ZZ Ward Plays The Parish Recap

On any given night in Austin you can walk down 6th street and find a half-decent bar with live music to enjoy while partaking in your drink of choice; mine being a whiskey straight or LSD (Lone Star) when I’m particularly destitute. Tuesday, June 20th, I was fortunate enough to find myself at The Parish, an unanticipated oasis amongst the debauchery that I’ve come to expect from Dirty 6th, for the sold out ZZ Ward show.

Opening the night was quartet of family rockers hailing from Nashville, Tennessee rightfully named The New Respects. This group boasts not one but three powerful female leads in twins Alexandria and Alexis Fitzgerald and cousin Jasmine Mullen, backed by the equally talented Darius Fitzgerald.

The New Respects bring a unique sound, a mesh of folk-rock and soul with hints of gospel that immediately won the hearts of the Austin crowd, who had clearly not expected such grandeur from the opening act, with their energy and stage presence. I repeatedly witnessed members of the audience turn to one another questioning who these talented, young and black artists were in absolute amazement; some even breaking away to purchase something from The New Respects’ merch table. Having recently released their second EP, Here Comes Trouble, in March of 2017 under Credential Recordings, The New Respects have already created a buzz with such singles as “Money” and “Come As You Are”.

The headlining ZZ Ward took the stage to a jam-packed venue, even with air-conditioning, had begun to remind me of the warm streets outside The Parish. No stranger to the Austin music scene, ZZ was received with a well-deserved chorus of applause mixed with the hoots and hollers of longtime fans.

Playing hits from her debut EP, Til the Casket Drops, released in 2012 and singles from her soon to be released second studio album, ‘The Storm’, Texas let ZZ Ward know just how cherished she is in the Lone Star State. A blues-rock singer-songwriter with a gift, surely practiced and earned, of vocal and lyrical excellence she has found a home in the country-blues, folk-rock, and pop demographic; gaining traction with every passing day with catchy songs such as ‘Help Me Mama’, ‘Put the Gun Down’, and my personal favorite the bluesy “Cannonball’ featuring the Fantastic Negrito.

ZZ Ward

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The New Respect

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Photos and article by: Demetrius Judkins



Tje Austin: Right Where He Belongs

Six years ago Tje Austin captivated the nation with a belting rendition of Bruno Mar’s ‘Just The Way You Are’ during season one of The Voice. The soulful R&B singer-songwriter has since shed his trademark afro, kicked cancer’s ass and recently produced the most refined and definitive project of his promising career in I Belong to You. Austin is a part of a unique wave of young and ambitious artists ushering in a new diversity to the traditional blues and rockabilly mindset of the Live Music Capital. Now, just days away from his 33rd birthday, Austin finds himself at the forefront of his city’s omnifarious musical movement and destined towards national prominence; and that’s exactly where he belongs.

Originally from Hawaii, Austin was adopted at four days old by a loving Mormon family that consisted of five brothers and three sisters. He was raised in a supportive multicultural household with parents he humorously considers “very, very white people.” Music was a large part of Austin’s childhood. “My dad was super country,” he laughs. “So, we listened to a lot of country and 70’s rock. Then, with so many brothers and sisters, as everyone got older the music became very different. We started listening to Madonna…then Green Day…then Destiny’s Child and Kanye. Our taste in music was constantly evolving.”

After High School, Austin attempted a political science degree at The University of Texas before a change of heart turned his hobby into a full-blown career path. “I was probably the worst student ever,” he admits. “I was constantly bouncing back and forth.” Coincidentally, Austin happened upon a friend who was starting a band and looking to add talent. “At the time, I needed a place to stay,” he recalls. “So, I told him I’d be in his band if he’d let me be his roommate. It was sort of like a boy band…It was terrible. But, after that I started doing my own thing because I discovered I really liked it.”


Austin released his solo debut in 2008 with Love Me Knots and followed that with 2010’s Xperience. The attractive R&B charmer gained national attention while competing on NBC’s hit talent show and his third album, Dreamin’ Big, debuted in 2012 to a larger audience but mixed reviews.

This past January, Austin released his most complete project to date with the passionate and introspective I Belong to You. Inspired by the changes Austin went through after being diagnosed with malignant melanoma in 2013, the provocative EP deals with love and loss, grief and promise. “Cancer was a big part of my life for three years. That’s all that I would do: sleep, chemo, eat when I could, and repeat,” he earlier told Austin Monthly. In May of 2016, Austin underwent his last chemotherapy treatment and in August was declared cancer free.

Austin’s outlook on life and understanding of its frail significance helps keep the singer grounded in an industry that often inflates the ego. His huge sense of humor and easy-going personality provide a surprising contrast to the heavy-hearted poetry behind I Belong to You. A dedicated songwriter by nature, Austin’s passion for creating music is nearly overshadowed by his love for pastry baking. “They’re both very similar to me because you’re creating something and testing things out,” he claims. “You want to make the best product possible. Is it going to taste good…or is it going to sound good? And then when you’re all done it’s like, ‘Aww, man. That’s the shit right there!’”

It would be easy to assume Austin fits the typical R&B playboy persona with his magnetic personality, handsome charm and fresh sense of style. But, for anyone hoping to enjoy fresh pastries with one of Austin, TX’s top bachelors, you’d better forget about online dating and get into online gaming. “I don’t do any of those apps,” he confesses. “I know that’s how a lot of people date these days. But, I don’t really understand Tinder and Bumble and all of that. I’d much rather stay home and play Xbox.”

Your best chance to spend time with the home-bodied R&B crooner will be Saturday, June 24th, when he celebrates his birthday at 3TEN Austin City Limits Live with an evening of soulful jams and sweet surprises. “I’ve been trying to come up with something special for my party. I want everyone to have a good time. Of course, I want to look fly as well. It is a birthday after all. I’m not entirely sure yet, but, something’s coming. One thing’s for certain. There’s definitely going to be cake.”


Austin is also preparing to begin work on his next couple of projects. “I love Christmas. So, I want to do a little Christmas project with a few other cool Austin artists.” He also recently linked up with Milwaukee-born, Austin-based rapping wordsmith, Branden Rex, whose ‘50¢ wings’ video immediately had the R&B singer contemplating a collaboration. “That dude is super dope. I’m really looking forward to working with him.”

The future looks very bright for Austin. He’s at a point in his career where he can take his music in just about any direction he chooses. He possesses the talent and ambition to journey very far in the music industry and with his attractive personality fans shouldn’t be hard to come by. If you don’t believe me, go see for yourself Saturday at 3TEN Austin City Limits.

Tickets can be purchased here.

The evening will also include performances by Mama K & The Shades and ulovei.

For additional information visit: https://www.mynameistjeaustin.com/

Photos by: J. Alan Love


Article by: Doug Leach

Solstice Festival Saturday Recap

Day three of Solstice Festival was all about celebrating life, love and light at the beautiful Pan Am Park in the heart of east Austin. The park was filled with live painters, art vendors, dance performances, yoga shamanic blessings, emotional healers and spectacular music performances.

Fans migrated back-and-forth between the Lovestream Stage and Pan An Stage as event organizers miraculously scheduled bands one right after another so fans were not to miss a single performance. Slomo Drag kicked-off the afternoon and cooled the crowd from the scorching heat with lush pop gold as Austin-based psych-noir ensemble The Halfways set the tone with their mind-altering groovy melodies. Contemporary alternative Hunter Sharpe hit the Lovestream Stage next unleashing a flourish of rock energy as south Louisiana’s Sweet Crude put on a bayou blast of soothing string sonnets and pouncing percussion. Austin’s one-man band, ‘solo’ artist, Mobley, carouselled around vocals, guitar, keys and drums before getting the crowd to join in on their favorite chorus. Psych-soul ensemble Los Coast hit the Pan Am Stage next stirring a vocal behemoth of punchy funk. New-age, dance-disco duo Capyac speedraced into a funky and lucid electronic display featuring joints from their recent ‘Fis’ EP setting the stage for psych-folk rockers The Bright Light Social Hour and their fantastic, politically charged ‘Tear Down This Wall’ eff you to a certain Executive someone. Hard rocking power psych trio Radio Moscow ripped through a riotous set of Sabbath meets The Black Keys before Austin’s favorite avant-garde collective, Golden Dawn Arkestra, complete with acrobatics, cosmic go-go dancers and theatrical garb elevated the crowd to an intergalactic level right before sunset. Boise alternative rockers Built To Spill delivered a Dylan-esque set from their silver jubilee catalog and festival headliner JJ Grey & Mofro let loose to grove with the now packed audience as the blue-collard frontman told stories of his youth in the southeast through blues packed, funky rock melodies.

Pan Am Park

Lovestream Stage





Radio Moscow

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Golden Dawn Arkestra

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Pan Am Stage

Sweet Crude

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The Bright Light Social Hour

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JJ Grey & Mofro

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Photos by: Demetrius Judkins

Solstice Festival Friday Recap

Day two of Solstice Festival at Sidewinder began with an immersive set from Austin-based, Light Wheel, and their atmospheric soundscape of soothing electronic R&B. Power-pop, brother and sister duo, Charlie Belle, showcased an intimate set of velvety vocals and infectious percussion before San Antonio indie-rocker Nina Diaz vanquished the crowds inhibitions with a bluesy medley of alt-metal and indie-pop.

Austin’s eclectic pop Josh Koons Band opened the inside stage at Sidewinder that lead into singer-songwriter Shane Cooley’s folksy composition. Nine-piece funk outfit Kev Bev and the Woodland Creatures got the adrenaline pumping and the dance grooves flowing before innovative Austin trio Groove Think put the crowd into overdrive with a funky progressive medal performance.

Rocking space cadets Satalights opened the inside stage at Mohawk followed by the guitar riddled rock energy of Hour Band. Are you starting to see the theme at Mohawk for night two? Pure rock muscle. Ten Foot Beast cranked the energy to full-blown yoked-out level with fuzzy power metal before the funky psychedelia of Continental Drift floated out on Afro-centric grooves.

The outside stage featured a sexy time blast from one of Austin’s hottest commodities Otis The Destroyer leading to the a barrage of strapping chords and edgy enthusiasm from Leopold and His Fiction. Headliners The London Souls wrapped-up the night with an explosive reinterpretation of classic rock warmed in funky psych charm.

Sidewinder Outdoors

Light Wheel


Charlie Belle

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Nina Diaz

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Sidewinder Indoors

Kev Bev and the Woodland Creatures

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Mohawk Outdoors

Leopold and His Fiction

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The London Souls

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Photos by: Demetrius Judkins

Light Wheel photo courtesy of J. Tyagaraja

Solstice Festival Thursday Recap

The 4th annual Solstice Festival returned to Austin last week to celebrate Fête de la Musique with three days of music, art and technology. The music festivities kicked-off Thursday evening in the Red River district at Sidewinder where the theme for the night was soothing soul and uplifting hip-hop. Austin’s eclectic soul and R&B singer Mélat simmered the outside stage with sensual melodies of life and love. The vivacious vocalist was followed by Black Rodeo before husband and wife hip-hop party starting duo Riders Against the Storm got the whole crowd body rockin’ with their enthusiastic synergy.

The inside stage was just a dope as Austin’s ‘Best R&B Artist’ of 2015, Alesia Lani, shared her melodic love stories with the Sidewinder crowd before stylistic and lyrically proficient emcee Nicolas Azlon dropped some riotous wordplay and Austin’s favorite rapper, Omenihu, turned the party out just hours before his own EP release the following day.

Over at Mohawk, the theme was a slightly different but just as invigorating as sibling trio, The Bishops, opened the outside stage with their wavy futuristic fusion of electronic, hip-hop, jazz and pop that lead into the dreamy electo-pop of Milwaukee-based GGOOLLDD and the wicked trippy electronic trap of Holiday Mountain.

Indie-pop, electro-acoustic duo Emme pushed the envelope inside the Mohawk and got the crowd warmed up with big brass and warping synths. Seven-piece soul ensemble Huggy & The Feel Goodz showed off some ‘new R&B’ with their modern interpretation of warm nostalgic soul before indie-electronic-pop brothers, The Lagoons, showed off their hypnotic experimental repertoire. The live-looping, one man funk band, Henry + The Invisibles cranked the energy to full blast to close it out.

It was a Latin celebration over at Empire Control Room as Brazilian Tio Chico opened the evening and the fuzzy, psychedelic cumbia of Money Chicha got the crowd dancing with the heavy percussion and side-stepping congas. The dance party at Empire lasted through the night with the cumbia, merengue and Afro-Cuban Reggae harmoines of El Tule.

Sidewinder Outdoors



Black Rodeo

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Riders Against the Storm


Sidewinder Indoors

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Nicolas Azlon

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Mohawk Outdoors

The Bishops

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Mohawk Indoors

Huggy and the Feel Goodz

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The Lagoons

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Henry + The Invisibles

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Photos by: Demetrius Judkins

VHS Collection and the Chilled Out ‘So I Met Someone’

The smoldering summer sun is sinking beyond the clouds, leaving a glowing orange glaze across the sky, and twinkle in the rearview mirror of your car. The windows are wound down, allowing the sweet warmth of the empty highway’s wind to feel your skin, causing gentle frenzy as it flurries through your hair. You turn up the radio, and the chilled nonchalance of the melody spreads a satisfied smile across your face. VHS Collection’sSo I Met Someone’ is the perfect drive time song for those warm summer nights.

The NYC-based VHS Collection explains that the track is about “the bittersweet reality of standing in between an old relationship and a new one.” Although the concept behind the lyrics is embedded with blurred confusion, the music doesn’t express the situation to be adverse. It’s not quite a party track, like their single ‘Wide Awake‘, but the aurorally contagious lyrics will soon have you itching to belt them at the top of your lungs, as you’re driving home.

Although VHS Collection brand themselves as a rock band, this particular song strays away from the generic rock norm. Despite the eerie Stranger Things opening title-like tune, lingering discreetly in the background, the organized, rhythmic guitar strums combined with soft, synthetic vocals all aid the electronic like sound, with just a hint of light rock. Despite the band suggesting that they’re inspired by Chance the Rapper, this song seems to evoke similar vibes to that of the 1975, with meaningful lyrics yet a slightly up tempo and jolly melody.

The band are set to release their full length record later this year, filled with authentic, alternative, and truly chilled tracks, just like ‘So I Met Someone’. To hear the full album live, take a look at their scheduled tour dates below.

06.01 – Chop Shop – Chicago, IL
06.02 – The Pike Room – Detroit, MI
06.03 – Bunbury Festival – Cincinatti, OH
06.06 – Vera Project – Seattle, WA
06.07 – Lola’s Cafe – Portland, OR
06.08 – Cafe Du Nord – San Francisco, CA
06.10 – Troubadour – Los Angeles, CA
06.12 – Soda Bar – San Diego, CA
06.13 – Soho 1221 – Santa Baraba, CA
06.14 – SLO Brew – San Louis Obispo, CA
06.25 – East Hotel – Miami, FL
06.29 – Music Hall Of Williamsburg – New York, NY
07.08 – The Surf Lodge – Montauk, NY




Written by: Beth James

Phoebe By Name, Shanti By Nature; Hunt Tells Her Story Through Shanti’s Shadow

Since her first release in 2014, Shanti Phoebe Hunt has not only grown into her artistry, but also grown into her name. Debuting with piano-clad ‘Walk With Me’, she’s since released three more albums in as many years.

Her latest release, Shanti’s Shadow, is a fanciful 11-track tale of whimsical subtly encouraging you to surrender your materialistic possessions to give way to a cleaner, more spiritualistic lifestyle. Named Shanti Phoebe Hunt, after her parent’s seven-year-stint as disciples of Guru Swami Satchidananda in the seventies, she’s encompassed all that is peace in this LP.

Hunt conceived her fourth album while reliving her parent’s best years; venturing to India to study music, meditation and philosophy for up to ten hours a day – that’s dedication if ever I saw it. The intensity of her time there, cut off from the materialistic world, tirelessly refined each song to be an insight of her honest heart. The melodies only improved by the exquisite craftsmanship of the musicians gathered to be a part of Hunt’s peaceful namesake.

Kicking off with ‘Frolic of the Bees’, Shanti’s Shadow provides an escapism for the listeners. Country vibes highlight the importance of a universal love of nature, as she offers a place to take refuge from the harmful world. Melodically grainy, Hunt features a sugar-sweet set of lyrics and an old school flair.

Moving on to ‘Lint Head Gal’, Hunt stirs a concoction of classic country femininity with every ounce of her modern-day empowerment. She tells a story that feels very ‘Kissin’ Kate Barlow’ and features all of her best outlaw components; she’s badass, independent and oh so liberated. ‘I once had a man, and away I ran, he couldn’t keep me satiated’ she sings, organic and soulful. This is the song that brings goosebumps to your arms, and leaves your hair standing on end, ready to take your place at the top and be as you please.

You’ll notice though, Shanti’s Shadow twists and turns like a country road, as the singer-songwriter-instrumentalist goes onto entice the very audience she just pushed away with the ninth track on the album, ‘Just for Tonight’. A very Karen Carpenter’s kind of vibe, her romantic southern drawl lyrically seduces you. It starts off slow but with a promising increase of tempo, the crescendo beautifully paints the picture of her passion, crashing like a final wave into a settled moonlit tide.

Shanti Phoebe Hunt pours her heart and soul into this album, nurturing it with her emotional pain and tears. Her spirituality shines bright in each track, almost like the sun refracting off of a shard of crystallized sea glass; surprising but beautiful.

Shanti’s Shadow Tracklist
Frolic of the bees
Pink and Blue
Road to Kolhapur
Lint Head Gal
Take Me Home
Call My Bluff
Round and Round
New York
Just For Tonight
I Really Love



Author: Megan Matthews

Henry the Archer Hits Bulls-eye With ‘Zero Is A Number’

A cornucopia of sounds resides in Henry the Archer’s latest effort, Zero is a Number. The core of the album can be classified as garage-rock, but there are undeniable hints of reggae, punk, prog, psychedelic, and every other combination that you could think of.

Guitarist and vocalist Richard Hennessy can be thanked for the group’s magnetic eclecticism, though it wouldn’t be possible without bandmates Kevin Geist (percussion) and Charles Marchbanks (bass guitar). Love, loss, and life swathe the 8-song ep, giving audiences a pure view into Hennessy’s life.

The Texas-based trio has inked a deal with label Hand Drawn Records who released the album on May 26. Hennessy has had success with past releases (Space Suits for the Modern Astronaut and When Something Means Nothing) and believes that this album is the definitive sound of Henry the Archer.

With tour dates (at bottom of article) and a luring album in hand, the group is destined for alt-rock greatness. While the trio certainly captures all emotions on record, it is an absolute must to experience all they have to offer through their live ventures.

Track Rambler had the opportunity to speak with Richard Hennessy about the making of Zero is a Number, and how everything he’s done and gone through has brought him and his band to this point. The full interview can be found underneath:

TR: I understand the band name originates from a book that you authored. Could you go into detail about the book and how it plays into Henry the Archer?

RH: It was basically like a therapeutic autobiography written in a fictional setting in medieval times. It was accurate to the point of just being about me, but at the same time, it wasn’t real because it was set in medieval times. The name comes from the character that represented me in the book. His name was Henry, and he came from a family filled with a bunch of masons. He would just look out the window at all the king’s archers and dream about becoming one. I eventually wanted to get back into music and I wanted to continue that story. I took it from the book and titled my stage name as Henry the Archer.

TR: I understand you were a solo artist at one point, but you put together a full band once you relocated to Texas. How has the transition to a full band affected the sound of the project, and has it changed the story that you first set out to tell?

RH: I’ve been in bands my whole life, even before my Henry the Archer career. The whole idea behind Henry the Archer was that it would be a fully-formed group and not just a solo act. It was actually not a problem because I like composing music, and it’s hard being one person and having to attempt it all. In order to do what I want, I have to rely on other people to join me in making my music. When you live in New Jersey, there just isn’t as many supportive people that want to help. It was all competition and no community there. It was very hard to find musicians to play drums and bass on my first album, which was acoustic. I couldn’t find anybody. So I just handed it out as a solo acoustic album. It really bugged me at the time because that was never the intention of the project. I reached out to my buddy Darrell in New York and my friend James in New Jersey, and we recorded the second album together. Some of the songs from the first album bled into the second album because the original intent was for them all to be presented with a full band. They weren’t exactly in the band due to their lives being so busy, but they were able to come in and record exactly as I had envisioned the songs in my mind. That album is what really defined the Henry the Archer sound. I was able to show musicians exactly what I wanted this project to sound like, and we were able to go from there. To answer your question, the band now is what it was always meant to be. I’m grateful because you know how hard it is to take the vision in your head and find the perfect thing or person to make it fit that exactly. I can’t draw for shit but I can have a perfect picture in my mind of what I want. When it comes to music I’m able to have that crystal clear vision, and with the help of others, I’m able to piece it together with the way I want.

TR: How would you describe the band’s sound? What genres would you put yourself in? How would you describe it to someone’s grandparents?

RH: Devil’s music! I would say the Animals and Dave Clark 5. I would try to break it to somebody’s grandma real easy like that. You know, the 50s and 60s edgy rock sound. Not like KISS though! It’s pop mixed with an alternative dark pop. As far as genre goes I would have to say alt-sex-rock-pop. It’s a bit hard to describe. It’s really funky, which throws it out of whack. It’s got some psychedelic stoner parts and some reggae parts. I would say that we fit in with bands like Interpol and bands like that. That’s the hardest question to answer for me.

TR: If you had to pick a favorite off the album, which song would it be, and why?

RH: Ooh. Oh man. So a year-and-a-half ago I was up in Colorado and I got laid off, right? Well, that caused the wife to leave. So, I got the divorce and she got the kids. I had no place to live. I had to declare bankruptcy. I applied to 177 jobs and nothing. So I came back to Texas, which put me 800 miles away from my kids. I’m telling you this for a reason, and I’ll get to it. I was down here and I applied to more jobs and had no luck again, and at the same time both the rabbit and the cat that my kids got died. Everything was so bad. I lost my family, everything I owned, my job, the kids, my pets. It was so bad. To me, the album is about every one of those things, or coming out of one of those things, or meeting a person that made me so happy, like track number two (New Mexico). Every song is more of an emotion than a song to me, so I listen to them for different reasons. I listen to different songs on the album depending on what mood I’m in. Honestly, man, I think that all of those songs are really good. You could have asked me on my last album which song and I could have given one and it would have been way easier. The thing is that when we recorded this album, it was 12 songs long. Now, it’s only an 8 song EP, and the reason for that is that it is literally so real and important to me that I just trimmed those other four songs. I just cut them right off, even though they’re fully recorded I wanted this to be something and not just another CD. I don’t know. It’s too hard for me.

TR: Each individual instrument seems to play a very important part of the story, and they all have a unique life that they’re given. With such a high amount of involvement from all instruments, what was the process like writing this album? Was it a collective effort, or was it the masterpiece of one mind?

RH: Here’s the deal with that. It’s a little bit of both. At the end of the day, I write, compose and produce the songs. I write the songs depending on what instrument I have in my hand. I’ll just be in the zone, and I get things done. If I write a riff that I like then I don’t bring it to the guys immediately because I have a control issue. I want to make it perfect before I bring it to them. I have to get it completely right. The whole thing has to be perfect. I want the chorus, I want the loop. That’s the thing that is going to make the song worth working on anyway. Once I get that I’ll come up with some content for the verses. Then I’ll bring it to practice. The guys will hear the idea that I have with a full and complete chorus so that they will be able to vibe with what it is that I really want. During that practice, I listen to what they’re doing and figure out what works best. After that, I’ll take it home and hammer out the details for the next practice. It all goes like that. I don’t tell them what to play, but I do tell them when I do and don’t like it. I take no credit for their genius. I’m more of the gas and brake – the yes or no. It’s my song and my vision, but at the end of the day, it’s their song and vision too. The drums and bass are just as important as the guitar and vocals. Especially in a three-piece band. Every different part is essential. My bandmates are everything to me, and to this band. They work together to tell a story.

TR: With the few shows that Henry the Archer has coming up in the next month, would you say that this story is one best experienced in person or one that is best cataloged and listened to through the media of choice.

RH: This particular album is one that people should listen to before they come out to the show. We don’t play every song on the album identical live, and the reason for that is that we want to keep it fun and enjoyable. Let’s face it, we might even come up with a better part after the album’s release. If you just come to a show, you’ll just hear a random song and you might recognize it, but if you have the album and you listen to it first before you come out you become a part of the experience. You become a part of the changes and every little struggle that we go through. You appreciate the differences and the minute aspects that we changed. In the end, it gives you a complete experience and allows for the music to bring people together. You can always tell the people that have the records because they always react differently. On the other end, if you didn’t listen to the songs prior to the show, you’re missing out on it all. Either way, the live performance is a fragment of time that can never be altered, duplicated, or re-lived. It’s special, and all the Henry the Archer shows are special because of that.

Catch Henry the Archer at any of their dates below:
June 21st – The Door – Dallas, TX
June 23rd – Magnolia Motor Lounge – Fort Worth, TX
June 25th – Fort Worth Weekly Awards Festival – Fort Worth, TX
July 15th – Double Wide – Dallas, TX


Article by: Sawyer Click

Photo By: Dustin Schneider

Village People at Empire Control Room July 2nd

What better finale to Pride Month than a blowout celebration at Empire Control Room with the Kings of Disco, Village People, on July 2. Sure, it’s not technically June anymore, I know. But, isn’t it a point to be fashionably late?

Best known for their on-stage costumes of stereotypical masculinity and catchy hits such as ‘YMCA’, ‘Macho Man’ and ‘Can’t Stop The Music’, Village People is a one-of kind act that’s synonymous with dance music. The iconic disco band provides high-energy choreography with fun and lots of singing and dancing that amounts to great entertainment for audiences of all ages and backgrounds. Catch the band that’s sold over 100 million recordings worldwide at Empire Control Room on July 2.

For tickets and additional information visit: http://empireatx.com/


Mobley Examines Social Order With ‘Tell Me’ Video

You’d be hard-pressed to find an Austin artist more sonically diverse than Mobley. The do-it-all, one man band’s thoughtful manipulation of definitive pop constraints is mind-boggling as he assumes vocal, guitar, keyboard, percussion and production duties. And if that’s not enough, the post-genre pop artist also incorporates personally crafted visuals and videos into his live performances. With a sound that expands on everything from indie rock and intellectual pop to alternative hip-hop and soul-infusing R&B, Mobley is elevating the Austin music scene on a whole ‘nother level.

Yesterday, Mobley debuted his latest music video for “Tell Me” via Billboard. The video and its twisting plotline examines the tense social and racial hierarchies that unfortunately classify American society. “In the video, our lovely starlet’s blissful domesticity is in no small part predicated on the fact that her position in the social order enables her to displace people and things that she finds displeasurable, with little thought to the fallout for other people,” Mobley told Billboard. “I wanted to first turn the camera toward that aspirational bourgeois obliviousness, and then to the people who get displaced and dispossessed to maintain it, even if their only real offense is existing.”

You can catch Mobley live on June 17th at Solstice Festival.