Nyota Issue 30 by NYOTA Magazine

featuring

Goldpark Issue 30

CONTENTS Music The Music Issue Playlist Goldpark

Why Concerts Suck Nowadays: A Look into the Post-Pandemic Live Music Experience

Daisy O’Dell 15 Chxrry22 Unveils Herself as the Victim and the Villian with an Emotional Debut EP The Other Side

Opāru

#2022Wrapped: Nell Mescal

#2022Wrapped: Laura Dreyfuss

#2022Wrapped: Annabel Gutherz

#2022Wrapped: Waiting for Smith

#2022Wrapped: NYOTA Team

#2022

THE

TEAM

Editor in Chief

Carol Wright is a graduate of American University. At a young age, she became interested in telling stories through photography which eventually led her down the path of creating NYOTA. Now, her passion for storytelling has given her the opportunity to pick the brains of musicians, actors, and influencers across the world.

Art Director Nicole Cox is a American University graduate with a bachelor’s degree in Graphic Design. She has always enjoyed the arts, from making pottery to painting and sketching in her free time. Thanks to her wonderful professors at school, she was able to explore her passion for the arts and further implement her skills in her professional career and hobbies.

Contributing Writer Aaliyah Lambert is an entertainment enthusiast who is passionate about developing talent brands beyond their known profession. Through effective relationships, talent management, and creative thinking, Aaliyah has developed and supported countless creative and compelling artist partnerships, rollouts, and touring efforts. Through her work, Aaliyah has found her love for music and storytelling. She joined the NYOTA team during the Summer excited to share an array of stories. Along the way, she aspires to strengthen her producer skills and expand her talents into the film/tv industry. All while pouring back into the community and people who have shaped who she is today. In her free time, you can catch her reading a good book, listening to 90s R&B, or copying old Janet Jackson choreography in her living room. 4

FEATURES Goldpark Daisy O’Dell Opāru Nell Mescal Laura Dreyfuss Annabel Gutherz Waiting for Smith

CONTRIBUTORS Sophie Sachar Amanda Molloy Aaliyah Lambert

EDITOR’S LETTER “I think music in itself is healing. It’s an explosive expression of humanity. It’s something we are all touched by. No matter what culture we’re from, everyone loves music.” - Billy Joel As the year ends, it felt only fitting to wrap things up with our annual music issue, even if it’s a bit smaller than usual, because, as Billy Joel says, “music in itself is healing.” As you read through the interviews, articles, and the various #2022Wrapped features, I hope you feel inspired to put on your favorite record or buy tickets to that concert you’ve been thinking about because there’s truly nothing better than a good song. With Love, Carol Wright @_carol_wright

Hero / Cornelia Murr Vertigo / Nick Hakim

Super See / Robert Lester Folsom

The Music Issue Playlist Curated by Sophie Sachar 7

#NYOTAmusic

killstreaks / Baby Keem

Shlut / Shygirl

Twin Flame / Weyes Blood

Hurricane / Plains

After All / Alex G

Altogether / Slowdive

Show Me / Joey Bada$$

#NYOTAmusic

Goldpark Interview by Aaliyah Lambert Photographer: Kara Sheridan

Goldpark, the project of Nashville-based musicians Wes Hunter, Andrew Smith, and Kyle Neblett, have entered a new era with the release of their sophomore EP, Goldpark 2! While their goal of creating music that listeners want to live in still hasn’t changed, the band is honing in their sound and becoming more confident in their identity as a band. Goldpark talked to NYOTA about songwriting, working with Jeremy Lutito, and their collaborative process. “Making music you want to live in” describes the band in your Spotify bio. Can you all speak more about that? What are you hoping people truly gain from listening to your music? Andrew: I think that “mantra,” if you like, comes from the feeling we get from listening to records we love. Sonically and lyrically, we gravitate towards music that gives a feeling of never wanting to leave the present moment. It seems basic, but I really hope people like living in our songs. Every sound and every note is intentional in creating that feeling. How were you challenged with the creation of Goldpark 2!? In what ways do you believe you’ve grown through the process? Andrew: I think a follow-up project always brings a sense of “are we gonna top what we did before?” People really liked the songs on Goldpark One, so I think the challenge was delivering a project that felt like us but also captured our evolution since the first EP. There was actually a bit more freedom in making Goldpark 2! mostly because we had a newfound confidence in our identity, having played almost a year and a half of shows. We weren’t cognitively considering the live show as much while making Goldpark2!, but it kind of just flowed out of us. As a band, collaboration is literally the foundation for your work. Can you share the process for the EP? How did you all decide on this direction for the project? Andrew: The songwriting process differs from song to song. We really enjoy a mix of co-writes with outside writers, writing songs just as a band, and Wes writing stuff by himself. We get different kinds of songs from each. For this EP, Jeremy Lutito (producer) helped guide us through sonic territory that aligned with that goal of making music you want to live in. Wes, you’re the primary songwriter on “I Guess It’s Never Enough,” what’s the inspiration behind this song? Wes: The primary inspiration for “I Guess It’s Never Enough” stems from a fairly personal situation that really helped to shape and inform Goldpark, the band. Let’s just say it involved a lot of foul, uninformed talk regarding a situation involving yours truly! I definitely wrote this one from a place of… passion. 10

Listening to “If That’s What You Want,” you showcase your vocal range in a captivating way. Was it initially written in the falsetto, or did that just come to you during the recording process? Wes: “If That’s What You Want” was written with our producer Jeremy Lutito and oftentimes, we’re tracking things that end up on the master as we’re writing. That was definitely the case for the vocal style here. It definitely initially came out as a falsetto, and it just felt right when we were cutting the final vocal. In the past, you all have produced the majority of your own records. How was the experience working with Jeremy Lutito, and how did that relationship come to be? Wes: Jeremy unlocked something really special in us. Goldpark 2! feels like we’re becoming more of who we will be in the future, and Jeremy was instrumental in helping us to discover that. He understood where we wanted to go, and we had a mutual trust of instincts that led to some of our best work yet. The EP is beautifully tied together, positioning you all to tell a great story visually. Should we expect any videos soon in support of Goldpark 2!? Wes: We’ll see! At the moment, we are hitting the ground running with new tunes, but we LOVE Goldpark 2! and would love to dream up a visual world for those songs! As you all continue to release music, the room for experimentation grows. Are there any specific things you plan to try on the next project as it relates to production, features, etc.? Andrew: We feel like we are stirring up something good in the Goldpark 2! territory. Production-wise, you can probably expect something deeper in that vein. Maybe we’ll also get Kyle to do some Gregorian chants on the next single!!

#NYOTAmusic

Why Concerts Suck Nowadays: A Look into the Post-Pandemic Live Music Experience Words by Amanda Molloy Photo by ActionVance on Unsplash

After an extended hiatus caused by the coronavirus pandemic, live music is back in full swing, and fans are more eager than ever to get out there and see their favorite artists on tour. For concertgoers, live shows act as a way to feel a deeper connection to the music we hold near and dear to our hearts. Concerts allow us the unique opportunity to be a part of something bigger than ourselves – and it’s all because of a collective love of music. Recently, however, fans have been taking to social media to share that their live music experiences have been falling short of expectations. The consensus? Going to concerts isn’t nearly as fun as it used to be. Anyone who has tried to get a ticket to a highly coveted show recently has likely had to sit in a virtual waiting room only to be met with a limited selection of highly priced tickets. Looking to get the best view possible at a Harry Styles concert? So is everyone else, so don’t expect to get a good deal on those floor seats. Not to mention that tickets are already more expensive than they were in years prior, due to inflation as well as increased production costs to make up for the nearly two-year loss caused by the pandemic. So you’ve made it through the trenches, secured your ticket, and waited months for the date of the concert to roll around. The day is here, and you’re finally at the venue with your ticket in hand (or in your Apple Wallet). Unfortunately, all it takes is a terrible crowd to turn a great live performance into a lackluster experience. The hashtag #concertetiquette has over 10 million views on TikTok, with fans taking to the app to express their frustration with their fellow audience members’ lack of etiquette at shows. This includes disrespecting opening acts, yelling inappropriate things at artists, and even getting mad at others for standing up or dancing at a show. TikTok users are vocal about their irritation with the new generation of Gen Z concertgoers who are eager to attend shows for the first time and don’t know how to act. It seems to many that internet culture and our obsession with content consumption is at least partially to blame. In a viral TikTok, audience members at a Steve Lacy concert were criticized for only knowing the hook of his song “Bad Habit” – the portion of the song that blew up on TikTok – and going silent for the rest of the song when he pointed his microphone at the audience, encouraging them to sing. In another viral Steve Lacy incident, the artist smashed a fan’s disposable camera after asking the audience not to throw anything on stage. Steve Lacy isn’t alone in his frustrations. Mitski took to Twitter to share her disdain for the overuse of cell phones at concerts, and many fans agree – it has resulted in musicians being treated as content rather than artists. There’s no doubt that the rise of social media platforms like TikTok has been incredibly influential in music discovery and music distribution, but it’s also led to a disconnect between some performers and fans in a live setting.

#NYOTAmusic Rising prices are making tickets inaccessible to fans, and the experience itself isn’t what it used to be – so what can be done? When it comes to the concert experience, there might not be a clear solution to the etiquette issue other than continually educating each other on the ways to act – and not act – at live shows. Younger fans should learn to be more respectful of artists performing on stage as well as their fellow audience members, and older fans should remember what it was like to be a new concertgoer. Perhaps more artists could begin to adopt no-phone policies at concerts and follow in the footsteps of artists like Silk Sonic, who had audience members keep their mobile phones in locked bags during their Las Vegas residency shows. In a less controversial move, indie rock band Yeah Yeah Yeahs implemented a rule that encouraged fans to take photos and record videos for the first three songs and put their mobile devices away for the remainder of the set. At the end of the day, live music is what you make of it. So the next time you’re at a show, sing your heart out, dance like nobody’s watching, and live in the moment.

#NYOTAmusic

Daisy O’Dell Interview by Carol Wright Photographer: Davide Laffe @davidlaffe Hair: Ana Estella @theanaestella MUA: Nathan Hejl @nathanhejl

Daisy O’Dell has had an emotional connection to music from a young age, so it is no surprise that she is now one of the most in-demand, high-profile DJs in the business. O’Dell talked to NYOTA about the learning curve in DJ’ing, creating setlists for major Hollywood Events, and her advice for aspiring musicians. Has music always been something you were drawn to, even as a kid? Dancing for hours in front of the enormous homemade speakers my Dad designed and built (for optimal audio quality) is one of my most vivid childhood memories. Generally (and scientifically), listening to music improves creativity, memory, alertness, and clarity, but for many of us, the emotional connection is significantly deeper; it really has always been something that just impacted me in an indescribably profound way. You used to sing jazz standards and play instruments. How did this end up transitioning into DJ’ing? As a child, your tastes are informed and shaped by the music you are exposed to, and in my case, that was primarily classical. I sang and fell into musical theater and then jazz as an outlet for that passion. As I got older and my exposure grew, my interests expanded. I started collecting records in my early teens and was seduced by the world of vinyl collectors – a world that often intersects with DJing. But it wasn’t until I started clubbing that the desire to learn the artistry of blending songs and making people dance was sparked. When you started to DJ, was it a steep learning curve? There is, always was, and still is a learning curve! The fundamentals are straightforward – you are combining or “mixing” songs to create an unbroken flow of music. But within that basic structure is the style and skill that are developed through practice and experience; you are constantly evolving, learning, and growing. You make music on your own and also as part of The m.i.d.s. Do you have a different process for creating music when it comes to solo vs. group work? I generally find the most fruitful creative endeavors to be born from collaboration. There is something wonderful about watching ideas be shaped through different perspectives. I have been fortunate to find partners like Julian Shah-Tayler (who I score Variety ‘Actors on Actors’ with) and Kinsey Dulcet (our band is called ‘Antiheroines,’ new music dropping soon) who have a shared taste and musical vernacular and who can take my seemingly indecipherable conceptual ideas and help them become realized pieces of music. 16

How did you become a music director for Hollywood events, and what is the usual process when creating a set list for something like Elle’s Women In Hollywood Awards? I started with ‘Women In Hollywood’ in 2009 because ELLE’s director of marketing at the time, Caitlin Villarreal, had seen an article about female DJs featuring me. I often credit my success with luck, but preparedness also factors in – being ready for the opportunities when they materialize. I curate nearly every sonic aspect of the show and am very fortunate to collaborate with the tireless and brilliant editor Maris Malejs. I generally start by looking closely at the talent and let their work and style inform my selections; sometimes, it’s quite literally like using “Cat People” by David Bowie for Zoe Kravitz’s Catwoman scenes, and sometimes it’s more esoteric like “American Dream” by LCD Soundsystem for Olivia Wilde’s walk-on music. Who are some artists you listen to for inspiration or wish more people knew about? I DJ everything, but my personal listening tastes generally tend to skew post-punk and new wave. I listen to a lot of music that was released in the very late 70s or early 80s, like early OMD and Cristina. That being said, one newer act that I am really excited about is Marc Baker. He takes many of the sonic elements from that era that I love and reinterprets them through a modern INXS filter. I actually have a remix for his song “Attraction” (a collaboration with Tyler Blake from Classixx) coming out soon. Can you tell our readers about your company woman and the mission? woman. (womancollective.com) was founded by a nightlife collective that saw a need for a cultural shift within our industry and decided to take action. Our mission is to make our space safer, more equitable, more inclusive, and so therefore, more fun. One of our most substantial initiatives was Soteria, which focuses on festivals. We were honored to partner with Goldenvoice to help them create and implement their inaugural Everyone program, which included a clinician-staffed safe space and ambassador program conceptualized by the brilliant Eleuthera Lisch with clinical director Chevonna Gaylor. What advice do you have for aspiring musicians? Don’t overthink it; put it out.

#NYOTAmusic

#2022Rewind

Chxrry22 Unveils Herself as the Victim and the Villian with an Emotional Debut EP The Other Side Words by Aaliyah Lambert Photo by Joanna Kosinska on Unsplash

The choice between what’s right or wrong fades away as Chxrry22 embraces the duality of victim and villain in her debut EP, The Other Side. Toronto native and daughter of Ethiopian immigrants, Chxrry22 grew up immersed in music, with singing practically woven into her DNA, as evident with her early success in the industry. She recently joined The Weeknd’s label, XO Records, as its first female signee. Shortly after the announcement, Chxrry22 delivered a seven-track EP that explores being the victim but also the villain in our own stories and owning that truth without shame. With mysterious cinematic visuals to compliment the vulnerability lyrically sketched out on each song, Chxrry22 makes a grand entrance into the R&B universe. The EP opens with the title track, “The Other Side,” where strings of the harp are met with the songstress’s sultry voice. She begins this journey with: “If it was me, if it was you, that shit don’t matter / Everything that happened’s in the past now /…I made a move, I made it far, I made it happen / Doin’ shit you can’t imagine / You’re watchin’ my dreams come to life,” these words intertwine as Chxrry22 overcomes heartbreak and lands on the realization that she is no longer phased by a past lover. Instead, she’s accomplishing the dreams of her imagination. Not even midway through the project, one can hear this EP was intentionally crafted with a specific message for listeners. Chxrry22 shares that she wants women to know, “It’s okay to own your decisions,” and she does just that as she serenades us with raw emotion on “The Falls.” The villain origin story begins as Chxrry22’s voice cascades while she admittedly confesses to being caught up in the moment and falling victim to temptation. However, where one may have been remorseful, Chxrry22 stands by her choice with pride and boastfully would do it all again: “Should you take me back? You should probably know that / I’ll do it again ‘cause I do what I wanna / Shit, you probably know I’ll do it again.” Maintaining her balance, like a true gymnast, Chxrry22 walks a fine line between what some may consider to be toxic and what others see as a display of humanity. As a young woman on a path of discovery, making decisions that challenge societal norms happens more often than not. That includes being the ringleader of the toxicity, and, other times, falling victim to the game. On “Do It Again,” her worry about unfavorable karma and the chance of her lover slipping away is palpable. With angelic vocals, the story unfolds to reveal there was more at play when the pair chose one another; however, with intensified feelings, Chxrry22 would gladly make the same decision again. The next track, “Call Me,” flaunts a different energy. Found to be one of the more upbeat tracks on the largely mellow EP, Chxrry22 showcases her range as she playfully lets us know what time she’s on; “Call me at the right time / I might pull up / Not to talk / Just to, “Oh, oh” / No, I’m not traditional / 19

#NYOTAmusic Figure I should let you know / In case that’s what you’re looking for / Long as you can keep it light / I’ma keep you in mind.” As the EP flows into its second half, listeners are met with “Us,” a poignant reflection of life going in the opposite direction as Chxrry22 watches an ex move on despite plans made together. Offering us a moment of juxtaposition as the melancholy lyrics are sung over Sensei Bueno’s energetic production. Even though Chxrry22 “lives each day as a rockstar,” there’s still a level of pain that exists, knowing that an “us’’ has slowly drifted away, leaving her without. A similar spirit carries over to “Alone,” where Chxrry22 wishes for a distraction disguised as a lover to avoid what she may discover when left by herself. Disappointment fills the air as Chxrry22’s suitor shamefully misses the bar on “Wasteland,” her parting gift to fans. By the end of the track, there’s no doubt that Chxrry22 is confidently the one and not the two. There are no games left to be played with a waste of a man. She expects a love that is grand, exceeding all expectations. “I need a love, deep as the ocean / Pull me to shore, oh-oh / Show me devotion.” Although most of her visuals are presented in black and white, that’s not stopping Chxrry22 from painting colorful imagery with her lyrics, flexible vocal range, and production that takes listeners on a relatable rollercoaster ride. One that is reflective of the ebbs and flows of life. Leaving fans to stop and think about who they are for the day: the villain or the victim.

#NYOTAmusic

Opāru Interview by Carol Wright Photographer: KAVAN THE KID

Opāru is the musical endeavor of Los Angeles-based singer/songwriter and actress Dianna St. Hilaire. In her late teens, Hilaire started out performing in punk bands, gaining the experience she needed to later strike out on her own. Opāru talked to NYOTA about her EP GOLD and creating music for television and film projects. Growing up, did you ever have other career aspirations, or was a career in music always the goal? No, music was always the goal. I am not sure what else I would do with my time. I love to be creative and make something from nothing. I love to sing, and I love to play. It’s the only thing that really makes life matter. Although your sound is different now, you used to perform with punk bands in your late teens. What did you learn about yourself as a musician during those performances during your adolescence? I actually had a lot of fun. I had just started performing out and playing shows, and I was very intimidated and nervous at first. But it freed me. It allowed me to just be myself and get out of my head. It made me feel like I had a superpower. In my first band, I played bass and sang backup vocals. Why did you choose the moniker Opāru? It’s my birthstone. I was born in October, and Opal is my stone. Opāru is Japanese for opal. I also wanted to go by something simple and easy to remember. One word. Different, unusual, and unique but easy and memorable. Tell our readers about your EP GOLD. What story are you telling through the EP? It’s the story of the process of change in one’s life. The low points to the high points. You start in a shallow grave you dug yourself into, then those around you help pull you out into the world to see the light. (“THE OTHER SIDE”) Then you start to work with others to grow; then you get to the point where you finally start to feel free. (“WE WILL”) but there is still something pulling on you that wants to drag you back down, so you claw your way out. (“EMPIRE”) Then you finally come to a place where everything is made of Gold and the world is beautiful again. (“GOLD”). 22

#NYOTAmusic What was the collaborative process like between you, your Producer Niko Korolog, and Nick Dillinger, who mixed the EP? Niko actually lives up in the northern California area, so we spent many hours on the phone and going back and forth with ideas. I would send him a bunch of song ideas and ask him which song we should start with. Once he picked one, we would go back and forth on the instrumentation and sounds. Once he got something I loved, I sent the stems over to Nick to mix. I’ve worked with Nick for quite a while. He lives here in LA. He also does production for me from time to time on various releases. Both of them are phenomenal at what they do. When it comes to songwriting, are you someone who is often pulling from your own life experiences to create lyrics? Yes. I do, but I have a tendency to work from various places. It can usually be easier for me to write when my life is in some turmoil. During times when my life is calm, I tend to pull from others’ experiences or even from TV shows or movies that give me an emotive feeling. Outside of working on your original music, you also create music for film and TV. Does working on film and TV projects keep you on your toes creatively since each song has to be different in order to fit the particular project it’s for? Yes, it does. I get to write songs in various styles and have to know or learn the latest song styles to keep up. So I’m always listening to new artists and new songs to get more ideas. Sometimes I only have a few days to write, produce and mix something, so it can be challenging. What advice do you have for aspiring musicians? First of all, don’t listen to what anyone says when it comes to telling you you can’t do it. You can do whatever you want. If you see yourself making it happen, it will happen. Second of all, make sure you find a mentor. Someone who does things that you want to do. If it’s touring, engineering, songwriting, singing, guitar, drums, production...etc., find someone to teach you, someone who has done what you want to do. It will make your road to success so much faster.

#NYOTAmusic

#2022Wrapped

Nell Mescal Photo credit: Jemima Marrio @jemimashoots

2022 has been a whirlwind of a year for Nell Mescal, who found herself checking a lot of firsts off her list. Including coming out with her debut single “Graduating” and embarking on her first tour, she performed all over Ireland in October before supporting Phoebe Green on tour the following month. We caught up with our 2020 Music Issue cover star to hear all about the music she loved this year. What was your favorite song of 2022? “Keep The Rain” by Searows came to mind straight away but honestly, any song from his new album Guard Dog! What was your favorite album of 2022? Other than Guard Dog by Searows. I would say Being Funny in a Foreign Language by The 1975 has quickly become one of my favorite albums of all time. What was your favorite concert of 2022? Billie Eilish in the 02 in London! It was so incredible. I went twice! What was your favorite music moment in a television show or movie in 2022? The entire soundtrack of The Worst Person in The World was perfect!

#2022Wrapped

Laura Dreyfuss Photo credit: Luca Venter

Earlier this month, Laura Dreyfuss released her personal single “Easy Way Out,” the first song she’s ever written, showing a new side of herself as a musician. Since Dreyfuss helped us close out 2021 by being our Music Issue cover star, it was only fitting that we caught up with her to see what music has been getting her through 2022. What was your favorite song of 2022? “Silk Chiffon” by MUNA What was your favorite album of 2022? Renaissance What was your favorite concert of 2022? Harry Styles What was your favorite music moment in a television show or movie in 2022? When Stranger Things used “Running Up That Hill” by Kate Bush

#NYOTAmusic

#2022Wrapped

Annabel Gutherz Photo credit: Marla Gutherz

In 2022, singer/songwriter Annabel Gutherz released two singles, “Interstellar” and “Retrograde,” that helped shed light on what themes would be explored in her forthcoming EP. We caught up with Gutherz to see what music was moving her in 2022. What was your favorite song of 2022? Goodness, I don’t think I can pick a singular favorite song! If I absolutely had to pick, my top song from 2022 would either be JVKE’s “Golden Hour” or Taylor Swift’s “You’re On Your Own, Kid.” I love how theatrical and dynamic “Golden Hour” is and how it completely captures the whimsy of falling in love! “You’re on Your Own, Kid” is such a heartbreaking song about searching for affection and authenticity in a materialistic and capitalistic climate, and with the most poignant lyricism, it moves me to tears! Songs that I also love that I need to honorably mention include “Music for a Sushi Restaurant” by Harry Styles and “Glimpse of Us” by Joji. What was your favorite album of 2022? My favorite album of 2022 is Superache by Conan Gray. The concepts of each song are so well explored, and his melodies and soundscapes are infectious! What was your favorite concert of 2022? My favorite concert of 2022 was Harry Styles! My sister and I went to his show at the Scotiabank Arena in Toronto, and I’m convinced magic sounds and feels like a Harry Styles concert! He is such a dynamic and charismatic performer! We sang and danced alongside the electric and love-filled crowd all night and had the most fun time ever... I still have a residual smile on my face! What was your favorite music moment in a television show or movie in 2022? One of my favorite music moments in a television show in 2022 would be the way in which Bridgerton adapted contemporary music to support a narrative that takes place during the Regency era. Rhythmically, melodically, and harmonically, the soundtrack embraces the modernity and paradigms of pop music, but the orchestration is reminiscent of the show’s time period. I love full-bodied, classical compositions, so to have pop music reimagined in such a way and that also felt consonant with what was being depicted on screen was really amazing to witness! I absolutely loved it! 30

#2022Wrapped

Waiting for Smith Photo credit: Ruud Janssen

In 2022, Harry Lloyd, AKA Waiting for Smith, came out with his EP Trying Not To Try. A collection of inspiring and vulnerable songs centered around mental health and healing. We caught up with the singer/songwriter to hear about the music he loved this year. What was your favorite song of 2022? Tricky. In my top 11 were: •

“Catch & Release (Deepend remix)” by Matt Simons

•

“Life She Don’t Lie” by Waiting for Smith

•

“In Your Hands” by Nick Mulvey

•

“Wish You Well” by Wrabel

•

“Come Home To Me” by Leon

•

“Only for A Moment” by Lola Marsh

•

“Officer of Love” by Caamp

•

“I’m not The Only One” by Sam Smith

•

“Empire of One” by Lexi Berg

•

“Freedom for Change” by Gizmo Varillas

•

“Get It Started” by Sam Fender

I think “Freedom for Change” by Gizmo Varillas really was the theme tune to many memories. Love his work and message. I discovered him as people who listen to Waiting for Smith on Spotify listen to his music. So we got in contact with each other, and we’re hoping to collaborate in 2023. What was your favorite album of 2022? Harry Styles - Harry’s House was a wonderful listen. I found it very inspiring. What was your favorite concert of 2022? It was so great to see Paulo Nutini live! I tried to see Caamp..but couldn’t make it. Honestly, though, we played the Waiting Room in November, completely full. It was one of the happiest nights of my life. People left so high, happy, and feeling that things were all possible. It was truly wonderful to see this. What was your favorite musical moment in 2022? So many! A car parking attendant in South Africa, Scarborough, spontaneously played me a song he wrote in the morning sun, and it had such a pretty melody. I went back to try to find him the next day to help connect him with a publisher… and he was gone. It was called “the mosquito song.” Someone coming up to me on a support tour in Germany and saying, “hey, I know your song, “Song for Grace”…it’s helped me so much this year.” That was a surreal and magical moment. 31

#NYOTAmusic

#2022Wrapped

Carol Wright Photo credit: Mike Coppola

What was your favorite song of 2022? “What Was Mine” by Sarah Kinsley What was your favorite album of 2022? One of my favorites was Harry’s House, but this question is too hard to give a definitive answer. What was your favorite concert of 2022? Saw too many good ones this year. Harry Styles at MSG, Lorde at The Anthem, The 1975 at Madison Square Garden, and Elevation Worship on their ‘Elevation Nights’ tour! What was your favorite music moment in a television show or movie in 2022? Episode 1x05 of The Bear when they played “Impossible Germany” by Wilco.

#2022Wrapped

Nicole Cox Photo courtesy of Nicole Cox

What was your favorite song of 2022? “PIRATE RADIO*’’ by Jean Dawson. I discovered the artist this year and instantly fell in love! What was your favorite album of 2022? CHAOS NOW, also by Jean Dawson. What was your favorite concert of 2022? London Symphony Orchestra (BBC Proms). I waited hours to see the LSO perform at Royal Albert Hall. Totally worth the wait and was the best experience of the summer! What was your favorite music moment in a television show or movie in 2022? The scene from the movie Turning Red when 4*Town performed “Nobody Like U.”

#NYOTAmusic

#2022Wrapped

Aaliyah Lambert Photo courtesy of Aaliyah Lambert

What was your favorite song of 2022? I can’t choose but “Out Loud” by Syd, “Found” by Tems, and “WHEN SPARKS FLY” by Vince Staples all made it on my Spotify wrapped. What was your favorite album of 2022? So hard, but a toss-up between Ramona Park Broke My Heart by Vince Staples and Renaissance by Beyoncé. What was your favorite concert of 2022? Another hard one but Tyler, the Creator’s ‘Call Me If You Get Lost Tour’ and Harry Styles’s ‘Love on Tour.’ What was your favorite music moment in a television show or movie in 2022? The Super Bowl LVI halftime show.

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