wtbu: the beat of boston university

Since the release of their first few singles in 2011, the quartet has been compared to bands like The Zombies and The Animals. They achieve this retro sound while still infusing contemporary aspects to create music that makes a listener long for the ‘60’s and a California beach.

The band is comprised of Miles Michaud on vocals and guitar, Matthew Correia on drums, Pedrum Siadatian as lead guitar, and Spencer Dunham on bass, with all members taking turns with vocals and backup vocals.

Three out of the four members met working at Amoeba Records in Los Angeles, California. They went from coworkers, to friends, to bandmates playing backyard shows at friends’ houses. Now the band is releasing and touring their third album, Calico Review.

In this album, the songwriting duties were equally distributed amongst the bandmates. This cooperation and unison clearly shows in their live performance; all members took turns singing lead on certain songs.

Opening for them was The Babe Rainbow from Byron Bay, Australia. The psychedelic retro band got the crowd moving. Their whimsical and lively energy seemed reminiscent of early Rolling Stones. Like the headliners, The Babe Rainbow has a ‘60’s revival sound.

The band came out to perform a diverse set list comprised of many tracks off the new album along with hits from their prior albums. Lead singer Michaud sleepily and charmingly sang out the tunes and would take short breaks to sip tea from his mug while the others would sip from their Coronas.

The classic ‘60’s rock sound of the Allah-Las drew in a diverse crowd Saturday night. The sold out crowd was a mix of college students, 30 year olds, and older adults all ready to be transported by the Allah-Las’ sound.

The stage presence of the band was subtly captivating and humble. No wild presence on stage, just a group of people playing honest music. The rowdy crowd appreciated it shouting “I love you” every chance they could.

Many tracks from their self-titled album were interwoven into the set and generated a lot of commotion from the crowd. The laidback tunes “Don’t You Forget It” and “501-415” had the crowd swaying around. The crowd also sang along in unison to “Could be You,” the single off the new record. Michaud was clearly thrilled with the popularity and thanked the crowd for their support.  

The band filled their set list with a couple of instrumental songs like “Ferus Gallery” that got the crowd just as energetic. With the laid-back rhythmic percussion of Correia and screeching guitar solos of Siadatian, it was difficult for the crowd to be still.

Towards the end, the band had an epic and dramatic build up to one of their most famous songs, “Tell Me What’s on Your Mind.” The band was almost teasing the audience with the beginning interlude. Allah-Las shifted the melody ever so slightly so the audience could not yet sing along, but still know what was coming.

The Allah-Las ended their set with an encore where they played an extended version of “Catamaran,” the first track off their debut album. At this point, the crowd was at their peak, jumping across the room and belting the scratchy tunes.

The nostalgia of their music resonates not only with the audience, but with the members of the Allah-Las themselves. Their presence on stage mimics their laid-back sound, but it is clear they are passionate and committed to the music they make.  

Emily Pintor: So let’s start with the basics; how did the Allah-Las come together? I know that three of you guys worked at Amoeba, but did you purposely put the band together or did you all just start jamming one day?

Miles Michaud: Yeah, we just started to hang out and jam together. Like a few weeks after we started, some of our friends asked us to play their Halloween party in their backyard, and we were happy to accept the offer. We didn’t really have any songs; we just kind of improvised, but we put together some stuff and it sounded cool so that gave us the motivation to keep going. We played whatever we could.

EP: When you guys first started playing together did everyone seem to be on the same page? Was there a cohesive sound?

MM: I actually think that’s why the Allah-Las started. We all had similar taste in music and when we got together to play, it just kind of came out. It was something we were all happy with.

EP: From what I’ve seen and read you guys all seem to have very informative depths of musical knowledge. You all are so insightful, which is awesome, but do you ever think that hinders your musical process? Maybe makes you too aware of what you’re doing like, “Oh that riff sounds like that band” etc.

MM: I think it actually helps us externally. We just have a higher standard of what we want to create.  It’s sort of become prerogative to meet our standards, and people seem to appreciate it.

EP: Congratulations on releasing your third album. Did you guys go about recording this one differently or was it just about the same as the first two?

MM: Well, song structure was a little different. We had released two albums and been on the road for some time, so this time everyone was writing a lot more stuff and would individually bring it here to the studio and then kind of piece it all together.  From there, we would all work on it together, so actually the same process in the recording studio, but more ideas that came individually.

EP: Writing and producing the record and then touring the record are both integral parts of a successful band; which do you enjoy more? Or are they both just as satisfying in different ways?

MM: Well I think there’s moments in the studio when you get really frustrated, and also moments on tour when you get really burned out, but there’s great things about those, too.  But I think the best feeling for me is listening to the final product after months and months of working on it—being able to hear it and play it knowing that it’s done. When you think about it, that’s the most rewarding thing I think.

EP: When you all go in to make a new record, what outlook do you take on it? Do you try to evolve the sound you already have or experiment with something new?

MM: A bit of both. We always try to incorporate some things that will create a new sound. It’s actually what we’re working on right now; we’re at the studio right now working on something new.  So right now I’m taking a little break sitting outside.

EP: That’s awesome; you guys clearly keep busy. I read recently that you were a college radio show host for some time. WTBU has many radio DJ’s, myself included, so I’m just wondering what you got out of your experience?

MM: Well it was tough, because I started from 2 a.m. to 6 a.m., so that was a little rough, but I eventually got moved from 9 a.m. to noon. But I think what was cool about it was getting feedback from people who would listen and were really stoked about the music we were playing. It kind of opened up that idea that there were people out there other than my friends that were interested in this music I really liked. I guess that kind of translated into the band as well when we started. Now we all do a podcast and just take turns rotating what we’re going to play.

EP:  In terms of the music, LA seems to be a great influence on the album. Your music videos are set there, and some lyrics pertain to specific places there, but I was just wondering what else was an influence on the album?

Jaime Street: Are you at the beginning of your tour?

Simrit: No, we start our tour on the 15th of March in Miami, so it’s happening soon!

JS: Have you toured before?

S: Yes, I love it. I always feel a touch nervous [before performing]. It’s always amazing, but it’s the pre-tour butterflies. It’s a really powerful thing when we tour and play music together.

JS: How did you get started with music?

S: I’ve been playing music my whole life. I’ve studied classical piano and a variety of forms of vocals, and I still take classes in different vocal traditions. It’s not all the time, but when I’m home or in New York, I want to stay on top of things. I started studying Byzantine music when I was like three, really little, in the Greek Church. I was singing and studying that, and I did piano, and vocals, and dance, and African drum from a young age, but throughout my life I thought I was originally going to be a doctor, a naturopath. I had gotten all my prerequisite classes for another school after six years of college, but right before I went to school, I went to northern California. I was playing music and singing, and it was then when I decided I was going to do music. I had a change of course; I got pregnant, and with my husband, we had a change of life. After I got pregnant, I played out a lot. Six years ago, I released an album and didn’t market it or my second album, and just people that knew me were listening. I didn’t think it was going to work, and I was just going to be a mom. Four years ago, I decided I really want to do [music] because I love it, and after that I realized I had the drive to do it and no one was going to pick my career up and drive it for me. Once I realized I had the energy, my career really took up steam, and now my band and my music are known around the world. For me, music started organically, but it was four years ago when it really started to move.

JS: Where do you get your inspiration for Songs of Resilience?

S: I’ve been through a lot of challenges, and in my life, I’ve noticed a lot of resilience—resilience is where you go through something and bounce back stronger—just in my life. I’ve experienced my own life and my own strength, and I’ve experienced how I get really strong afterwards. It’s like a bacteria when you feed them antibiotics and they get stronger and stronger; humans are like that, and life has the potential to be like that. I’ve felt it in myself and seen it in other people and other cultures, like the Civil Rights movement. The underdog has always been inspiring to me; I get really excited when I experience the underdog win and come out stronger. I’ve seen a lot of people go through stuff and come out stronger because of it. My parents are a huge inspiration to me; they adopted my brother and me. We were orphans in Greece, and they were so loving and really gave us a chance to live our life, and they really raised us with elegance and so much love. My brother also has special needs and [my parents] didn’t know that before they adopted him, and just to see that even in their seventies, they are still energetic and taking care of him. They’ve been through a lot with my brother and with life in general. I’ve seen people in that same situation, and they don’t see life like my parents do. Even in history, you see resilience in cultures and people time and time again. Even in Greece, there is a lot of resiliency when you think about what they’ve gone through. Even in the present, we need resilience. Music made with intention, made with love, has an amazing power that we all can use as human beings. It’s great for people to realize that we’re all connected and not that different. Everyone in the world—most people—are very kind. Basically, most people want to be loved and want to share love and be united. It’s like that around the world. Songs of Resilience is a way that we can be together as a family in the world, in the United States, in other countries, and we can get past anything, and we can do it together. Creation, bacteria, whatever, we’ve been on this planet for a long time, and we will get through it, but we have to come together. That’s what Songs of Resilience is; the power we have in resilience together.

JS: What was the most challenging aspect of making Songs of Resilience?

S: Coming up with a name. It’s always the most challenging part of an album for me, and I bet a lot of other artists can say the same thing. The most challenging part of any album is that if you’re really doing it from the depths of your being, then you’re baring your soul. You feel very vulnerable and unsure if you’re doing the right thing. You’re unsure if people want what you’re putting out.

JS: Do you want your listeners to know anything before or while they listen to your music?

S: Just enjoy it. There’s a lot of bass and some good drums, a strong groove. Enjoy the groove, and let the music do its work on you.

JS: Where do you see your music going in the future?

The music has legs of its own. It’s taken us all around the world, and it’s continuing to take us into new areas of the world that we haven’t explored. It’s hard for me to predict the direction of the music. If I try to guide the music, then I’m putting it in a box. What I can tell you is that the same band on Songs of Resilience is the same that will go in the future. It’s hard to say, but I can say that in the fall of 2017, we’ll be releasing a live album. The [studio] albums are really beautiful and amazing, but live it’s a whole different thing and people are like, “Whoa, this is like a Pink Floyd concert!” It’s so engaging and people are dancing because the groove is so insatiable, or you’re at the edge of your seat because it’s so intense. You’re not dancing, but you are fully engaged. Live is like our music, but in a different context. The music will do its own thing, but I see this music spreading far and wide even more so than it’s doing now. It keeps growing every year and it’s making leaps and bounds, and we keep getting invited to more and more countries. It’s great.

Christina Carpio: When did you know that you wanted to pursue a career in music?

Kevin Garrett: Well I’d always been around music. I started music when I was very young—4 years old or so—and I started writing songs when I was 11 or 12.

CC: Songs about what? What does an 11 or 12-year-old know?

KG: Nothing. I didn’t have anything to write about, so none of those songs really ever saw the light of day. I went through high school, did the talent show and all that stuff. It was always kind of just a hobby. I was recording myself at that point, and like looping, and doing all these cool things with my guitars and stuff; that’s when I started writing. Once I got to New York for school, as soon as I got there, I just started playing, and my first show was at 3 p.m. for two off-duty police officers on a Sunday. Then the venue asked me back, and the next time I went back, it was opening for Norah Jones, so it was pretty cool. Once I played a few of those shows at that venue, I kind of realized that I could hang with this circle, and then I just started hustling. New York, and Boston too, could do this because they obviously have a very vibrant music scene, sort of the bigger metropolitan cities—something about a place. Like when I moved to Brooklyn, that atmosphere makes you run so much harder. So I write everything at home in Pittsburgh, where I’m from. The phrase I like to use is “I work in Pittsburgh, and I run in Brooklyn.” I’ve obviously written elsewhere, since I’m not home enough, but the hustle is in Brooklyn.

CC: Who are some of your inspirations or idols?

KG: I was raised on classical music because of the violin, and then if it wasn’t that, it was classic rock, like Zeppelin, and Pink Floyd—pretty much every band except The Beatles, oddly enough, just kind of what my dad was into. Then once I was old enough to buy my own CDs, I got a Ray Charles disc, then found Sam Cooke. Sam Cooke—he’s obviously not been with us for a while, but he still is the person that everybody leans on for vocal inspiration. If you listen to enough Sam Cooke songs, they all start to sound the same. But he was the first person to do those set of runs, those set of melismas, those set of nuances in his singing, and it just took soul music and gospel music to a whole new level. [Also], Otis Redding, then really old country like Hank Williams, Willy Nelson before he had the ponytails, and Porter Wagoner. I like a lot of old stuff. I think idols—we all have the same idols: Beyoncé, Beyoncé, and Beyoncé. Sam Cooke would be really cool to meet, if I could figure out how to meet him and go back in time.

CC: How would you describe your music?

KG: When I first put out Coloring, it started as a joke, because it was a reference to my favorite MUTEMATH song, “Odd Soul.” I called my music “odd soul,” because it was supposed to reference the different palette of influences I was taking in around this sort of soul-centered pop sensibility, and I’ve always been attached to that type of phrase, “odd soul,” being my music. I talk to people about it, and I’m very lucky for them to say they can’t really put a finger on it. I’m kind of somewhere in between all the Franks and the Sams and the Jameses, and that’s pretty cool because in the same way the Franks and the Sams and the Jameses are between each other, I think I’ve worked really hard to sort of carve out this sort of niche for myself, and it all started with kind of a fake tag, but now it’s very real to me.

CC: You worked with Beyoncé on Lemonade, can you tell me more about that?

KG: Yes, I was very lucky to contribute to Lemonade. It was what I will continue to only refer to as a “right place, right time” sort of thing. It was very much an honor to be a part of that album, I would say more than any of her other albums, because it was just so impactful. There were two very strong messages she was giving for women and for equality. And you know, it’s a shitty thing for me to say that I’m lucky to be a straight white male. It feels stupid saying that, but like that’s the reality of the situation, and I think we need artists like Beyoncé to make albums like Lemonade to remind people that everybody should feel lucky to just be a human, because we’re all humans. I think she did a really good job of opening up on this album, and conveying a side of her that we never see, and I’m just happy to help set the tone right at the top of the record. It was really cool to be a part of that song, and I saw her perform it at the VMAs, the only time she’s ever performed it, and it was phenomenal. I remember when I first heard it, heard her record it, I was wondering how she would sing it. What it was going to be like? But she really stuck to the vision. I think we were tapping into similar headspaces, because she wanted to sort or channel that sort of vulnerability. You see in the movie, she’s in a bathtub beside herself. It made it very real. Long story short, [I’m] very honored to be a part of that album, and congrats to her on her Grammys.

CC: So you’ve been on a lot of tours with a lot of different artist; has that taught you anything? Have you learned anything as an artist from touring with other people?

KG: When I first started touring it was James Vincent McMorrow in late 2014—a short run across the southern states, and I didn’t know what I was doing. I’d gone on tour with my old band a couple of times, but it was all very much the type of shows where the venue might not have even known we were there. There was no advance; there was no anything, so it was the type of thing where, “Oh this is a legit tour, let’s do this.” And every time I open for someone—continually, because I’m going to open for Mumford and Sons pretty soon—I learn something from everybody, and every time I’m on stage with my band, I learn something from them every night. All three of them are in their own way influential to me, because we play the same songs every night for a month, and Sean, my drummer, he’s been playing the Mellow Drama songs for two and a half years. It’s not very common, I don’t think, for an artist to tour an EP for two and a half years. We did “Pushing Away” tonight and it felt like we were playing it for the first time. I think what’s important on tour is to think ahead, know until the last show, there is always another show. And if you’re opening, it’s kind of important to put yourself in the headliner’s shoes. Now that I’ve been a headliner one time through, I kind of sometimes just want to go right back to being an opener.

CC: How different was it doing your own tour this time?

Obviously the shows are very fulfilling, because they’re sold out and people are coming to see you. Some opening looks, people came to see me. Like on Alessia [Cara’s] tour, there were people who seemed to know who I was by then, and same with Oh Wonder. But when you are headlining, especially since we are doing some smaller rooms in certain cities, it’s the type of thing where I can take my ear[piece] out, or I can just listen to the crowd sing the lyrics to my songs louder than I even know them. All this is to say, touring is exhausting; I would not recommend anyone to do it, but at the same time, the only way I would pursue a career in music, is to stay on the road. It’s pretty old school to do it that way.

CC: As an up-and-coming artist, who are some other artists you think people should be on the lookout for?

KG: His album just dropped yesterday, Khalid. Homeboy is 19. He’s from El Paso. I was texting him the other day, because I think I said something about him in an interview when I was at the L.A. show, and he tweeted me. He was like “Oh my god, thanks man!” And I was like, “You don’t listen to me, you don’t know who I am,” and then he DMed me and he was like “No, no, I didn’t think you listened to me.” With artists like that, you’re always kind of wary, because there’s hype and then there’s talent. With Khalid, he’s got both, and it’s incredible. The same way when I first discovered Alessia, just as “Here” was going viral, before I went on tour with her, Alessia Cara was just kind of down-to-earth, surprised that things were happening, and she still is. Khalid, he’s on a rocket ship. It’s crazy, and he definitely doesn’t know it yet but, congratulations on the new album, if you’re listening. Also, Nick Hakim, he came to Berklee I think. He’s putting out new music. He’s signed to ATO, and I’ve been a fan of his forever. Brilliant, brilliant, young man, who just knows how to write a song better than you. No matter how you look at it, any song. You give him a song he’s already done [and he’ll say], “Oh I’ll do it better man.” And he’s not boastful about it—he’s just so smart with his decisions and anything that he puts out, even the songs he probably doesn’t like. I’m like “Come on, this is just not even fair.” There’s a British guy who I love, he’s a dear friend of mine, and he’s slowly sort of building a catalogue, re-releasing some songs and releasing new songs in this sort of Oh Wonder-esque, every month sort of thing. His name is Bruno Major. He has some pretty cool songwriting connects; he’s worked with some really awesome people, and I’ve been lucky to work with him a little bit, but I really want to work with him some more. He just put out a song called “Just The Same” and it’ll hit you where you need to be hit at any given moment.

CC: Lastly, what’s next for you? Is there an album coming soon?

KG: I’ve had the concept for my album for a really long time. I’ve never really given it up to anyone. I’ve told a few people what I know it’s called. The title has recently taken on a deeper meaning, which I’m really excited about, because I think I’ve also kind of found some design pieces within it that I’m really amped on. I’m a very visual, sort of tactile learner, like creator I guess. I see things when I hear things and smell things when I hear things, some kind of weird synesthesia thing. I don’t really know. I never really think about it, but like enough people say they have synesthesia, that I think, “Wait a second, I better look into this, because you’re saying things that I do.” Maybe I have synesthesia, and that’d be pretty cool. But anyway, the album hopefully comes out sooner than later. The same thing about touring an EP for two and a half years—I’ve been touring for a very long time, so I’m trying to take my off time to sort of buckle down. Obviously not being signed, not having a label and a marketing strategy, or really any sort of PR help, has been trying to say the least, but at the same time I relish being independent. I think it’s rare these days. Something that I’ve definitely noticed is that I’ve grown in the past two years, kind of more than I ever thought I would off of two EPs, so I feel really good about where I’m at. I’m not in any rush to put the album out, but at the same time, I know we’re all waiting for it, and I’m just as anxious as everyone else is, so sooner than later is probably the answer for that.

Eager to be on a headlining tour once again after multiple co-headlining tours and touring as an opening act, Whitehall speaks for the rest of the band in expressing their excitement for the show.

“Tonight, this tour, is our chance to actually show off our wares. And now we’ve got two albums to play with. It’s really exciting to headline,” remarked the lead singer.

The Griswolds began The Low Lives tour in early February of 2017 and so far, the experience has been nothing but fun for the group.

“This is the best feeling,” Whitehall said. “We’ve done so many support tours around America now. This is our first real, huge, going all around America, doing the whole ‘playing for 70 minutes’ every night tour.”

The tour is following the band’s release of their sophomore album, titled High Times for Low Lives, in November of 2016. Since the album’s release, the response from loyal fans has been tremendous, according to Whitehall.

“I think they were expecting another Be Impressive,” said Whitehall of fans comparing their second album to the first. “We gave them something a little different. It freaked people out in the right way.”

High Times has an entirely opposite sound to it than the band’s first album.

“Musically, we did want to sort of steer away from Be Impressive,” Whitehall said. “We knew we wanted to try something different, but we didn’t know exactly what.”

The band looked to gain inspiration for creating the new album from popular artists, specifically The Weeknd, Kendrick Lamar, and Tame Impala. Whitehall recalled listening to their albums on repeat as a primary influence in churning out the results the band was looking for.

“The album basically wound up being like an R&B record with hip-hop beats because of those albums,” Whitehall said.

Being as different sonically as it is to the band’s debut album, High Times is lyrically a big jump for the band.

“We’re singing very literally about life on the road. Sometimes it’s not all glitz and glamor; it’s not all parties,” the lead singer said. “I think it’s nice for fans of music to see artists put their hearts on their sleeve and tell the truth.”

The band has consistently been on various tours for the past two years in which time they wrote and developed the new album.

“High Times is about how we didn’t know it would all go so well at the time,” Whitehall said with a laugh. “It’s about all the ups and downs of the past few years.”

When the band released “Out of My Head,” the first single off of the new album, the response from fans was a precursor to the shock they would continue to feel at hearing the band’s new sound. Following this was a second single, the album’s title track, which was released in October. High Times, posed a big contrast, lyrically, to the first single. Whitehall reflected on the thought process behind choosing to release these two abstract tunes as the first singles. The band aimed to give fans a glimpse at the new direction they were taking.

“People were thinking, ‘if these two songs are on the same album, what’s the rest of the album going to be like,” he said.

Besides looking forward to playing their new singles, the band was excited to play a lengthy setlist made up of tunes from the new album as well as fan favorites from Be Impressive.

“This will be the longest set we’ve ever done with a nice little secret cover at the end,” Whitehall said.

To end the show with a vivacious finale, the band brought out opening act Dreamers for an upbeat rendition of “Hey Ya!” by Outkast. Dreamers, Whitehall raved, have been an ideal group to take on tour.

“They’re the nicest guys, and their music rules,” he said. “It’s an awesome thing. I love to have bands come on the road with us who are also great musicians and friends.”

As for what’s to come once the band wraps up The Low Lives tour mid-March, Whitehall said they plan to relax, take some time off, and make plans to tour in Australia later in the year. Regardless of their next move, the band was thrilled to be back in Boston, and that energy came through in the incredible show they delivered at the Sinclair.

Joining The Joy Formidable for two nights was indie folk musician Phoebe Bridgers. Bridgers set the stage with her soft, acoustic songs, accompanied by best friend Harrison Whitford on electric guitar. Though at one point the loud bass of some party music could be heard from next door—which one concert-goer said was from the neighboring church—her captivating voice outshone it. She added a bit of humor in regard to the church in introducing her next song about serial killers, saying “They’re all religious, right?” Before finishing her set, she paid tribute to fellow Bostonites The Lemonheads with her song about frontman Evan Dando’s solo album, Baby I’m Bored.

The Joy Formidable began soon after and opened with “The Everchanging Spectrum of a Lie” from their first album, The Big Roar, delivering it as loud and powerfully as the original version to the sold out crowd. Several other old favorites appeared that night, including “The Greatest Light is the Greatest Shade,” “A Heavy Abacus,” and “Whirring,” which transitioned into the Welsh version of the song, “Chwyrlio.”

A notable addition to the set was harpist Stephanie Babirak, who played during “Whirring,” “Underneath the Petal,” and “Sleep is Day.”

Among songs from their own discography, they performed a cover of Elvis Costello’s “Lip Service.” Lead singer/guitarist Ritzy Bryan credited Elvis Costello as being the performer of her first concert she attended when she was 7 years old.

Despite this being a mainly acoustic show, The Joy Formidable’s performance was anything but reserved as they channeled the same dynamic energy seen at any show they play. This was especially seen during “Blowing Fire” off their latest LP, Hitch. It’s a song which singer/guitarist Rhydian Dafydd and Bryan said they wrote during a time of frustration.

Periodically in between songs, the band engaged in plenty of playful bickering among each other which amused the audience and created a much looser, more casual feeling than at a typical show. This also gave plenty of time for drummer Matt Thomas to get in more than a few words. “This is why you don’t give a mic to the drummer,” Dafydd joked after Thomas said a string of nonsensical things. Dafydd also showed us the kind of “shite” Thomas put on his keyboard effects, with the chorus excerpt from “All Star” by Smash Mouth being the most comical.

The Joy Formidable also had a bit of a surprise for the audience; they gave away a few mugs that they had made. Audience members would win a mug upon answering on-the-spot questions, such as asking the difference between a xylophone and a glockenspiel (answer: the glockenspiel has metal bars, the xylophone doesn’t). The band also recalled their first gig in Boston at the Great Scott five years ago—as well as an unfortunate mishap at Harper’s Ferry—Bryan stating that “Boston is a good city for music.”

During the encore, they opened with a cover of Angelo Badalamenti’s “Twin Peaks Theme,” a delightful surprise for myself and the other Twin Peaks fans in the audience. Two personal favorites of mine, “Cradle” and “Llaw = Wall,” from their first album followed after. Dafydd sang the vocals for “Llaw = Wall” with Bryan joining in at certain parts to create a harmonious unison. Their set ended with “Sleep Is Day” off their newest EP Sleep Is Day, and the band left the stage with a standing ovation.

The Joy Formidable put on a unique performance that exceeded my expectations and which I felt fortunate to have experienced. Though Bryan says they probably won’t do anything like this again, I believe the Leave No Trace tour succeeded in showcasing their talent and versatility. For now, the band says they will be going into hiding to work on the new record, but hopefully it won’t be too long before Boston welcomes them again.

Caroline Barry: First of all, I’d like to acknowledge that your album is really, really good.

Chris Tomson: Thank you!

CB: What genre would you put Dams of the West in?

CT: I don’t know. I guess there was no explicit goal to be in any one or another. So I think it’s generally rock. I would say a smattering of all of the stuff that that means. But it was important to me not to be any one thing or too much of one thing.

CB: Who are some musical influences that you drew from for the album?

CT: Again, and I assure you this is not a cop out answer, there was nothing too specific. I was purposely trying not to overthink it, because when I overthink things, they’re bad in most areas of my life, not just musically. But for sure, I can say all the touchtone stuff—which I’ve subsumed and digested and now is just sort of part of how I think about music—is definitely there, which is The Band which is my favorite band, The Beatles—it’s sort of a boring one, but sure—Elvis Costello, and Reel Big Fish—that’s not a joke. Everything that was important to me, everything—also Phish—and stuff from some of these things ,I actively went towards and some of these things I avoided. Similar to the genre question, when I think something is like, “Oh, that sounds exactly like Bowie in the mid-seventies,” that’s also sort of bad. And I think that would have been extra bad if it had been, “Oh that sounds like Vampire Weekend.” That would have been extra bad.

CB: How important has your wife Emily been in the promotion and creation of Dams of the West? Didn’t she direct some of the videos?

CT: She’s been part of the whole album, including some emotional maturity in a personal sense that fed into the music sense. We’ve been together for five plus years, but I think we have a deep understanding, which is not always on a creative tip. And we also vibe. But I think that we have both grown to trust ourselves through trusting each other. That’s very corny, but I think that’s her biggest influence more than the videos. I also think that with her video ideas, I think she’s very talented in general, and in all the ways she might approach things. Specifically, when she was thinking of positions to put me in, her understanding of me is far greater than almost anyone, including myself. So I think her ideas were incredibly well-informed.

CB: So I’ve seen you and [Chris] Baio live and I honestly didn’t know you both had vocal talent as well as musical talents. Do you think there’s a chance that, or do you already know if, you’ll be featured vocally on the next Vampire Weekend album?

CT: Unclear. And actually I think—that’s a good sneaky question, trying to get some info about LP4. I can’t speak for Baio, but for myself, I’m still figuring it out. I sort of said it on stage, but I think I’m doing well. I think I’m learning and getting better, but I think it’s still a process for me to figure this stuff out. I’m not saying all, but a lot of things I’ve learned working on the record and doing the shows and stuff, I didn’t know before when we were working on the last album. So when I contribute, I will have a greater context from which I am coming from, but in terms of LP4, that’s all I can say.

CB: I think it’s interesting that a lot of people would consider you a professional musician based on the success of Vampire Weekend, but you keep saying that you’re still learning.

CT: Well I think that’s a dangerous attitude to be like, “I’m there. I’m done.” But I think it would be kind of a bummer if you weren’t picking stuff up. I think that’s what makes it interesting. If you had one idea and did it that way tens of thousands of times, that would get boring probably around the 8,607 time.

CB: It seems that between the three Vampire Weekend albums and Youngish American, you tend to write music that’s about one stage of your life and maturing. So what do you see in the future? Albums? Kids? More pizza?

CT: You know what, I don't know. I think that it was true of this record and it will be true of whenever another Dams one comes out. I don't want to go into anything with a preconceived notion of like, “Oh, I’m gonna write a record about bananas. It’s gonna be great, man. We’re gonna talk about the peel, have one song about when they’re black inside and such a bummer.” You know what I mean? Actually, that’s not bad…I know I want it to be good and meaningful to me, which will then hopefully translate into it being meaningful for other people—not necessarily in the way it’s meaningful to me. That doesn’t always have to be the same exact meaning. But I couldn’t say, and I actually kind of don’t want to say.

CB: How has touring with Dams of the West been different from touring with Vampire Weekend?

CT: It’s more similar to touring with Vampire Weekend circa 2007 than circa 2014. There were busses involved, and we’re back in the mini van. I purposely chose to tour with women, because after a decade with dudes I thought that would be an interesting change for me and to learn more.

CB: Are you actually a lizard king as the “Tell The Truth” music video suggests?

CT: Much like LP4, I’m not at liberty to say.

CB: You’ve come a long way from Columbia [University], and you’ve learned a lot, college-wise and life-wise. So what advice would you give to college students who want to pursue music, academically or outside of class?

CT: Oh boy. I can say some stuff, but I should give a little preamble. And that would be, I have one very specific, very thin, and very weird set of experiences. I always feel weird doing the advice thing, because it’s like, “I don’t fucking know!” It’s just I joined a band with some buds, and it was good, and people like it. That’s the magic part of it. No, I think that one of the consistent and constant things in Vampire Weekend which, I tried my hardest to continue with Dams of the West, was to make sure everything you do, there’s some care put into it; there’s some thought put into it. And this is not the academic stuff; this is more of the personal stuff. When you go on stage, think about what you’re gonna wear because concerts are a visual medium too. You can make bad choices like wearing Nets jerseys, or you can look cool. But it’s not nothing. When you think about visuals, you think about the guitar part. Say, you really just want a strummer in the background; does that make sense? Or are you just doing that because you’re not thinking about it? I think that at every point and level of the thing you’re doing, just put some thought into it. Make sure that you’re saying what you want to say. If that’s strumming the guitar, strum the goddamn guitar. But I think just don’t leave things unexamined.

CB: For my last question, what is your favorite Vampire Weekend song?

Simrit grew up in the southern United States, but her sound is settled deeply in her Greek Orthodox heritage; she was born in Greece before being adopted and moving to the U.S. Her recently released, Songs of Resilience (September 30, 2016), exemplifies this, with its steady beats and melodic vocals. Songs of Resilience is a beautiful mix of many cultures, with Simrit pulling influence from everything from her yoga practice (evident in “Ad Such”) to West African folk music (“Nana” is a reframing of an old Manding song) that she learned from a member of her ensemble, Salif Bamakora, an American kora player. Along with a kora, Simrit’s ensemble includes a cellist and a percussionist to round out her performance. In her melange of cultures and influences, Simrit brings a brand new sound to the stage, providing a unique, transformative experience for every listener.

Strang recently signed to Dead Oceans to exhibit his charmingly eclectic indie pop. On his latest single, “Oh So You’re Off I See,” Strang offers a fuller, heavier sound that still retains the catchy indie pop roots of his earlier releases.

You can stream his single and past releases, like “Things are Never Simple” or “Full Moon, Hungry Sun” on SoundCloud or Spotify.

AM: Are you guys at the beginning of your tour?

Potty Mouth: Yeah, we just started about a week ago. We played in Minneapolis last night and we’re playing in Madison, Wisconsin tonight.

AM: How’s tour been going so far?

PM: It’s been pretty good. It’s been a lot of long drives between shows, so we haven’t had a lot of time to actually hang out with other bands except for at the venue. I think that once we get to the East Coast and the drives will be shorter, well have a lot more time to explore and hang out and have fun.

AM: Who are you touring with again?

PM: We’re on tour with PARTYBABY and Tennis System.

AM: Did you know the bands beforehand?

PM: Yeah, we knew PARTYBABY because they’re our friends who live in LA, and Tennis System are on the same management company as us so we knew them because of that.

AM: Have you toured a lot at this scale before?

PM: We’ve done a few U.S. tours in the past, mostly just opening for other bands. So, this is definitely not our first full U.S., but it’s our first actual headlining tour I think in a while. So, it’s interesting. I don’t know, I think it’s going good so far.

AM: I saw that you’ve toured with Perfect Pussy and Swearin, and Waxahatchee. How was touring with them?

PM: It was really fun! I don’t know, those tours were also full U.S. tours, and that was great. We got to become really good friends with everyone. We still kind of hang out with everyone when we’re in everyone’s hometowns. Those are the best tours, when you can become friends with people and actually hang out with them outside of the tour, because it’s really hard to do that sometimes.

AM: It’s hard to connect with them after tour sometimes?

PM: Yeah, because everyone then leaves to go on tour again, or they go back to their jobs, or because they live in other cities. It’s hard to reconnect sometimes. So, it’s cool to like go on tour and go to people’s cities and try to see them.

AM: Yeah, you can have new friends all over the country!

PM: Yeah, exactly!

AM: I heard guys are now located in Los Angeles, even though you’re from the Boston/Amherst area?

PM: Yeah, we lived in Western Mass up until recently, and then we moved this summer in June to LA.

AM: Why did you decide to move?

PM: Western Mass is too small of a place to try to break into being a full-time musician, and LA is really the place to do that. It’s also where our management company is based and we’re just sort of condensing all of our resources. We’ve been really productive since moving there as well.

AM: Really? Productive as far as recording?

PM: Yeah! We started recording our album, which is taking longer than we had expected, because it keeps getting broken up by touring and scheduling conflicts, but we have about half of our album done at this point I would say.

AM: Where are you recording?

PM: Our management has a studio at their office, and they have a recording engineer there who is there all the time. So we just schedule time to go in and work on it with him.

AM: Has the ease of the process changed the sound of this coming album?

PM: Um, it’s interesting because we recorded a few songs before Christmas, and we did it in a way where we rehearsed a bunch. Then we started by recording drums, and then adding guitars and bass and vocals and all the other stuff on top of that, which is how we’ve normally done it in the past. And then after the holidays we came back and started to record more, and we were trying a new thing we’re we use program drums, so we can record the bass and guitar and vocals on top of that, and then change the drums whenever we realize that something needs to be different. That way, whenever Victoria needs to go in to record, it’ll be like the absolute best version of what we could play. I think this process is really going to help our songs.

AM: Yeah, like make them crisper or more structured maybe?

PM: Yeah, like more thought-out, because it’s hard. Basically in pre-production, we’ll have to play a song over and over again to see how one small change would make a difference, but this way we can just like program it, and it takes 10 seconds, and if it sounds dumb we can just take it out.

AM: I didn’t even know that was something that people did. Did the producer at your station tell you about that option?

PM: Yeah, that was his idea, because we haven’t had a lot of time to record. So he was like “Maybe we’ll just try this since we don’t have time to record them over and over.”

AM: Besides being more productive or trying new things recording-wise in LA, is there anything about the city that helps you function as a band differently? How has being a band there been different than being a Western Mass band?

PM: Well, we moved to LA knowing that the band was going to be the only thing that we do, or at least we would try to make it that way, like making it our full-time job and devoting all of our time and energy to it. So it was an intentional move in that sense. Whereas, when we formed the band, we didn’t even really all know each other. We were just these girls in Mass. who got connected through this shared interest of playing music together. I had a full-time job out there the entire time we were a band, and I quit my job to move to LA. So in terms of how living there has affected us… we think of everyday as a work day. It’s definitely different not having a boss or a structured schedule dictating what you do, but there is still so much more structure to our lives, because the band is our purpose now.

AM: It sounds like a lot more time spent working on Potty Mouth now that you’ve moved.

PM: I mean, yeah, we just are trying to make it our only job, getting it to a point where it is lucrative. We’re making a long-term investment in dedicating all of the time and energy we have.

AM: How did you all first meet each other?

PM: Victoria and I went to college together. We went to college in Northampton, Massachusetts. She was just a few years behind me, and after I graduated, I had already been playing in a couple other bands, and I really wanted to be in a band with all women. So I asked Victoria if she would want to play drums, because I knew she was a really good drummer. And Victoria knew Abby really wanted to be in a band also, so the first time we met was at our first band practice. It was really random. None of us really knew each other beforehand, but through the band we’ve become like a little family.

AM: How long has it been since you formed?

PM: Six years. We formed in February 2011. I mean, we didn’t form as a serious band though. The goal of making this band a full-time band didn’t emerge until last year or the year before. When we started the band it was like, yeah, let’s play some punk shows. It wasn’t something we did very consistently because Victoria was busy being a student and going home to South Carolina over the summer. But once our lives started to level out a little bit we started dedicating more and more time to the band.

AM: What do you mean by level out?

PM: I just mean that the more we did it, the more opportunities came, the more we had to take them, and then we all had to consider how much of our time we were willing to commit to it, and we all loved doing it. We all were having a lot of fun, and therefore, Victoria decided to stay in Mass. to be in the band. Abby decided not to go to college so she could stay in the band, and we all just began making sacrifices in our lives that made the band a part of our lives at a more serious level.

AM: Are you guys excited for this Thursday’s show in Boston?

PM: Hell yeah! It’s probably the show we’re most excited for.

AM: When you were living back here, where did you play shows?

PM: We played more shows in Boston than in western Mass., because as a band in western Mass., Boston is the closest city that you have available to you. So for us, the support we got from Boston early on was always the strongest support. It kind of started to feel like a home for our band. Like, my parents live in Albany, New York, but they’re driving to the show in Boston. It just feels like the most homecoming show that we’ll have on this tour.

Though Duchovny is well-known for his acting in the television shows The X-Files, Californication and more, he began to write his own songs a few years ago and then became serious about putting out an album around 2014.  With all music written by himself, he worked with producer Colin Lee and president of Boston label ThinkSay Records Brad Davidson to create the album.  The singer/songwriter is joined by Berklee College of Music alumnus of the band Weather as his backing band for the album and all performances.  Together, they create an alternative rock sound.  In previous interviews, Duchovny has cited influences on his music such as Leonard Cohen, R.E.M. and Wilco, and it clearly comes across in his music.  His songs are masterfully crafted, with lyrics that showcase Duchovny’s penchant for writing, as they sound like they could be pieces of poetry.

Performance-wise, the group put on a great show that was fun and energizing.  Backing band member Pat McCusker (guitarist), opened for Duchovny with some of his own material and invited some of the other band members (including producer Colin Lee) out on stage at times to perform with him.  He warmed up the crowd with both his acoustic and electric guitar on songs, which were enriched by his impressive vocal chops.  His own material was well done and had a unique sound to it. At one point he jokingly made the comment that all his songs were “soft and sad.”  Accompanied by his guitar, he finished with a song that he harmonized on with other band members, adding for a final first glimpse into their impressive talent.

After a break between sets, the lights lowered and the crowd became energized with the promise of more music.  Over the loudspeakers, the iconic guitar opening to David Bowie’s classic hit “Rebel Rebel” blazed out, pumping up the crowd even more as the band came back on stage to their respective spots, followed by the man of the night, David Duchovny.  Of course the crowd was going crazy at this point, as many fans of all of Duchovny’s work were in attendance.

But the crowd was not the only energized entity in the theater—Duchovny and his band were also electrified.  They performed their songs with a zeal and playfulness, showcasing the songs off of Hell or Highwater, such as “3000,” “Positively Madison Avenue” and “Let it Rain.”   They also played some new songs from the upcoming album.  Between numbers, Duchovny would talk and interact with the crowd, sometimes giving a little anecdote about his songs, which he did for one of the aforementioned new songs off his upcoming album.  It’s based off of the singer’s visit to the famous church in Paris, Sacré-Coeur and how he learned that there are always people there praying for others all around the world, even those that they do not know.  Other stories included similar touching qualities and funny moments too, such as the singer saying that, because he was in Boston, he should be pronouncing his song “Stars” as ‘Stahs.’  He also included a few covers in his set, such as Lou Reed’s “Sweet Jane” and The Band’s “The Weight.”

While the music was all good, what really made the night was how interactive the performers were with the audience and how much energy they brought.  As previously mentioned, Duchovny interacted through anecdotal storytelling or joking with the audience, but he also really went for it.  At one point he got off the stage and came into the crowd, dancing with audience members and running through the aisles high-fiving people.  He also danced on stage, truly getting into it along with everyone else.  Everyone was having a good time, but the verve David Duchovny and his band brought to their performance made everyone have a great time.  

At the end, they came out to do a few songs as an encore, and for the very last one, Duchovny leaned into the mic and said, “You know where my heart is at.” Then he and his band members pulled out of their pockets their own individual pussy hats and put them on for the finale, which was a cover of the classic Sly and the Family Stone song “Thank You (Falettinme Be Mice Elf Agin).”  At this point, everyone was singing and dancing along.  Truly, how could you not?  They put on a fantastic show, and the closing was a great way to end the night.  Hopefully, David Duchovny will be back again soon.

Allie Miller: I watched your TED Talk from last year and I thought we could talk about your musical career, as well as some of the “vocal community” that you talked about in your talk, which I thought was interesting and pretty relevant for right now.

Ysaye Barnwell: Sure!

AM: So you are a teacher as well as an artist?

YB: Yes.

AM: Are you currently teaching?

YB: I teach all the time, but I teach about music, about African American music, mostly.

AM: So you teach about the history of African American music?

YB: I do. I passionately want people to understand the evolution of music from African through to hip hop. I want people to understand that there are two different worldviews when we talk about music. There is a Eurocentric world view, and then there is an Afrocentric worldview. And a lot of times when we use words, we think we are talking about the same thing but we are not. And we approach music from very different places, and I want people to understand that the Eurocentric view is based in a written form, and the Afrocentric world view is based in an oral form, which is o-r-a-l and a-u-r-a-l. And therefore, when we are naturally learning in our world view, you either grow up learning piano or violin or whatever and how to read the notes, or you grow up learning by listening and singing in a context with other people, or drumming in a context with other people. There are no notes involved, no written notes involved, but there's also a purpose and a function to that music, which doesn't particularly exist in a Eurocentric world, and that purpose is to document everything that's going on at the time to connect with higher forces, and to bring the community together. And that may not be the goal at all here in a Eurocentric learning unless you're in a choir or an orchestra, and your goal is to play well together under the direction of someone. You’ll never find a conductor in African music, it doesn’t exist.

AM: Definitely. So when you make you’re own music, do you make it through this Afro-centric process rather than the Euro-centric one?

YB: Because when I’m commissioned to write things usually, people expect a score, But normally when I teach, there are no written notes involved. Are you coming on Saturday? I’m leading a community sing at 11:30.

AM: What is that?

YB: It’s called a community sing and basically people show up, and you know, in a very few minutes we are a choir with all different parts going and stuff like that.

AM: That’s cool. I noticed in your TED Talk you began by asking the members of your audience to sing together, and I thought that was really interesting. What do you think it is about singing as a group that forms such strong bonds between people?

YB: It’s so important, and it’s so missing today. You know I looked at the Women’s March…

AM: There was no singing.

YB: Exactly! And if you compare that to the Civil Rights Movement, they sang all the time. Not only when they were demonstrating, but they sang in prison! They sang all the time, and that way, they kind of secured the bond between them. If someone was taken or arrested, that’s how they would let the group know they were still alive. It’s just a big, huge cultural difference. And what I find is, when I hear people trying to lead songs, they don’t really know about a kind of call and response format that would include everybody, so if you sing all these songs with all these words and you’ve never heard the song before, you can’t sing along; you’re listening. So I think one of my missions, and it’s been a mission for awhile, is to increase the number of people who have had a communal singing experience. And in these experiences I’ve tried to give people an example of how you lead a song in a demonstration, so that people understand that, and if they have the courage, they’ll have the tools. It’s very important.

AM: So, as far as being in a communal sing and teaching others, how does being involved in a communal sing change you?

YB: Well, since I’m normally the one leading it, I don’t know that I’ve been changed.

AM: Not even like, maybe in your childhood, from the first time you sang in a group?

YB: You know, when you grow up in your community, you just grow up in your community, you know? And in Black communities, people sing, particularly in church. I think that’s in some ways a problem right now, because younger people, they don’t do church. And even in the Black community where it’s been such a bedrock of culture, it’s not happening so much anymore. So people don’t have that experience of the glue. The civil rights movement, people moved right out of church into the street, and they used some of the same songs that they used in church, and they changed the words. That was a very, very powerful thing. We don’t have that now. We don’t have those kinds of examples. Young people are far enough away from the Civil Rights Movement that they never have experienced it, even on TV in the news. And so I try to talk to young people, and to show that we do the songs, and I get them to put their issues into the songs. So that they know how to do that.

AM: Are you suggesting to them that they make their own songs? Or adopt the songs of the Civil Rights Movement?

YB: I am suggesting both things. Yes, absolutely. But I want them to understand that the songs that they create can’t have 1,000 words. You need to understand call and response.

AM: How does call and response work? Are the basics of it just like, repeating a simple phrase?

YB: Yeah so, (singing) “Oh, I’m on my way..I’m on my way. To freedom land…”

AM: (singing) To freedom land

YB: I’m on way

AM: I’m on my way

YB: To freedom land

AM: To freedom land.

YB: That’s call and response. It’s easy, okay?

AM: Yeah!

YB: And you did it!

AM: Yeah! So do you have any favorite songs?

YB: Oh man, there’s so many, you know, because they’re actually fun to sing. And that’s important too, because if you’re scared, you at least want to be having fun being scared. It’s like, “This man is going to arrest me in five minutes…” (starts singing) “I ain’t scared of your chains, cause I want my freedom, I want my…” It doesn’t matter if you sing in tune or not; it’s just using your voice to just sort of put yourself out there and confirm what it is you believe, what you think about, and what you honor and to try to share your point of view with somebody else. I give the example, I don’t know know if you ever saw the film “Selma.”

AM: I did, yeah.

YB: Okay, so I feel like, Ava DuVernay, who did the film, made one major error. And I think that error was she did not show the crowds singing. It was just one voice singing, and you had all these people. And the odd thing is, if you look very carefully, you can see their mouths moving. They were singing. But you didn’t hear them. The reason I think that was a huge mistake is that singing is a part of our history. If you don’t see that in that film, when you know they were singing in reality, that’s a distortion of history. The other thing is that the police who were at the bottom of the bridge, the Edmund Pettus Bridge, they had no idea how many people were crossing that bridge. And so my thinking is that they were probably more afraid than the demonstrators. They singing gave the marchers the courage that they needed to walk into whatever the police were waiting with.

Until that release, the band is touring with LA’s PARTYBABY and Tennis System across the U.S. They’ll be returning to the Bay State on March 2 at the Middle East - Upstairs in Cambridge, accompanied by local rock band Gravel. Doors are at 7 p.m., and tickets can be found here!