate, many consumers have decided to boycott the festival upon hearing of Anshutz’s anti-LGBTQ+ ties. Additionally, those who post about the festival often use the term “Nochella” to harm the reputation of the festival. Opponents of the festival’s goal is that their money will not be given to Goldenvoice (the company that operates Coachella) and ultimately, to Philip Anshutz to further his actions.

Many artists on the Coachella lineup view the situation differently, even those who are in minority groups or are allies to those who are marginalized.

When the lineup for Coachella released in January, one band on the lineup, Mannequin Pussy, took to Twitter to discuss the controversy of the festival from an artist’s perspective. The band has described how tax records have proven that Anshutz may not have continued his donations since 2016, and that the

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festival itself has never put its money towards antiLGBTQ+ organizations. Even if he still donates, the band says, the big picture needs to be recognized.

AEG is a huge corporation that has come to dominate the music industry, so much so that it is almost impossible to avoid putting money in Anshutz’s hands. The corporation owns an overwhelming amount of the concert venues across the United States and even some in the United Kingdom.

According to its website, it also has a bunch of the other major music festivals such as Firefly, Hangout, Mopop, and Camp Flog Gnaw under its belt. As the members of Mannequin Pussy describe in their statement, “it is extremely tricky for bands to be sustainable or successful without being tied to these major corporations [AEG and Live Nation].” In order for bands to grow and have any sort of longevity, they need to move out of smaller, DIY venues and work their way up in the world of touring. Doing so means having to play at established venues that are often backed by corporations like AEG.

This particular band, Mannequin Pussy, decided to agree to play at Coachella because this will be a way for them to get their music heard by a new audience. The band does have women, people of color, and LGBTQ+ members, and they firmly believe that playing at such a large festival is a great way to bring representation to those who are often left out on major festival bills. Many of your favorite artists probably have a similar rationale when deciding to sign the contract and play Coachella, though they have not publicly stated anything about it.

This entire issue is a matter of perspective.

It is difficult to decide where exactly you stand on it; I can not even come up with my definite opinion because I do believe in what both sides have to say.

However, I do think Mannequin Pussy was wise in stating their explanation to thousands of music fans on social media. In doing this, they have further opened up the discussion of Coachella with a perspective that consumers sometimes ignore.

King Princess

by Emilia Rangel

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kindacoolmagazine.com • Ralph 21

by Sophie Harris

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everything you need to know about

joan’s

first headline tour Interview and photos by Sophie Harris 2019 was a very busy year for you guys. You toured out with half•alive, The Aces, and flor, and you played in Europe and Asia, right?

Alan Thomas: We did half•alive and then literally had three days off and then did The Aces, which we flew from San Francisco to Little Rock to see our girls and our dogs and then flew back. It was crazy.

Steven Rutherford: I think we did three weeks in Europe and three weeks in Asia. We did the tour with flor and then we left pretty soon after that to do Asia. We did seven shows in seven days in Manila, and then we did Singapore and Bangkok.

AT: The shows we did and Manila were with HONNE. They’re from the UK and we’re huge fans of them. They’ve got a really big following there.

Now that you’re on your first ever headline tour, what types of new freedoms do you have?

SR: This is the first time we’ve been able to put so much thought into the actual show. Up until now, we put a lot of thought into the music, but as far as playing goes, we just go up there and play for 30 minutes and then get off as quick as possible, you know, as a support thing. But this is the first time we’ve done any lighting production. We just bought a bunch of new gear

Arkansas-based indiepop duo, joan, is on the road in North America to share old and new songs with fans. For the past few years, they’ve gotten to know listeners all over the world through sharing their music as support acts on various tours. On their first headlining tour, duo Alan Thomas and Steven Rutherford have the freedom to make the experience completely their own.

for this. It was like a whole new turnaround for us with a lot of new details and really cool little things that we haven’t had to think about before.

How has preparing for this run been different from your tours as support? I’m sure it takes weeks of preparation.

AT: When you’re filling an hour versus 30 minutes, you have to create moments a little differently. There’s a moment where we do a chilled part of the set, which we’ve never had before. So this time, we can reimagine stuff a little bit. I’ve been thinking a lot about how I interact with the crowd. As a support artist, you’re not always aware of how many people know you or know your music. On the flor tour, we felt like every night we had a big chunk of people that knew our stuff, which made us feel more comfortable. I’m more comfortable as a singer when that happens. Headlining is even better because people are there generally for the headliner. I feel a lot more comfortable in my skin to move around and be a little more loose, I guess.

SR: Yeah. It’s just interesting when it’s your show and you feel like you can own this space more instead of being in somebody else’s territory.

When you’re support, you have to, you know, play the headliner’s game a little bit, so it’s fun and it’s new to us.

Many concert-goers don’t realize the amount of behind the scenes work that accompanies a national tour. Who are some of the people kindacoolmagazine.com • 23

on your team that make this tour possible? Can you tell us a little bit about what they do?

AT: That’s a very good question. There’s several parts of [producing a tour].

Obviously, booking the show in general is the first thing that has to happen. That’s a team effort between our booking agency, Paradigm, and our manager Colin [Roberts].

They’re all incredible. There’s a lot of behind-the-scenes emails and calls that happen between them first, and then [they say] “Hey, here’s an Excel spreadsheet of suggested dates for this tour.

What do you guys think?” And then we look at the routing and the cities and go, “Oh yeah, what about this? We could do a show here, we had a lot of fans there.”

SR: You have to take it from that and then translate it to the stage. Jacob Trunzo does front of house, tour managing, utility stuff.

Oh wow! So he does basically everything.

SR: Yeah, he’s like the glue behind us for stage stuff.

He’s like insane with it and so

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good. As far as touring stuff goes, he’s so important to our team.

AT: And then, you’ve got the aspect of capturing all of it with photography, and video if you need it. We bring out some really good friends of ours. Connor [North] is here, our friends Trevor [Roberts] and William [Crockett] have both come out. It’s easy to travel with your best buds.

We’ve been building the team for the last couple of years, finding people that are super talented that we want to champion and that want to champion us and come along for the ride. Hopefully it’s a good show.

Oh, I’m sure it will be. I’m really excited to see the new lighting setup. If you could include one more song on the set, either a joan original song or a cover, what would it be?

AT: Hmm. That’s a good question. It’s tough because we’re playing six new [unreleased] ones.

What about a cover?

AT: I’ve always wanted to do a cover of an old boy

band song. Like *NSYNC, Backstreet Boys or Boyz II Men. Some sort of late 90’s, early 2000’s R&B pop kind of thing.

SR: I think that’d be fun.

Yeah, that’d be really cool with synth aspects too.

SR: I think an old Cranberries song would be fun.

AT: That would be fun. Now you’ve got me thinking.

Very different ends of the spectrum. But I’m here for both of them.

AT: Oh yeah! I don’t say, I don’t think we’re weird with covers, but it’s not really on our radar much. But I know people like to hear bands cover songs.

SR: Like for some artists it’s their thing, like they’re really good at reimagining other songs and making it their own. We’ve just never really tried it. We’ve never dug into a cover because every time we go to one, we’re like, we could spend this time on one of our songs.

What’s the one main thing

you want fans to take away from a joan live performance?

AT: Everyone’s story is different. Everyone’s journey is different and the world is insane right now — it probably always is insane, but it feels especially insane right now.

If we gave someone an hour just to not think about all that stuff, that’s great. You know, like bringing some joy that maybe they didn’t have that day. Or, I know for me, playing shows — even though it’s our music and we’re the ones doing it — brings me to a different headspace, and maybe if I had a really crappy day, playing a show brings me a lot of joy. So hopefully we can do that for other people.

SR: I think if someone leaves feeling connected to the music we play, or connected to us, or connected to somebody that they met that night at the show, then that’s a really good takeaway for me. joan will be on the road in North America until March 4. Most dates are selling fast, so you won’t want to miss it! Buy tickets at songsbyjoan.com/tour.

what’s on

GRAYSCALE’S

Interview by Mary Perez Photos by JenaRose Dahlstrom

minds?

Grayscale is one of the biggest up-and-coming bands in the pop punk scene, and it’s no surprise that they have such a passionate fanbase. The Philadelphia-based band — comprised of vocalist Collin Walsh, guitarists Dallas Molster and Andrew Kyne, bassist Nick Ventimiglia, and drummer Nick Veno — have created special experiences for their fans, such as their tour VIP packages, which include a designated time for spending time with the band to play games, or their pop-up events in anticipation for their latest album, Nella Vita. Translating to ‘In Life’ in Italian, the album was released in September last year and featured a wide variety of new sounds for Grayscale. The band recently released a live video of their performance of “Tommy’s Song” from their headline hometown show at the Theater of Living Arts (TLA) in Philadelphia, which was accompanied by a campaign in honor of the song’s namesake, Thomas Walsh. With their fans’ help, the band raised over $6000 for suicide awareness, which they donated to the American Foundation for Suicide Prevention. I had the absolute pleasure to sit down in Baltimore with Ventimiglia and Veno to talk about the second leg of the Nella Vita tour, their newest album, and musical influences: Congratulations on starting the second leg of the tour! What differences are fans going to be experiencing between the two parts of the tour?

Nick Ventimiglia: I think the main part is we changed up the setlist a bit and added some new songs. Nick [Veno] got a new drum kit to sign.

Nick Veno: Yeah, we went with a black wrap on the new kit — we did the white one for the headliner, and everyone signed it with super colorful markers and Sharpies. We got the kit rewrapped in black, and we’re having kids sign in gold, silver, and bronze metallic Sharpies. That’s cool and a little different. We’ve got these red graffiti tags all over the kit, which is cool too.

We’re going with the vandalized look of the ad mats and general theme of the tour.

Fans have been sending you setlist requests for some time now, so how did you decide which songs to put on this setlist?

Ventimiglia: It’s a bit of what we want to play off the new set that we couldn’t on the last one and what people want to hear. We love playing “Echoes,” but it’s this weird thing where a lot of people love it... I don’t know, it’s kinda a weird song to play live. The reaction yesterday, the first time we played it in forever, was great, so we’re very excited to play the rest of the tour.

Veno: Maybe that’s the trick: we gotta make them wait.

Ventimiglia: Yeah, it’s the anticipation!

“What’s On Your Mind” is on the setlist for the first time, but as an acoustic song. Why did you decide to stylize and perform it like that?

Ventimiglia: To be honest, I wrote that at home on guitar, and then I was like, “I wonder if this could be a new idea.” I ended up just humming “What’s On Your Mind” to it, so I brought it to Dallas and Collin and was like, “Do you think this would be a cool idea to do ‘What’s On Your Mind’ as a reimagined version?” They loved it. Collin and I kinda rehearsed in the basement and went from there. It was just a thing I had initially for a new idea, but it worked very well with that song.

It was definitely a surprise when you started that song last night, because none of us had heard it like that!

Ventimiglia: Yeah, it’s weird that no one knows what it was when you first hear it either, because no one’s ever heard it before!

Your video of “Tommy’s Song” recently came out from that show. How did you decide to play that song live at the TLA show?

Ventimiglia: It’s a very emotional song, obviously, for Collin especially because it’s about his cousin.

We only did it at the TLA, but we wanted to make it

kindacoolmagazine.com • 27

very special. There’s a choir on the actual track, and I think having the live choir just sent that song to the next level. I think emotionally for all of us, especially watching from the side stage while Collin was alone and then we came out, it was a very special moment.

You could tell from the video. All of us, me, Nick, everyone, we were all pretty emotional in the back and we came out and it was like “Wow.” It was crazy.

Watching everyone cry and sing. We just wanted to make it special and not just do the exact same thing.

We wanted to make it epic for the last show.

Veno: We only wanted to do it if we could do it the right way, the way we felt it should be performed.

Let’s talk about Nella Vita. How did fans’ responses stack up against your expectations?

Veno: I feel like the general reception has been overwhelmingly positive. It’s a little step closer to the

pop direction from the last record, but I wasn’t too worried about people liking it or not. It made sense. It was the right step for us musically.

Ventimiglia: We loved it. There wasn’t much pressure on us because we were excited for the songs. We did a few stylistic song changes on our end, but it felt natural for us. I don’t think we were too worried about people hating it or loving it because people are gonna hate it, people are gonna love it, so it’s not the end of the world. You’re gonna have people who stick with you and people who kinda tail off, so I didn’t set any personal high expectations or low expectations. It was just like, “Here’s this thing we created. Some of you will love it. Some of you will hate it. It doesn’t matter to us because we absolutely love it personally.”

Were there any songs that produced a different reaction from fans than you had expected?

Veno: I feel like across the whole record, every song gets love. It’s not like one of the singles gets all of the attention. I feel like it’s pretty well-spread across the record, which is cool. It’s like 12 songs that a lot of people dig all around.

In terms of putting the album together, did you have any songs that didn’t make it?

Ventimiglia: There were some demos and stuff we had... Collin had a chunk of melodies and lyrics and things he wanted to use that didn’t make it. There were some ideas that Nick and Dallas had and programmed some stuff out that didn’t make it. “What’s On Your Mind” was a completely different song when we went in there; it was actually like a heavy, riffy song. We ended up hating it, and Dallas was like, “Well, let me sit with it.” Our producer absolutely loved the idea because he loves heavy music and thought it would be a huge song. Dallas was like, “Well, I can’t stand it the way it is, so let me sit with it for a day or two.”

Dallas just secluded himself from all of us at the studio and wrote “What’s On Your Mind” the way it is. It’s weird how it works, but you can’t get too attached to demos, even though you’re going to, because you never know what’s gonna be there or what’s going to change. It’s an emotional rollercoaster because there are things you absolutely love and things you get sick of. If you get sick of them, it doesn’t mean they’re not good. It just means maybe they’re not worth it at the time or you grew out of it. You can’t get stuck on them because things change.

What elements of your individual musical backgrounds did you try to incorporate into Nella Vita?

Veno: I feel like for drums, I do a lot more stuff on the hi-hats. We have a lot of songs that have choruses

that I’m doing something on the hi-hats for, as a lot of stuff we had written before was kinda loud and playing on the big cymbals and making a lot of noise.

A lot of the drums on this record, I went in with a different mentality than just loud and fast. I tried to be a little more musical and play parts that were more complementary to maybe the vocal hooks or stuff that the funky guitars were doing and play along with that more than just the craziest fill I can come up with during a certain part. It’s a little different. It felt like a much more mature approach for drums at least for this record.

Ventimiglia: For me, like Nick said, it’s a lot funkier.

It’s not the music I listen to when I get in my car, but I kinda had to start thinking like that. I started listening to older stuff and motown to get the feel that the bass players had, kinda immerse yourself in that sound, get in the groove of writing like that. I like heavier music and different stuff, but it’s almost like I had to study it.

Like Nick said, on Adornment, there are a lot bigger choruses, loud cymbals. Same thing for the bass: it was a lot of driving matching the rhythm guitars. On this record, it still will follow the rhythm, but it does its own thing. The drums and bass are way more locked in than the drums and bass were locked in on previous records. It’s more like the rhythm guitar and bass stuck together, and the drums did its own thing. With this one, it’s more of the bass and drums together, which I absolutely love, because me and Nick can vibe together much better. It’s fun to kinda hit these little patterns and nuances that might fly under the radar, but when you hear it, you appreciate it.

Will there be any more music videos for the album?

Ventimiglia: I would love to do another one. I don’t think we have any plans currently, but I would love to do one.

Veno: I feel like we pumped out music videos last year.

I feel like we put out like six or seven videos, so I don’t know when the next one is.

Ventimiglia: People love content, though. People want videos, and you need to keep them fed, you know what I mean? You don’t want to lose their interest, but in the same sense, you don’t want to put something out just to put something out. Obviously, Jordan [videographer] is a huge part of that, so it’s a matter of how Jordan feels inspired, what fits, and what works for us.

If you had to choose a song off the album to make a video for, which one would you like to make one for next?

Veno: I think “Just Right.” I just love playing that song.

Ventimiglia: That song’s fun. I would love to do one for “Asbury” or “In My Arms.” I think “In My Arms” would be a great song, just a fun song to do. I guess it would have sort of a similar vibe to “Baby Blue” because they both kinda get in that funky aspect. I don’t know. I would love to do a video for every song.

Time for some fun questions! What is your dream venue to play?

Veno: What’s that venue that the fucking Foo Fighters played at? Is that Wembley [Stadium]?

Ventimiglia: Wembley would be nuts. Wells Fargo would be sick. Wells Fargo Center in Philly would be dope, which is where the Flyers play and the 76ers.

That would be amazing. I’m from Detroit, so I would love to play at the LCA, which is where the Red Wings play. An arena would be sick.

kindacoolmagazine.com • 29

Veno: Little Caesars [Arena].

Ventimiglia: We call it LCA because it’s an embarrassing name.

Who do you think plays an underrated role in bands?

Ventimiglia: I do think, not just because me and Nick are bass and drums, but I do not think the bass and drums get enough credit. There are some amazing bass players that no one pays attention to, and it’s harder to hear obviously. And with drummers, we were talking yesterday about a band meeting fans, and people were having the band sign everything, and the drummer was there too, but everyone was skipping the drummer and not taking pictures with him. I was like, “That’s crazy,” because to me, drums are some of the sickest instruments. It’s not like Nick doesn’t get attention, but drummers sometimes get skipped over as well, which is a bummer. A lot of people like lead singers or guitars, and that’s the way it is.

Has there been a particular song, album or artist

30 • kinda cool.

that has played an especially important role in your career?

Ventimiglia: Nick’s answer is going to be [The Smashing Pumpkins’] “Cherub Rock.”

Veno: I know I say it a lot, but growing up, I used to listen to a lot of the 90’s grunge bands, so Nirvana, a lot of Dave Grohl’s drumming. The Nirvana records were just so cool to me, so watching videos of them and the energy he played with and just the general vibe for me was a huge influence. Right when I got into loving playing drums, I was listening to Nirvana, and Dave Grohl and Nirvana made me want to play loud and with energy. I just thought they were the sickest band. They were a huge influence for me.

Ventimiglia: Yeah, Nirvana in general. Dave Grohl is the man. Soundgarden was one for me in the 90’s that I loved and Alice in Chains. My dad loved those bands, and that was probably what got me into music, like Superunknown by Soundgarden and Jar of Flies

by Alice in Chains. It’s that type of music, like Nick said, that 90’s grunge that I grew up listening to that

made me love it so much. Chris Cornell’s voice from Soundgarden was outrageous.

If one celebrity were to show up at your next show, who would you want it to be?

Veno: Dave Chappelle.

Ventimiglia: That would rock!

Veno: I feel like we’ve put him on our guest list before.

Ventimiglia: Absolutely! Where did we put him on our guest? DC or Ohio or something… I would say Gal Gadot, the girl who played Wonder Woman. She’s a fox. That’s who I would pick.

Any final words for your fans?

Ventimiglia: Come out to the Nella Vita tour part two.

Thank you for those who have supported us and listened to the record. We appreciate you dearly and cannot wait to see you.

Veno: Yeah, we love you!

Ventimiglia: Yeah, that’s it! We love you, guys!

A few hours after our interview, Grayscale took the stage and completely captivated the entire crowd at Ottobar. Although the walls were plastered with “No Crowdsurfing or Stagediving” signs, those posters proved to be ineffective against their enthusiastic fans who quickly made their way up front to launch themselves back into the crowd. Grayscale opened up with the first track off Nella Vita, “Just Right,” and you could hear the fans screaming along, “I’d give it all just to feel that alive again.” The crowd kept their energy throughout the show, and their pure happiness was reflected on the band’s faces. I’ve seen Grayscale quite a few times, and every show I’ve gone to has left me counting down the days until my next Grayscale show.

A phenomenal live band and some of the nicest people I’ve ever met, there is a reason why they are so wellloved by their fans. Check out their latest album, Nella Vita, and be sure to catch them live in the future!

Ryland James

by Meg Clemmensen

PHOTO EDITING

the power of Written by Piper Rosas The Driver Era by Piper Rosas

+ before and afters from our team

M

any who start out in concert photography underestimate the power of photo editing. They see high-end equipment as the holy grail and don’t even think of the hours of editing that are still required. While high-end equipment is also beneficial, producing photos through editing softwares like Lightroom and Photoshop is really difficult. For me, editing usually takes way longer than the photoshoot itself due to the manual labor I put into perfecting each photo.

Some of my best photos turned out super over or under-exposed when shot in the pit at shows. The lack of backlighting and overuse of colored spotlights during shows makes it difficult to shoot with any equipment, regardless of its price.

This is why photo editing is so important. You can fully change a photo through editing, even without a super high-end camera that is good in lowlight at higher ISO levels. Learning to shoot in manual was one of my biggest challenges. Once you know how to shoot in manual, your shots will improve 110%. You are then able to change your settings quicker to achieve the photo you want. In the photo pit at shows, timing is everything. If you’re not quick enough at the exact position and/or angle you want, the shot can be compromised and won’t turn out like you expected.

I personally use Lightroom through Adobe to edit my photos. The service is about $10 a month, depending on what plan you use and how much storage you prefer. Photoshop through Adobe is also commonly used for finishing touches such as removing spots, or even going as far as combining photos or adding things.

Adobe is my personal favorite, because you are able to create and build your own portfolio through their services. You are also able to use it on your phone, tablet,

Judah & the Lion by Sophie Harris

COIN by Meg Clemmensen or laptop wherever you are, even without wifi connectivity! Adobe truly is one of the most userfriendly and commonly used photo editing softwares on the market.

When I started shooting shows, I used a Canon T5, which if you are familiar with Canon cameras at all, that is a low-end DSLR with a crop sensor. I used a 50mm lens for most of my shows since it had the lowest f-stop at 1.4. This lens is made for low-light indoor photography, which was exactly my intended use for it. The majority of my shots came out blurry or way too under/overexposed. It was a learning experience in manual mode to figure out what worked best with the size of the venue, where I was positioned and able to shoot from, and the amount of light that was available. I often had to bump up my ISO for smaller venues that were darker and didnt have as much light for me to work with in my shots. I commonly shot at a 300 capacity venue where I had to do just this and work around the people around me. I have also shot at fairly large outdoor venues that had plenty of light for me to work with, and I used the same lens. Lightroom allowed me to bump up the quality of my shots and recover the ones that turned out miserable before editing. Even with low-quality gear, I was able to produce images I was proud of.

A couple before/afters I’ve produced stand out to me the most, the first being from when I saw The Driver Era last year. The photo ended up being very harsh with the whites being very bright and the reds being more prominent that I had wanted. Simply bumping down the whites and overall exposure brought out the spotlights in the background and made the skintone of the lead singer more manageable.

Another shot I’m proud of comes from when I saw YUNGBLUD almost two years ago. The colors in the photo just didn’t end up working. I wasn’t able to bring out the details I wanted in the photo without the colors looking harsh from the lights. I tested out the black-andwhite and fell in love with the photo again. The intimate moment from the lead singer with a fan through the screen of a phone made the blacks and whites stand out more. It created the tone I was going for while bringing out some of the details I wanted.

The takeaway? Don’t be afraid to go out there and shoot! Editing is always a learning process and no two images will be alike. Don’t be afraid to step out of the box with your images and make them unique to you. Set yourself apart from others and take a different, unexpected approach. Let your art speak for itself.

Grayscale by Lexi Matuson

Chase Atlantic by Rebekah Witt

THEORY OF A DEADMAN taking a new direction with seventh record,

SAY NOTHING

Canadian rock band Theory of a Deadman (also known as THEORY) released their seventh studio album Say Nothing on January 31st, 2020.

With this new record, the band takes a fairly different direction from their usual fun-sounding, tongue-in-cheek style of writing by touching on more serious subjects such as domestic violence, anxiety and depression, politics, and more. I got the opportunity to chat with Joey Dandeneau, the band’s drummer, and discuss the new album, touring, the band’s new sound and more!

Interview by Cris Rulli Photos courtesy of management How did you guys decide on the new direction of the band, both lyrically and musically?

Well, Tyler, [our] singer, came to us and said, “You know, I want to start changing it up.” He bought himself a piano, this is when we first started making Wake Up Call, and everything kind of changed for him when he started writing with piano as opposed to guitar, because he felt like he kind of wrote all of the riffs that he could write on the guitar. Then all of a sudden he started writing on the piano, and all of these different melodies and different feelings came out and that kinda made him go, “Wow, if we change everything the way I was thinking, I think this would be a really good change for us and it would just kind of keep it fresh for us and I think also keep it fresh for fans.” So he started demoing in his studio at home and he sent me some of the ideas he had and I was like “Yeah, we can totally do this,” and so that was kind of how the sonic change happened. He really wanted to talk about darker things, more serious things on the last two records, Wake Up Call and then this new one that just came out, Say Nothing, so that was kind of the whole inspiration and really talking about serious issues that the world potentially, but definitely America, is facing. When we saw the success of Wake Up Call, we wanted to continue that, because it was something that we already had in our minds that we wanted to talk about. It was very risky to change what we were doing into something new, but it worked for us, so we wanted to continue that, and that’s what Say Nothing is.

What have fan’s responses to Say Nothing been like so far?

So far, really good! It’s a couple days old, so everybody’s kind of getting their opportunities now to just sit down and listen to it. Honestly, we’ve been

36 • kinda cool.

on tour since the day the record got released and we’ve been travelling a lot, so we really haven’t had the opportunity to check in and see what everybody’s thinking. So I guess it’s sort of early to tell, but from what we have heard — which is not a lot yet — but what we have heard is really good! Granted, we’ve also had “History of Violence” out for a while as a single and that did really well on the Active Rock Charts in the States and it did alright in Canada, so I mean it’s a good start for sure.

Do you feel that your style as a drummer has had to change to adapt to the band’s new sound and if yes, how so?

Yeah it has, it’s changed. I had to adapt for sure.

Everything we used to do was very... not heavy rock, but certainly rock-oriented. You know, what we consider rock, but now there’s different forms of rock that people are using — like, to give an example, alternative rock. Alternative rock drumming is a lot different than rock and roll drumming; I’ll just use that term. That’s all I’ve really known for all these years I’ve been playing drums, which is essentially my whole life.

So trying to adapt to this was just like starting over and kind of learning again and learning what everybody else is doing. I don’t like to say that because it almost sounds like I’m just ripping people off, but there’s certain things you want to keep in mind when you’re making these changes and kind of incorporating those styles into my style. I wanted to make sure that we still sounded like THEORY, but that we were making a direction change. You know, as a professional, you have to consider all of these things when you’re making a move because this is what we do for a living, right? So, I had to incorporate electronic drums into my live kit now because we use samples on the record and different sounds like claps and snaps and kick drums, and they add a lot of contrast to the songs, so I have to incorporate those. Basically learning what sounds are well liked and received, how to use them, and where to put them. It was those three things for

me that were really hard and I had to adapt to. Also the use of cymbals, or should I say the lack of. Where I used to use my cymbals a lot, I won’t use them typically in the new stuff the same way, so I had to really adapt on where I was placing my parts and what kind of beats and grooves and samples I was using.

What was your favorite song to record on the album and why?

It was a couple of songs! I’m trying to just think now... it’s been a while since we recorded them. There was some neat stuff we did with “Ted Bundy” with the snare drum that was like “super detune the snare drums,” so it was almost like a pillow over it, so it’s kind of fun to record something like that. It’s very different for us because we’ve never really done that before. Then [when recording] some of the songs, like “Black Hole in Your Heart,” we were using a ton of Toms. So we actually took Toms in the big live area where the guitar playing would be done and all that stuff. I was kind of put in like a smaller drum room closed in so that we could play live because the whole record we actually recorded live off the floor and then we just did overdubs as we needed to but if you listen to the record that’s pretty much us playing live. So we took these Toms, these big drums, and we put them in the live room and I just overdubbed a bunch of Toms playing throughout all of these songs. I think that was kind of a highlight for me because we’ve never done that before, and as a drummer, that’s a lot of fun! I set them up like a Phil Collins situation where it was kind of like a line of Toms, and I posted a picture of it, and a bunch of buddies of mine were all messaging me saying “Please tell me you did the Phil Collins song right,” and I’m like, “Of course I did!” It’s the first thing I played when we set those things up, because this is one of those things that I guess only drummers find funny, but it was a highlight for me.

What album has been your favorite to record?

How was this new one different than the previous records?

This one is different for me because it’s all about the lyrics on this record; I find that’s what kind of stands out to me. Sonically, we didn’t change a whole lot from the last record, we kind of stuck to what the last record was. It was almost like a continuation.

But lyrically, I think Tyler went into some places that I’ve never seen him go before. There’s some more epidemic-type songs like domestic abuse, anxiety and depression, and things like that which most people deal with at some point in their lives, so we can all kind of relate to. But there’s a political side as well, like in the song called “Strangers.” We’ve never spoken about that before because as a Canadian band who does a lot of work in the States, we’re kind of almost an American band. Like, we’re not an American band, but we operate out of the States now. Three out of the four of us live in the States, so coming into America and talking about politics as a Canadian band can be touchy because people are like, “Well you’re not even American, so how can you be talking about this?”

So what we’re talking about is not so much leaning toward one side or the other, but what Tyler is talking about lyrically is almost more of bringing an awareness to what’s happening as opposed to taking sides. We’re just saying “Hey, this is what we see here guys, and things are a little funny, a little odd, and maybe we need to talk about this,” so that’s something I’ve never experienced with this band before, is taking steps in this direction. It is touchy, but so far, so good.

What was the band’s overall goal/message of this album?

Well again, the whole idea of this record was to bring awareness to all the issues that we talk about from the first song on the record all the way to the last; it’s all about awareness. There’s so many issues out there that many people know about, or maybe they

don’t, but it has to be discussed I think, and that was absolutely the goal of this record was to bring awareness to every situation; let’s talk about it. We also want to work with charities... anything that we can do to help essentially, because we want to take our abilities as a successful rock band and bring our help to the masses.

What is something you look forward to the most after recording an album?

I love hearing the mixes! I can’t wait to hear mixes back, because it changes songs from how we hear them in the studio to what the fans are going to hear.

A mix, to me, can make or break a song, and I would

38 • kinda cool.

bet that there’s a lot of other bands and musicians out there that would agree with me on that. So that first mix when we go “Okay, the songs are done and that’s a wrap,” then we send them to the guy who’s gonna mix the record, and from that moment on is the most exciting part for me, because you get that email that says “Okay, the first song is mixed. What do you guys think?,” and you get to hear the song in its entirety for the first time. It’s different than when you hear it done in the studio. When it’s mixed, they make things pop out! Certain noises and sounds come out and it changes things, and it’s like, “Wow, that song just came to life,” so that is super exciting for me!

What important role has music played in your life?

Music... well, it dictated my entire life. I’ve been

drumming since I was three years old and it’s in my blood. People ask me “What did you do there” or “How did you play that part,” and I’m like, “I don’t know, I don’t know what I’m doing.” Drumming to me, and music, is like breathing — I don’t know how I do it, I just do it. Growing up, all I could think about was doing this for a living. I would dream about it at night and wake up in the morning and be disappointed that it was a dream, and so I knew since I was a little kid this is what I wanted to do, and there was nothing in the world that was gonna stop me from doing that. I had this crazy hunger for music and for doing it as a living, so I don’t know that I would exist if I didn’t have music and drumming in my life. I just don’t know that I would be a person... I just don’t know what I would do.

So that’s how great music is for me, it’s my entire life!

What specifically did you want to bring to this album? What was your creative process like?

I was really working at home trying to figure out what parts are going to be best played for these new songs. I tried to bring as much rock and roll drumming as I could on all of the other records, but on this record, I really wanted to change that. I wanted to come in with this super open mind and be right on board with the rest of the guys and go, “Okay guys, I want to create this really simplified drum stuff on this record, and I think in doing that, it is going to send Tyler’s lyrics and vocals to the moon! I think they’re going to explode off the record with me doing this, and I really want to keep everything as simple as possible,” and I believe I did! We worked in the studio with Martin Terefe, who is the producer, and we sat there and we tried to make sure that everything I did was of great value to the song. I wanted to make sure that every kick drum that I used and every pattern I used was the best it possible could be to elevate the vocals in every single song, and I think I did that.

what I’ve prided myself on since day one, so it’s like really big fat grooves. Drumming live is, I think, so important because, I’ve been to shows where there were no drums and, it’s fine, but there is a life form that is created on the stage when the drums are being played. When you start kicking it with drums, people start dancing or they tap their feet or they bop their head; it makes people move and that’s what people really love. At the end of the day, they wanna dance and sing, right? And without drumming, you can’t dance. I mean, you can, but when you have drums in a live setting, there’s nothing better than just being able to make people just start moving in their seats and they’ve gotta stand up because they’ve gotta dance.

There’s no form of flattery, and I’m not a drug user, but I’m assuming that there’s no drug on the planet that could create that kind of feeling inside, of satisfaction when you see, as a drummer from my standpoint, how people start to move their bodies when I start to play.

There’s nothing like that! There’s nothing in the world that is that satisfying. It is awesome! Maybe it’s just me that thinks that, but that’s what it does for me.

Where do you see the band going from here? What do you see yourself working on in the future?

What is your favorite song to play live? How do you think playing the drums compares to all the other aspects of the live show?

Y’know, that’s a good question, because you never know the future. We definitely have goals, but it’s funny, because as a band, we really talk about what the next record is going to be when we’re starting a record cycle. We don’t write on the road. We don’t do anything but tour when we’re on the road. When we come home, then we decide as a band that this is what we need to do on the next record, so I think to kind of find a safe bet in saying that we’re probably going to continue what we’re doing. Writing about great topics, trying to relate with as many fans as possible, get our messages out there, get our sound out there, and keep touring and keep playing for all the fans that love the music. That’s just what we do and that’s probably what we’re going to continue to do. I don’t see anything changing.

Right now we don’t play [my favorite song] and it sucks, but it’s not a single yet, but it’s “Strangers.” I love playing “Strangers” off the new record. We’ve jammed it, I just haven’t played it live yet. “World Keeps Spinning” actually is a blast and those are the two new songs right off the new record but they are so much fun to play! Then off the first record, “Nothing Could Come Between Us” has always been one of my favorites. It’s got this wicked groove that just playing it live is so much fun. It’s pocket drumming, and that’s

You can listen to Theory of a Deadman’s new album, Say Nothing, on Spotify, Apple Music, YouTube, and other music streaming services, or buy yourself a hard copy of the record from your local CD retailer. The band is also going on tour to promote the album on the Say Nothing World Tour in Canada and the United States. You can find the dates and more on the band’s website at www.theoryofficial.com and follow them on Twitter, Instagram, and Facebook to keep up to date with all things THEORY.

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creating new connections with

There are very few artists out there that can achieve the versatility and variety of Set It Off’s music. Constantly evolving to reflect new influences and ideas, Set It Off have created their own unique sound and style. The poprock band — comprised of vocalist Cody Carson, guitarist Zach DeWall, and drummer Maxx Danziger — released their latest album, Midnight, in February 2019 and have since released three singles on an EP called After Midnight.

Recently, the band opened for Sleeping With Sirens on their North American Medicine Tour, and they are currently preparing to embark on their European headline tour this spring. Hours before their Baltimore set, I was fortunate enough to sit in the tour bus to talk with Carson about their tour, their latest singles, and conspiracy theories: Interview and photos by Mary Perez You started off 2020 by embarking on this tour, and we’re nearing the end of it already! I know that this lineup drew a lot of surprise from fans, but how have the overall crowds been throughout the tour?

They’ve been unbelievable. This is easily the best support tour we’ve ever done. When you’re doing direct support, you kinda go in knowing if you’ve done support tours before, that it’s not your crowd, and that’s fine. You have to play your best show, and your goal at the end of the day is the headliner’s gonna bring a bunch of kids and you want to make fans out of them. That’s your goal, so the next time you play a show, all of those kids come to hear us.

Their presence is known at every show. People are screaming the words, they’re jumping, they’re moving. It feels incredible. We couldn’t have had a better feeling going into this tour and during the tour.

Some of my favorite shows ever have been on this tour, so it’s been really fun.

Have there been any standout moments or shows from this tour?

Philadelphia was insane! Just crazy. The crowdsurfers, opening up pits; the energy was nuts. This is kind of a personal note, but yesterday, I feel like I really clicked into myself, if that makes any sense. I feel the most confident I’ve felt in a long time, and I think it’s because we’re getting

our groove back, we’re back on the road, shows are going great, crowds are reacting. It’s just an amazing feeling to have that feeling, because I often don’t. Like anybody, I can have some moments of dark times and insecurity, and to feel finally at home again with who I am as a person and a performer feels fantastic.

Most of your touring in the last year has been headline shows, so did you face any challenges in creating the overall set as a supporting act on this SWS tour?

To put it frankly, we have a 45-minute set, and I thought we were having a 40-minute set, so thankfully we have 45. We fit 11 songs in 45 minutes, which is not easy to do. There’s one song [where] it ends and goes right into another full-fledged energy song. We go from “Dancing With The Devil” immediately into “Killer in the Mirror,” and it’s just bam, bam, bam, bam. It’s difficult because even then, there are still songs that it’s like, “Why didn’t you play ‘The Haunting?’” It’s because we can’t.

There’s this part when you’re making a setlist where you’re obviously making it for the fans, but there are some times where you just have to put a song on there for you. Two of those songs for us are “Bleak December,” and the one for me is “No Disrespect.” I know how well that song goes off live and how much fun it is for me. I’m really proud of the set, and I think it’s going over really well.

You recently released “So Predictable” and

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“Catch Me If You Can” on something you called After Midnight. Can you speak a little about those two songs and why you chose to release them when you did?

When we were writing the songs for Midnight, we wanted to release an 18-song record, but contractually, we couldn’t. We had three extra songs, and we’re not gonna trash them. Every album has its cycle, which is about eight to nine months before it starts to slow down. We thought, “When that starts to happen, what we can do is release these new songs as singles.” These weren’t new sessions. “So Predictable” was one of the first songs written for Midnight actually, and “Catch Me If You Can” was written pretty early on. We did not want to let go of those songs, and we wanted to make sure we gave it to everybody. So, we figured what better way than to do this little closure EP, if you will, where we call it After Midnight, the hourglass is shattered, and just give them some more music. The reaction has been great. We play “Catch Me If You Can” live on this tour, and it’s such a fun live song.

An interesting comment I saw online was how “Catch Me if You Can” could possibly be linked to “Wolf in Sheep’s Clothing” from the other person’s perspective, whereas “So Predictable” could be related to some of your older songs, such as “Ancient History.” What are your thoughts on this theory, as well as fans generally creating theories about connections between songs?

I love it, first of all. A lot of times, people make these really outlandish connections that aren’t there, but this one is accurate

because that’s who we’ve always been. We’ve had both sides of the spectrum. We have lighter songs, we have heavier songs. What I love about our band is that we can exist in both. The less we feel restricted, the more fun it is. We can have our energetic, fun songs, and we can have our poppier, catchier stuff. I was actually really curious to see what people were gonna think when those songs came out, and it’s nice to see that it’s overall overwhelming acceptance. I feel like if this were 2008 and we did that, people would not be okay with it. But people are changing. Their perceptions are changing on what’s okay, and it’s the best time ever to be a band right now, not in the sense of album sales, because album sales are at an all-time low for anybody, but it is amazing as far as creative freedom. Even on the radio, what you’re hearing on the Top 40 is more emotional lyrics. It’s honestly kinda leaning toward what bands like us do, and so it’s cool to see that a door’s almost opening there.

It’s exciting.

I’ve also seen some fans say that “Catch Me if You Can” sounded like if “Uncontainable” was written for Midnight. Are there any songs that you could imagine being reworked or referenced for the future?

There’s one song that we always talk about that we’d like to, but I have this belief that if you’re moving forward, the songs should be better than the last album. There’s also that idea to wrestle with, of “If I’m just going to bring back an old song, does that mean that I don’t have enough good ones for this one?” But the one song that we were talking about doing it with was actually a song off of Horrible Kids called “Third Wheel,” and we just think that song is the most underrated song of ours that we ever released. I think that would be a song worth bringing back because it still could exist on Midnight, I think. It doesn’t sound like “Breathe In, Breathe Out,” and it’s really structured. We just think that it’s a really cool song.

Some artists like to create threads between albums by having references to older songs and weaving together their music, even as their music evolves. Have you ever purposefully connected any of your songs like that?

I do it a lot actually, now that I think about it. We actually recorded an EP in Baltimore, and there’s a song called “I Promise.” Oh, I

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remember! In “Miss Mysterious,” we referenced a ton of stuff in that. There’s a string line, and it’s the exact same melody from that. There have been times that I’ve referenced certain lyrics to different songs. The one that sticks out to me the most is in “Unopened Windows.” I reference something that was in “Dad’s Song” because [they were] both about the same person, my father. One of the songs that my dad and I loved was “Danny Boy” because of how much it meant to us, so in both of those songs — I think they’re in different keys — they still have the same melody from that, just so I can tie them together. There are little things here and there, but it’s fun to do that. You’re leaving an Easter Egg for someone to find.

Seeing as Midnight has been out for almost a year now, have any of the songs now taken on a new meaning or memory after touring or talking to fans about them?

I love that you mention creating new meanings, because there are songs like “Bleak December,” where I wrote about a very specific person. As I went through my experiences in life, someone will do something to me that’ll piss me off, and I’m like, “Now it’s about them.” I’ll think about them when performing it. That happens all the time. I don’t feel like artists get to talk about that, that the meanings of their song can evolve with their life experience.

I think that’s a good sign. I think it means that it’s open enough where you can apply it to multiple things in your life, and it allows more people to connect to it. As far as the growth of these songs and whatnot, overall it’s just been a blessing to see the reaction from these songs, and it really kickstarted us back up again. I feel like our buzz exploded bigger than ever. You always worry like, “Are there going to be people who don’t like this

as much as this previous song?” You see songs like “Killer in the Mirror” and “Lonely Dance” just go off. I’m like, “Cool. This is proof that we’re fine and we can continue releasing stuff and creating excitement.” That’s all we could ever hope for: just seeing it grow with everybody.

Have there been any songs that fans have had a particularly different reaction to than you had expected?

Weirdly enough, everyone loves “Hourglass.” They stream it like crazy, and they love the music video.

It’s weird, and this happens sometimes, but it’s just not that great of a live song. It doesn’t translate as well live. I know that’s more of a negative connotation, but that was more of “Okay, that’s not its home.” Its home is in the car or on your speakers.

“No Disrespect” was a huge surprise. I heard it and was like, “Oh, this is groovy. This is cool.” I was worried that the verses are kinda even-keeled, but the song needs it. It dips down and people are clapping and getting into it, and then the chorus kicks in and they’re screaming that part. It’s a dynamic rollercoaster. That one surprised me very much and has definitely eased its way into my heart as one of my favorite ones.

In terms of Midnight, you’ll be continuing to tour the album in Europe this spring. Will fans be seeing anything new on that tour?

You know what? I’ve always felt compelled and pressured to change the setlist for every new tour, but if you’re not going to the same area, you don’t have to. I realized that if I change the headliner set, then they still don’t get to see the set we did in the United States. I think we’re just gonna bring back the headliner set we did most recently and bring it

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over to the UK and Europe and let them experience it because we’re really proud of that set. It’s gonna be really fun. We might bring in some stuff from this set, like “Catch Me If You Can” is definitely going to go into that. There’s a section we added into “No Disrespect” that we didn’t do in the headliner set, so maybe we’ll do that.

Let’s get into some fun questions! What has been the best stage setup you’ve seen at a concert?

I’m gonna go with my gut instinct. The first thing I thought of was Taylor Swift’s 1989 tour. I saw her with Zach, and she did “Welcome to New York” as her opening song. She had New York-style light posts on the stage, and there were park benches.

The lighting was incredible, and it just felt like you were in New York City, it felt like you were in a Broadway musical. It was incredibly well-done, and from start to finish, she was floating across stage, playing piano. It was nuts.

If someone were to make a conspiracy theory about your band, what would it be?

That we’re all lizard people and that we believe in the Flat Earth Society.

Some artists have songs titled after famous figures and characters, so who is someone you’d name a song after?

I kinda already did with my dad, but as far as famous… I’d want to say Bruno Mars. He’s my

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absolute favorite. He’s 100% my favorite, and I’d want to go back and pick a previous icon, like Michael Jackson, but Bruno Mars is my favorite artist out right now.

Any final words for the fans?

Honestly, if I had to say anything, it’s just to get a little sappy. If you’re going through anything right now and it feels like you’re stuck, don’t live in the fact that you feel stuck. Try to find a lesson in what you’re going through, and try to find a way to get over it. I know “get over it” sounds like a passive term, but I mean “get through it.” That’s why they say “I’m going through something.” There’s something on the other side. Keep pushing until you break through, and you will find your happiness again. I guarantee it. Just keep going.

The crowd at the Baltimore Soundstage could not be more enthusiastic to sing along when Set It Off hit the stage. Opening with “Lonely Dance,” the band created a fun and lively set that included classic Set It Off setlist staples, such as “Why Worry,” as well as newer songs from Midnight, such as “Dancing With The Devil.” Whether it be fans screaming along to the bridge in “Killer in the Mirror” or crowdsurfers going up for “Wolf in Sheep’s Clothing,” the band put on an incredibly entertaining show that kept fans wanting more than just that 45-minute set. With every song that they put out, you can really see the growth in their music, and it’s exciting to see what they’ll do next. Keep an eye out for Set It Off — they’re a band you do not want to miss!

by Jessica Matilszki

American Authors

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by JenaRose Dahlstrom

Motion City Soundtrack

CAN YOU HEAR ME NOW? a conversation with

BISHOP BRIGGS Interview by Kariann Tan Press photos courtesy of Eric Ray Davidson Live photos by Devyn Vaughan Throughout the past couple years, British singer/songwriter Bishop Briggs has gone from strength to strength with each record release. Since her debut in 2016, she has made major waves in the indie-rock scene, releasing notable singles such as “River,” which has gathered over 200K digital streams and has been covered by artists as big as P!nk on tour. With 2018’s Church of Scars, Briggs delved into the concepts of polar opposites: with ups and downs, lovers and enemies, and so much more. Each track featured intricate layerings and different elements that seem to stem from Briggs’ personal influences.

To add on to that, last year, we were introduced to her next release, CHAMPION. Through this, listeners can see Briggs honing in on her personal experiences, expounding on them, and taking control of her emotions to drive herself forward. With each track comes a feeling of catharsis, be it emotionally or physically. This can be noticed in “I TRIED,” where Briggs laments on her failed relationship and struggles to come to her emotions. Lyrics such as “I got one tired heart and two tired eyes / I’m too tired now to cry” stands as one of the most poignant statements as she powers through in the album as an example.

With this interview, I took the opportunity to sit down with Bishop Briggs over the phone to chat about the intricacies of her current and past record, as well as other important conversations that are to be had about society today.

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So, I was doing a deep dive into CHAMPION by listening to the lyrics and learning the intricacies of it, and what I got from the album itself was that there are certain personal feelings towards the album. I wanted to ask you, have those personal feelings changed over time since its release?

That’s a great question. Yeah, it really encapsulated the stages of grief. I think that it kind of continues; they don’t tell you how long each stage of grief lasts. It really varies from month to month.

I’ve done a lot of self-work ever since the album came out and I dealt with a lot of confrontation as well. But you know, it really opens up this dialogue that I was seeking to have in my life.

There was something liberating about doing that, as well as kind of having nothing to hide behind anymore.

It does seem that there are personal feelings behind this record, and your comment really cemented that. Tell me a little bit about the thought process of the album and everything else in particular.

Well, I was feeling so

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overwhelmed and heartbroken.

I had found myself in a position where I just felt so sad and so defeated. So I went back to my roots by just showing up in studios and writing — you know, trying to create something of this feeling. I really didn’t know that this would be the album; I didn’t know that I was even creating an album. I really was just having the exercise of waking up, going to the studio, writing about my experiences, and trying to find some cleanse from that. That was what came about the album.

Aside from feelings and personal inclinations about the album, were there certain production styles or elements that you wanted to go for with CHAMPION? I always loved a big gospel choir.

Growing up, I had a brief stint with a gospel choir, and it made me fall in love with music. I love all the harmonies and the soulfulness, as well as the different dynamics of the group. I think, primarily, a lot of the songs [from CHAMPION] came from piano and organ chords specifically, because those were the things that make me feel most at home. Definitely going into it, I started with the things

that felt really true to me.

Coming out of it, a few months later, do you think you’ve accomplished that certain goal in terms of production with CHAMPION? Yes! I feel so thankful that I had this variation of producers that inspired me. These producers became the people that you see on this album. It was really, really inspiring and I am very proud of it.

Just as a listener and personal fan, I think that you portrayed these concepts really well with this album. With regard to your entire discography (CHAMPION 52 • kinda cool.

and Church of Scars), it seems like there is a certain atmosphere around each album. Do you feel the same way? Do you classify each release as a certain phase of your life?

If I was showing my grandkids (if I were to have them!) everything, I’d think I would be able to bring out these albums and talk about how specific they were to that time of my life.

There is something nostalgic about that to me, where there is an element that reminds me of keeping a diary and wanting to open it at a later date to remember what you went through or what you’re proud of. With CHAMPION specifically, it was important to be a lot more direct, taking things just

as they were and not hiding behind any metaphors or poetry and just say what it is.

I’d definitely say that these albums represent different phases, and I hope that with [the] more albums I do, the more direct I become.

There is something liberating about doing this.

CHAMPION, I would play “JEKYLL AND HIDE” and “SOMEONE ELSE.” Maybe “I TRIED” too [off CHAMPION] , if I got their attention for long enough!

For a person who has never heard your music before, how would you describe each album?

I think there are definitely songs that I feel like accurately represent the albums. There are also some songs that kind of dig deep into your soul, and I think it is important to find those songs and allow them to summarize the albums for you.

I would probably ask them what their platform of choice is, [and] then I would play them some of the songs! I always think “The Way I Do” and “Hallowed Ground” represent Church of Scars, and I think with

With your work, I see a lot going into it. Not only do I feel that your work symbolizes something, but I think that your fashion style has a connection with your music too. Would you say so

yourself? Do you have an aesthetic that you bring to work?

I hope so! I think it’s been really refreshing to feel like myself. With fashion and style, it really is under an umbrella of art, so anytime that I can connect the world in some way, I’m up for it.

I love that! I feel like we’re in this era where music is not just the only thing going for us. Artists will bring their passion for style and different sorts of arts into their work. I see that with you and your stuff, and it’s so refreshing.

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I will say that I definitely like to incorporate a lot of my tattoo styles into the artwork, because that is something I kind of love. I love that I can work with artists that express themselves and create. That is a big influence.

Speaking of influence, what is something that inspires you and what you do today?

I feel really strongly about having more conversations about what is happening behind closed doors. We are all experiencing very similar things and not feeling like we’re in a safe enough place to talk about it. I think that a big goal for me is that hopefully in

being vulnerable and telling my truth, it will encourage others to do the same.

A lot of festival goers that have seen you live have said that your stage presence is incredible and amazing.

Aw, what!? Thank you so much.

One of my friends that went to your show said that it was [one of] the best shows that they’ve been to. I wanted to ask, do you have pre-stage rituals or do you have a type of energy that you try to bring to each show every time?

I definitely always get very nervous before shows. But, I am really lucky that the people that I work with, I laugh a lot with. It’s because it’s such a nice distraction. I will say for this last tour, my tour manager Blake would do the “River” dance before I went on stage every night. We would create a light for him with flashlights and we would make strobes [out of the whole commotion]. It was such a random ritual that I miss every single day. Being silly backstage and trying to turn my nerves into a performance.

Are there particular songs you enjoy performing live the most?

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Hmmm... it does change from night to night! That’s so hard. I will say that “JEKYLL AND HIDE” is so much fun to perform. It’s just been so exciting to have released it, and hearing people sing a lot to it is so surreal.

Just to wrap things up, I’d like to ask you what your personal plans [are] or a New Year’s resolution you have for the upcoming year?

So my New Year’s resolution would be to be more involved in activism. There are a lot of charities that I’d like to get involved and work with. As far as personal goals for this year, you know, I have plans to release new music, which I am really excited about. My goal every year is to just be as authentic as possible and to be more direct and not hide behind any social norms that have been instilled in me. I’d just want to be as direct as possible.

I love that for you! I think that social media has played a huge part in creating this whole facade for people to relate and be a part of.

Right? I was so shocked when everyone was like, “I had such a bad year!” and it was coming from these people that I idolized and I thought they had the best year. Their persona online was so different the entire year. I really hope

that it’s changing. I think there is a middle ground of authenticity online, but, it’s true. There is definitely a problem going on.

It starts with you wanting to change.

No one can change you but you.

So what you said about being more authentic and honest is great, and I admire it, because it’s you yourself wanting to stand up and being honest about yourself. Hopefully we both get to that point this year.

Aww, I’m so glad! Yes! We’ll have to check in at the end of this year.

Bishop Briggs is a fast-rising star.

CHAMPION serves as evidence regarding why. Female empowerment and vulnerability are two traits that Briggs never stops showing, especially on this new record. While hits such as “River” will make their mark as timeless indie classics, CHAMPION takes her story-telling abilities and unique style to the next level, once again proving herself somewhere that she didn’t even need to in the first place.

Authentic, raw, and down-to-earth.

That’s Briggs’ key to a happy life in 2020. Make sure to check out her latest album CHAMPION, now available on all streaming platforms.

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HARRY

widely debated online since Styles claimed that “Kiwi walked so Watermelon Sugar could run” in an October 2019 tweet. That doesn’t take away from the energy that the song radiates one bit — nearly three whole minutes of pure joy. Track three, previously mentioned “Adore You” (and one of my personal favorites from the album), arguably displays some of the best uses of Styles’ vocals thus far. To add onto that, it also has an accompanying music video that’s equal parts eccentric and adorable. Though the lover Styles seems to be pledging his adoration for in the song is (presumably) human, the video shows the everlasting, but nonetheless simple bond between a boy and his fish. Either way, it’s probably safe to say that many (whether they might be human or fish) will find it hard to resist the charm that seeps through the song.

“Do you know who you are?” Styles asks listeners on the next track, “Lights Up.” His first single since the release of his debut album in 2017, he described the track [in an interview with Capital FM] as being about his own journey to selfdiscovery, and even freedom, which may hint that it could even be able to be perceived as an ode to self-love. “Cherry,” the fifth song on the album, showcases Styles taking a page out of many a musician’s book: the voice of his ex-girlfriend can be heard at the end of the track. “Don’t you call him baby,” Styles pleads, his heart sounding raw and as if it’s been ripped at the seams. Though it’s perhaps one of the saddest songs on the album, it’s somewhat comforting to know that the pair had repaired things well enough for him to go as far to feature her voice on the song.

As “Cherry” ends, “Falling” starts out innocently enough with a lovely piano intro, though Styles’ voice quickly becomes the true centerpiece of the song. “What am I now? What am I now?

STYLES walks a

FINE LINE Written by Lexie Dopwell

F

rom the dawn of his career, British heartthrob Harry Styles has possessed a certain starbound quality that immediately put him in a league of his own. Following the dizzying success of his eponymous debut album, the former boybander dives into deeper waters on his sophomore LP, with the resulting body of work proving yet again that he’s not just a pretty face, but a gifted musician with the ability to evolve further with each new release.

Fine Line, Styles’ second studio album, is an ode to love and all of its complicated surroundings. From the electric “Adore You,” which serves as an addictive twist to the age-old love song, to the plaintive and vulnerable break-up ballad “Falling,” Styles seems to finally find his footing musically with the succession of each track. Album opener “Golden” sets the mood by instantly evoking a feeling of a new beginning. Throughout the song, Styles seems to go on a journey of reflection about love lost — and though they once shone far too bright for him, his memories of the past still aren’t bitter ones. Instead, they’re peaceful ones, which makes the track feel more like he’s embarking on a journey of forgiveness, rather than one where he chooses to hold on to the past like a vice.

Follow-up track “Watermelon Sugar” is perhaps one of Styles’ most fun tracks to date, though what watermelon sugar is exactly has been

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/ What if I’m someone I don’t want around?,” he questions, his vulnerability shining through his words. Though “Cherry” is a certified tearjerker, “Falling” all but takes the cake for being the track on the album that can crack even the hardest of hearts open.

It feels as if in music, men being open and honest about their feelings (let alone heartbreak) is still relatively against the norm, but Styles manages his candor with relative ease, and even goes as far as to acknowledge his loneliness and arrogance in “To Be So Lonely,” a track laced with interesting instrumentals and a persistent request for an ex lover to not call him “baby” again.

If you’re familiar with Styles’ debut album, you might recognize the vibe that the next track gives off: “She” feels like it could easily be a b-side to 2017’s “Woman,” though he’s considerably less jilted on the newer song. “She” finds Styles musing about someone living in his daydreams, though he has no idea who she is. The recurring theme of both songs paints the women in question as a sort of lover who happens to be unattainable for him — which is something you really wouldn’t expect to hear from Styles of all people, whose fanbase only seems to increase by the second.

This new theme of yearning sticks around with “Sunflower, Vol. 6,” with analogies littered throughout the lyrics as Styles looks back with a bittersweet sense of fondness of sorts. “Sunflower, my eyes want you more than a melody,” he proclaims, though the song feels more lighthearted than anything.

You can still hear him longing for what’s gone, but a sense of acceptance is there, as if he’s finally coming to terms with the realization that things are really over.

Acceptance.

Styles seems to taste it on his tongue with “Canyon Moon,” a song that’s quite best described as a ditty. “I’m going home,” he sings throughout the track, while seemingly on tour. He may have gotten to go to Paris, he may have been to Rome, but all that really mattered to him was that he was going to

get to go home. His eagerness to go home marks a shift when you look back at how reluctant he seemed in the past (hint: “To Be So Lonely” has more than Styles calling himself out) since he didn’t want to be alone in an empty home after he and his lover had ended things.

Circling back to his more vulnerable side, “Treat People With Kindness” shows listeners that it’s more than just a slogan — it’s a movement, and it involves self-love. “Feeling good in my skin / I just keep on dancing,” Styles croons on the track, which can’t help but make me picture the dance moves that he’ll break out in when performing the song live.

With the addition of a choir and the sporadic “Ow!”s from Styles, it’s all but guaranteed that you’ll be up on your feet thanks to this track in no time. It’s selflove, but fun.

After achieving that high, titular track, “Fine Line” is the perfect ending to the album, as well as the journey that Styles has led listeners on. It can be argued that the album represents the five stages of grief, with each few tracks respectively representing a stage — and “Fine Line,” with its lyrics both reflective and intentful, sees Styles finally reaching the destination he’s been trying to get to all along.

kindacoolmagazine.com • 59

happy birthday, Exactly one year ago, Kinda Cool Magazine was announced and brought into the world. The existence of the magazine has reached a wider scale in the past 365 days than any of us ever could have expected, and we couldn’t help but do a massive reflection on how this publication has impacted us all since that very first social media post on February 24, 2019. We’ll start with letters from the magazine heads:

Starting Kinda Cool Magazine was something I did for myself. I needed a new outlet, a sense of control over my work, a fresh start. I had this idea in my head that I couldn’t shake, but it just felt impossible as a self-taught 16-year-old, especially because I had a background in almost every aspect of running a publication except for graphic design — a pretty crucial component. I ended up messaging my friend Vic in February 2019 with this pitch because I knew she was in school for design, and next thing I knew, we were excitedly bouncing ideas off each other for what soon became KCM. Suddenly, it wasn’t just a “me” thing anymore. And when we brought 30 contributors onto our team in the first week to bring life to the new magazine, it became even less of a “me” thing.

The most unforgettable moment was the preparation and release of our first issue. We had a really hard time getting approved for any opportunities when we were that new to the scene, but I persevered through and sent out press requests confidently even when I knew there was no chance we’d hear back.

Shortly after the formation of the magazine, I ended up receiving an offer from a publicist I’d worked with quite a bit in the past named Taylor Gyenge to interview Super Whatevr. So I met up with Skyler McKee, the face of Super Whatevr, before his show in Toronto with Set It Off in March 2019. Since I’d already interviewed him in the past, worked on his street team, communicated with him on Twitter, and soon ended up impulsively flying 2000 miles from home to see his show, it was a very natural conversation and still one of my favorite interviews I’ve ever done to this day. I decided to put it on the front cover since we were approaching release date with nothing set in stone, and thanks to Sky’s incredible kindness and promotion, Issue 1 was a successful launch. We gained over 100 Instagram followers on release day. People were taking notice and praising this new publication that had fallen under their radar.

After some stress, team member changes, and trial/error marketing and design attempts, we were ready to put out Issue 2, the morgxn issue. I didn’t know it at the time, but even though Issue 2 probably generated the lowest amount of sales out of our 5 issues so far, this issue cycle was a real game-changer for the next year of the magazine. A rapidly rising star who you may recognize by the name of Billie Eilish was playing a sold-out show at Toronto’s 16,000 capacity Budweiser Stage in June 2019, and I was desperate to photograph what was sure to be a memorable event. I applied for a photo pass for myself, really not expecting much, but crossing my fingers for the best. A few days before the show, my request got passed along from the American publicity team to the Canadian one, who took interest in the publication and granted me the final label comp ticket to attend the show and write a review. This piece was published in the morgxn issue, which the team loved. I will never understand why a label as large as Universal Music Canada put so much faith into a small publication such as ourselves, but we’ve continued to work closely

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with them ever since, and I will never take it for granted.

Issue 3 and Issue 4 happened in a bit of a blur. My team and I got to work with even more artists whom we admire and continue to build up our follower count. I took the summer to become really immersed in marketing, web design, and alternative and unfamiliar options for ourselves that would generate more profit and interaction. We ran our first merch line and continued to work with UMC on some more of the largest opportunities we’ve ever been granted — as a matter of fact, our massive Issue 5 cover was confirmed months in advance, and I had to bite my tongue and keep the secret in for way longer than I could handle.

When December came around, the entire team was buzzing over the fast-approaching release. I basically went radio silent for that entire month and distanced myself from all my friends as I put every spare hour of my life into planning for the most exciting features we’d ever done and a grand year-end for KCM. I knew with the fact that our cover star had over a million social media followers, this issue could make or break us based on how many people we could draw in. And I was determined to prove myself.

I knew I was doing something right when I looked back on 2019 the day before the Issue 5 release.

I’m a very humble person, but I work incredibly hard, and seeing it pay off in the way that I was reflecting back on was something I can’t just refuse to acknowledge. I worked my ass off for that. This entire project was born from my mind. It means so much to so many people now. And I deserve that. Seeing that we jumped from cover stars with 10-20K followers, then to a few hundred thousand, and then to OVER A MILLION in less than a year is solely the product of my hard work and my amazing team that I have behind me at every turn. The YUNGBLUD issue finally released and changed everything. Our social media interaction had never been at such a high rate. People I’d never heard from before were reading it, loving it, and buying it. Dominic was a very kind person to speak to, and he continued to share the issue after it released. I’m super thankful for that.

Working with bigger artists can end in disaster if they refuse to promote or use an egotistical attitude while talking to you, and it’s an issue everyone in this business has had, so I was super grateful to find a genuine person behind Dom’s persona. Working on and releasing this issue was one of the most surreal experiences of my life.

This will be our sixth issue and the official one-year anniversary of Vic and I starting KCM. It’s so unreal to me that this is something I’ve raised from an idea in my mind to what it is today, and I know I keep saying it, but I just never knew I could be capable of something so massive until starting this. I’m 17 now and I’ve still got lots of time to learn. The past year has been one long, never-ending learning experience for me.

The fact that Kinda Cool has been able to change and evolve in such a vast manner in a short period of time gives me a lot of hope for the next year, and the one after that, and so on.

I’m grateful for my two co-team heads, Mary and Rebekah, for being my muses and bringing my ideas to life. I wouldn’t rather work with anyone else. I’m grateful for my contributors for being such talented, young creatives with so much drive. Thank you for putting up with my crazy ideas and compulsive organization and deadlines that probably drive you insane sometimes. I’m grateful to Vic — even if she’s not part of the team anymore, she gave me the push and the help I needed to start this project. I’m grateful to the publicists I’ve worked closely with over the past year, especially Stephanie Horak, Allison Phillips, and Lauren O’Brien from Universal Music Canada. My appreciation for you all is endless. You make my job so much easier. Finally, I’m grateful for everyone who has taken the time to support the magazine in any capacity in the past year. Whether you know it or not, reading an issue or following us online is empowering a team of hardworking women and helping us access new realms of opportunity.

If you had asked me when I launched Kinda Cool Magazine where I thought it would be in a year, this wouldn’t have been my answer. I probably would’ve laughed in your face if you tried to tell me we would’ve expanded into something this much bigger than myself. But we’ve made it here, and I can’t explain that in any way except for saying that working hard and making important connections will always pay off, no matter how fast or slow it happens — in my case, apparently it’s just destined to be very fast. Refuse to sit silently on the sidelines. Get involved in your local music/journalism scene(s). Make a change. Here’s to the future of Kinda Cool Magazine; may it exist indefinitely.

- Meg Clemmensen, Founder/Manager

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Kinda Cool has come a long way since our start, but it has been a journey that I have been honored to be a part of. I remember when Meg first started Kinda Cool because after being a part of several publications for a while, she excitedly texted me her ideas to start her own, which I eagerly encouraged her to do. I watched as the magazine started to really come together, starting off with the formation of a talented team and our very first requests being sent out. Little did we know that Kinda Cool would soon be working with some artists we had only dreamed of collaborating with, such as YUNGBLUD.

In my time with Kinda Cool, I feel like I’ve gotten to dive a little deeper into the world of music journalism and explore possibilities I hadn’t yet tried. I was thrilled to be offered the position of copy editor, as I love getting to suggest new ways to make our written work as concise and clear as possible. When Meg approached me about taking over distribution, I had no idea what that meant for me. It was definitely an adventure receiving my very first shipment of magazines, two boxes filled with our third issue of Kinda Cool. It has been a special experience to ship all of our recent issues out to everyone, as I get to personally send them out, which I feel has created a deeper relationship with our readers. I really enjoy sitting down and putting together orders because I feel like it makes our readers feel much closer and less like just usernames on social media.

Kinda Cool has also helped me to achieve different things in my music journalism career.

The biggest interview of my career thus far was with Macy Gray, an artist who has earned several Grammy-Award nominations, including a Grammy for her hit song, “I Try.” My first interview of the year was with Destroy Boys, a band who I was fortunate enough to talk to before an energetic set at the legendary 924 Gilman. Another highlight was interviewing Neverkept, a band whose only released song, “Vertigo,” has been on repeat for me since it came out in 2018. I can’t express how exciting it was to see my friends in First in Flight in Maryland, because getting to shoot their show and do an interview after their set was extremely fun. Speaking with the lovely Shenna at All Things Go Fall Classic was a wonderful way to end my weekend at Union Market, and shooting that festival was certainly a challenge. I’m really looking forward to continuing to work with more artists I love as Kinda Cool gets bigger, and I think we already have so many great surprises for our followers this year.

In the past year, Kinda Cool has grown so much more than I could have ever imagined. I think this team is so lucky to have each other because it’s been truly special to work alongside so many powerful and talented women. Thank you so much to Meg for being such a fantastic magazine head and an equally amazing friend; I’m so grateful for the opportunities I’ve gained from my time with our magazine and all of the memories we’ve shared in the past year. Thank you to Rebekah and Sophie for doing such an incredible job with being in charge of our graphic design work for the issues this past year — the magazine would not be the same without your creativity and hard work. I’m so excited to see what the future has in store for our magazine, and I’m ready for another wonderful year of concerts, new music, and especially new Kinda Cool content!

- Mary Perez, Copy Editor/Distributor

When I first came across Kinda Cool nearly a year ago, I wasn’t necessarily looking for a new publication to work on. I saw Meg’s post in the Girls Behind The Rock Show Facebook group looking for people to join the team, and even though I liked the idea of it, I didn’t think I had the time to contribute and passed on it. Days later, I found myself still thinking about the magazine and figured it wouldn’t hurt to apply. I soon received an email from the original head of graphic design, Vic, with the offer of a volunteer designer position.

Graphic design was originally what I wanted to do in my career, but as I began working in the music industry, I leaned heavily towards photography. I was extremely excited to join the magazine doing the thing that got me passionate about being a creative from the beginning.

About a month later, I received an email from Vic about her stepping down, and offering me the position of head of graphic design with complete control over the design of the issues. I was hesitant at first, worried I wouldn’t be able to produce what was needed in the short amount of time. And yet, something about it seemed so intriguing, and I couldn’t pass it up. I was still nervous about taking over such a heavy part in Kinda Cool due to graduating college within the month and starting a new full time job shortly after, but another contributor, Sophie, agreed to take over the copy design after I finished the debut issue. For that time in our lives, it was the perfect plan.

So, I got to work on designing Issue 1, starring Super Whatevr. We were preparing for an April 26th

release date, after I had only taken over the copy design in the first week of April. I spent every moment I could designing the issue, establishing a “look,” and obsessing over every last detail. Everything was moving quickly, and I was unbelievably excited for what was to come. Then, on April 16th, my dad passed away. It was unexpected, and I was at a loss of what to do. The next week was a blur, and we decided the best option for Kinda Cool was to push the release date back a week. I was grieving, but I knew that distracting myself in that time would help, and designing this issue was the best distraction I could ask for. Creating something that gave me purpose did more for me than I even realized then. And so, on May 3rd, the first issue of Kinda Cool Magazine came out. That same day, I graduated college with a degree in graphic design and photography; a full circle moment.

Later that month, I started my current job working full time, and passed the KCM copy design to Sophie. I spent the summer still contributing light design work and photography to the magazine, and Sophie did a fantastic job creating the next 2 issues. I missed working on the issue design, but I knew I couldn’t commit to continuing while still adapting to a post-college “adult” life. When Sophie stepped down from designing after Issue 3’s release and I had the chance to take over again, I knew I had to do it. Just like that, I was back on board and designing issues with covers of K.Flay, YUNGBLUD, and now Bishop Briggs. Being a huge YUNGBLUD fan, designing his issue was a huge honor and one of the craziest things I’ve done in music to date.

On a more personal note, I love what I’ve been able to create in the design and branding of this publication. Each new idea and challenge pushes me to be better everyday, and it’s the perfect outlet for my creativity. What I’ve wanted the most through all of this was to be able to show my dad and share these moments with him, and I’ve been angry that we never got that chance. I like to think he somehow knows already, and is pretty stoked on it. I think he would be proud of me.

There’s no way I can not mention the incredible team behind the magazine. First and foremost, I’m constantly impressed by Meg’s determination and confidence in what she does in the industry. Without her willingness to do everything in her power to do what’s best for the magazine, Kinda Cool wouldn’t exist today.

She created this thing out of nothing and works nonstop to make it better and better. And thanks to Mary’s efforts in editing and distributing the issues, we’re able to get quality content within these pages, out to our readers, and into the world. They are two of the most hard working women I know, and I’m grateful to be able to work side by side with them and bring our vision to life. Of course, we couldn’t do it without our team of 30+ contributors. We have the privilege to be able to put their incredible content into the universe and watch each person continue to grow into unbelievably talented creatives.

I’m so proud of what this team has accomplished this past year, and it’s only the start. Thank you to everyone involved in this magazine in any way; from the contributors, to the musicians we feature, to the publicists that give us these opportunities, to the readers. Stay tuned for what’s to come, because we’ve got some big things coming your way. It’ll be…

- Rebekah Witt, Copy Designer

Of course, our volunteer contributors have played a massive role in the success of KCM. We gathered a few of them together to discuss their experiences on the team:

When I first joined Kinda Cool Magazine, I really didn’t know what to expect. I saw some of my favorite music photographers shooting for my favorite bands and I was obsessed with watching and reading music interviews. It was by some sort of luck that I applied and got through to becoming a member of KCM, and my life hasn’t been the same since. Almost a month after I joined, I applied to shoot shows and interview people for the first time. As nerve-wracking as it was, sitting in the green room of my local music venue and interviewing bands that I looked up to and one that I had been a fan of for years just felt right. The only way I could describe it to the people around me was that it just felt like everything had fallen into place and being in the crowd, with my camera, I felt at home.

Now, that feeling like you’re in the right place at the right time is so invigorating, I never wanted it to stop. And I still don’t. I love the rush of staying up after being at a show and editing photos for hours and hours until you edit it to the way you want it. I love re-listening to the brilliant minds of the artists I’ve been able to cover and typing up their verbatim. I love the rush of hearing songs for the first time and savoring your initial thoughts so you can write them down. That feels timeless to me. Having my words, my thoughts and emotions about a piece of art expressed for people to see.

There just aren’t enough words for me to describe just how grateful I am for the opportunity I’ve been given. To think that one year ago, I was completely unaware of all that I would achieve is actually incomprehensible to me. So, here’s to many more years of Kinda Cool Magazine, happy birthday!

- Chelsea Tiso, Interviewer/Photographer/Writer

Being a part of the Kinda Cool team for the past year has been one of the best experiences of my life. I have been given so many amazing opportunities to meet so many amazing people and strengthen my skills as both a writer and an interviewer. I have always wanted to be a part of a magazine and be a music journalist, and being a part of this amazing team has allowed me to make this happen. I am so happy to be a part of an amazing team of extremely talented individuals to create art for everyone to enjoy. Writing and music have always been my two passions, and being a part of the Kinda Cool team has allowed me to combine those two passions and gain experience in a field I want to make a career out of in the near future.

I want to just quickly thank all of our readers and supporters, because the reason we do what we do is for all of you! I also just want to shout out our amazing three staff members: Meg, Mary, and Rebekah! Without them, none of these opportunities would have been made possible.

- Cris Rulli, Interviewer/Writer

In December 2017, I shot the So Wrong It’s Right 10-year anniversary show in New Jersey. At the time, I didn’t know it would be the last show I shot for over a year. I took that time to focus on my career and relationships, but it felt like a part of me was missing. When I saw a post in Girls Behind The Rock Show on Facebook looking for contributors for a brand new mag, I jumped at the opportunity. May of 2019, I was in a photo pit for the first time in almost a year and a half, and it felt like home. I’ve had the opportunity to shoot 8 shows in Maryland, Pennsylvania, and New Jersey since then, and hope to do much more this year! I’ve dipped my toe in writing with the magazine and really stepped out of my comfort zone.

Since I started sneaking my camera into concerts in 2012, this scene has become one of the best parts of my life. Getting to be ONE of the girls behind the rock show and contributing to what I predict to become a quite successful magazine has really kept me involved, and I’m eternally thankful for the opportunities this KCM has given me thus far. I can’t wait to see where this amazing team goes!

- JenaRose Dahlstrom, Photographer

Being in Kinda Cool Magazine is an experience like no other. I remember when Meg first started the magazine and I thought to myself, “I would love to do something like this and be able to show off my creative skills in my work.” It has been almost a year since that day, and I believe my life has changed for the better.

I am able to show off my writing and interviewing skills in ways that I thought I would never be able to do.

Kinda Cool Magazine has given me hands-on experience in the music industry by being able to interview the bands I love, write about the many shows I attend, and write about the music that makes me happy.

When I first applied for the position of writer and interviewer, I really did not think I would be good enough for the position, having no other experience in writing music journalism. Meg gave me a chance and I am forever grateful for that. My writing skills have improved tremendously and I am less anxious and awkward when talking face to face with people, or over the phone in a professional manner. If it wasn’t for Kinda Cool Magazine, I wouldn’t have been able to interview artists like I DONT KNOW HOW BUT THEY FOUND ME, McAllister, Xander Corbett, and LIXM. I was also able to discover new music through the many playlists that Kinda Cool puts out, and I am grateful for that.

I feel like I’ve gone on and on about how grateful I am, but I truly am. Kinda Cool has given me so many opportunities, and I could never show how much that means to me. Since working for the magazine, I was able to figure out what I want to major in when I attend college, which would be the music industry.

Thank you Kinda Cool for being there for me and for all the contributors who make this magazine possible.

- Faith Logue, Interviewer/Writer

I remember applying to write for Kinda Cool just to see where it would lead me. I had no idea if I was going to be accepted onto the team because I did not have much experience in music journalism up until that point. Getting the email saying that I was officially a contributor was so exciting and made me realize that I was meant to demonstrate my passion for both music and writing that I’ve always had. Being a part of Kinda Cool since the beginning has been an incredible experience. It has allowed me to break out of my shell and to actually let people read what I have to say about the things that I care about. Letting out all of my thoughts on music and putting a ton of effort into each review or article I write feels so rewarding once it is shared with everyone online or in physical issues.

Besides just enjoying doing my actual work for the magazine, I love knowing that I am part of something that has meaning. Joining the magazine has connected me to a group of talented writers, interviewers, and photographers who all have a common love of music and all want to make each issue of the magazine as great as it can be. I constantly root for this magazine and love seeing every single opportunity any of us gets handed, from surreal cover stars to connections made with smaller artists that we’ve covered. I am extremely proud of all of the work everyone at Kinda Cool has done in the past year, and it’s only upwards from here!

- Gianna Cicchetti, Writer

Frankly, I can’t believe it has already been an entire year since Kinda Cool started. I distinctly remember the day Meg excitedly announced she was taking on this project and was looking for contributors.

In hopes of becoming part of the team, I applied, and doing so has been one of my best decisions thus far.

Forming part of this team has been an incredible experience. I’ve been able to write about my favorite bands, fully immerse myself into the music scene, and on rare occasions host interviews with artists. Through this all, my love for both music and writing have grown exponentially (who knew?!), and I’ve developed skills I know will come in handy in future endeavors. I’ve also been reminded of the power of social media in forming connections. I mean, Kinda Cool has contributors from all across the U.S. and even from different countries. The fact that we’ve all been able to build this little community, share our love for music, and accomplish so much in one year (like having major artists on our covers!!) despite our distance is truly inspiring.

Happy first birthday, Kinda Cool. Thank you for providing me with an outlet to express my passions and for the countless great memories. I can’t wait to grow alongside you and the rest of the team.

- Natalie Melendez, Interviewer/Writer

Being part of Kinda Cool Magazine is honestly surreal! Back in March, when I had just gotten a position in the magazine, I didn’t know how big and important it would become both for me and the whole team. I’ve been occasionally buying music magazines for four years, and sometimes I held the issue in my hands, not quite realizing how much hard work went into it. This year, I’ve been able to appreciate people behind articles, interviews and photoshoots more - working in this field is challenging, painstaking and sometimes sleep-depriving.

We’ve also come such a long way as a team! Right now, we only have six issues out, and we’ve already worked with so many amazing artists. In all honesty, I never even thought I would be working in a music magazine. Whether it’s self-consciousness, English not being my mother tongue, or something else, I used to always put that idea aside. Now, a stack of Kinda Cool issues is resting on my bookshelf, with my editorials somewhere along with the amazing contributors I look up to. Overcoming these insecurities has been very rewarding for me, and I can’t wait for what is ahead of me this year!

- Polina Bakgof, Interviewer/Writer

I’ve been a part of the Kinda Cool team for quite a few months now, and I never expected it to turn into what it has for me. Writing for publications started as a fun hobby for me while I decided what I wanted to do with my life. By the time I wrote my article about following the Hot Mulligan tour (featured in Issue 2), I realized this was something I was extremely passionate about and I wanted to do professionally.

With Kinda Cool, I’ve conducted some of my first interviews and also published some of my favorite articles I’ve ever written.

KCM has not only provided me with a clear path and many opportunities, but has also provided me with an amazing crew to work with. I’ve learned what it’s like to work with such talented and hardworking people. Working with fellow staff members has allowed my writing and work ethic to grow, and I could not be more thankful.

- Mickayla Whitt, Interviewer/Writer

We wouldn’t be where we are without the support of musicians rising into the scene at the same time as us. Here’s a few words from just a couple artists we’ve worked closely with:

I’m really proud of how hard Meg [and the team] works. You’re incredibly talented and driven and you deserve every ounce of recognition and respect that you get. You’re gonna continue to grow in anything that you do, and the magazine is a testament to your hard work. I’m proud to have been one of the first covers because I love having the fanbase that we’ve grown check out such an awesome magazine. You rule!

- Skyler McKee of Super Whatevr

Meg and Kinda Cool Mag have believed in us since the start. She’s always been on our side and helped us get some of our very first coverage in the scene, and the team at the magazine have been super lovely about everything we’ve done. It’s been so nice to grow together in the scene. Also, the magazine looks so pretty. It’s an aesthetic we would die for!

- Bears In Trees

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Finally, we wanted to reach out to a couple dedicated readers to thank them for their continued support and offer them a well-deserved spot in our tribute piece. Here’s what they had to say about watching the publication grow over time:

I first started paying attention to Kinda Cool a few months back when Meg posted in the Girls Behind the Rock Show networking group about it. The first thing to draw my attention was its name; the second was the incredible opportunities it was granting its contributors, some of them on their first media team. There are so many insanely talented people creating for them and I love to see what they come up with every single issue.

Watching Kinda Cool Mag grow as much as it has over its short lifespan has been nothing short of inspiring. It was the brainchild of Meg and Victoria only a year ago, but in the 365 days since, Meg has carried on the team and they have done so, so many unimaginably cool things. In Meg’s words, “For nearly a year, I’ve contributed to online magazines, but always wondered what it would be like to run one,” and I can genuinely say that because I’ve had the pleasure of watching her run her own online magazine, and I gained the courage to start my own, too. Here’s to a year of Kinda Cool, and to many, many more!

- Emily Marsham

As a fellow concert enthusiast, Kinda Cool Magazine is definitely a game-changer in today’s media scene. Not only do the contributors present in multiple perspectives, including those of fans, photographers, and artists themselves, but everything printed in the magazine is constructive and supportive. I love this, because unlike most media publications, Kinda Cool’s focus is on the content that fans and artists actually want to read instead of easily-googleable news, and you won’t find any negative content that pits artists/fans against each other.

Additionally, the creators’ clear vision of providing readers with exclusive and interesting information has exceeded all expectations! It is evident that lots of thought and detail goes into the questions asked, which in turn produces answers that otherwise may not have been mentioned. Also, the photography skills of Kinda Cool’s contributors are absolutely phenomenal. The entire magazine is an inspiration since it’s made up of young adults from all over North America, who are not only showcasing their talents and following their dreams, but also working hard to produce an incredibly well-curated publication. I am so proud of how far this has come in just a year and cannot wait to see what else is in store.

- Maddie Stymiest

To everyone involved in the past year of Kinda Cool in ANY way, big or small, we’re thanking you immensely. For all the hard work that goes into keeping a publication alive, we are incredibly lucky and grateful to have such a wonderful group of people involved in the process. This is still just the start!

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