Nominate a song for the Women’s March MN Podcast/Playlist

Now that the holidays are nearly over, Heather and I are back working on the Women’s March Minnesota playlist. You can access the growing playlist on Spotify. We have a few songs nominated that aren’t on Spotify. We will include them in the podcast, which we’ll post and plan to air on the Mostly MN Music show on WMCN. We are also looking to interview artists that are on the playlist for the podcast.

If you have a song or artist you think we should add – please let us know. The video below goes into greater detail and also mentions the upcoming fundraiser for Women’s March MN (RBG-O – drag queen bingo at Tin Whiskers) and upcoming shows of former guests of the Mostly MN Music radio show!

Everyone finds their happy place with The Big Wu at the Fine Line

Everyone should end their year bobbing and weaving to The Big Wu. A jam band that goes back to the early 90s, they slowed down for a while to have families and pursue other passions and now much to the delight of their fans they are back with the first album in 14 years – We are Young. We are Old. They introduced the new album at the Fine Line on Saturday night, including a bunch of old some school favorites as well. It felt like a festival or all ages college campus. OK – maybe like parents’ weekend on the college campus if the school was smart enough to have a band such as The Big Wu to tears down the generational recreation walls.

They played a few of my favorites such as Red Sneakers. Live it’s the ultimate jam song – so many strings on stage, so many solos. You can just feel every person in the audience imagining themselves on stage taking their turn with a solo. It’s not a jealousy; it’s an optimism. Again, that is part of what makes The Big Wu such a great end/start of the year show.

They played We Are Trees from the new CD. There’s a levity to the song that raises it to almost anthem heights. There’s a great balance of guitars, bass, keyboard and drums. It’s like an awesome stew where all of the food is flavorful and the mix is just perfect. And the audience seemed to love it.

Finally I have to mention Tom Sawyer. They play a terrific version of that song. The keyboard is very 70s space age sounding. Mark Jospeh sings accompanied by every single person in the building – smiling and singing.

Video sneak preview: The Minor Fall with Christmas Dream

Sometimes I get fun emails for things like video sneak previews. I love the retro side of the video. It feels like stepping back into your grandma’s attic – seeing the pictures and decorations purchased or made by people who are long gone. It’s nostalgic, a little sad but mostly reflective. It captures the song.

Here’s the official description…

“Christmas Dream” is the first official release of The Minor Fall. They stumbled upon this Christmas tune by Webber/Rice, originally recorded by Perry Como. It was quickly realized that the very reason this was never a huge Christmas hit is precisely why it should be heard today. Lyrics such as; “Every year I dream it, hoping things will change. An end to the crying, the shouting, the dying..” is a tribute to the shared feeling of humanity in these dark days. Where the Como version is masked behind an over-the-top polka, The Minor Fall put the darkness of the lyric in the forefront aided by the chime of the bouzouki and abundance of reverb.

Music Video:

The Minor Fall teamed up with long time friend and local guitar legend, Jeremy Ylvisaker (Andrew Bird, The Suburbs, Haley, Alpha Consumer) to create a visual representation of this song. Jeremy weaved in scenes from Christmases past that honor the aforementioned darkness of the lyric.

Raising voices in song for Women’s March Minnesota – creating a playlist & podcast

The Mostly Minnesota Music radio show is on hiatus until WMCN is back next semester (February). During our break we are going to work on playlists and podcasts – starting with a partnership with Women’s March Minnesota (WMM) to create a playlist and podcast of songs that speak to the themes of the Women’s March.

In the spirit of full disclosure, Heather and I are involved with WMM. The idea bubbled up talking with musician Vicky Emerson on our last show. I mentioned it to WMM and everyone was supportive. The general consensus was DO IT! So as we are.

  • We are creating a playlist on Spotify. Please – feel free to add your recommendation!
  • We want to do brief interviews with musicians about their songs on the playlist. (Contact us if we can interview you! 651-2394581)
  • We will track our work here – posting notes, songs, videos
  • We will also post on Women’s March MN channels
  • We’ll eventually turn this into a radio show episode

We are open to ideas and sharing! Music has such an intimate power to effect change as we see more positive music lifting people up – we want to do our part to help lift that music and those musicians.

Got a song you want to recommend – please do or check us out on Facebook and post ideas there.

Mostly Minnesota Music on WMCN – theme holiday – guests The Big Wu and Vicky Emerson

Heather and I have successfully completed one semester of radio shows. And I feel like they might have us back next semester. It was awesome to have Mark and Chris from The Big Wu and Vicky Emerson on the show. And our super special guest Kathy – Heather’s mom. She’s great! I thought the Big WU might be taking her on the road.

Vicky helped us start off the show. She brought her guitar and it was just like having a private concert. It was fun to talk to her about the growing scene of women musicians in town. How supportive they are and the increasing prevalence. And it was great to have Big Wu. They are an institution. It was fun to reminisce about back in the day and to hear about their new album. I’m hoping they will be hitting the festival scene this spring and I get a chance to see them.

I am hoping to add the archive of the show later. (But wanted to get the notes out now.) There was a hiccup in the computer that saves the show. The mouse quit working, which meant we couldn’t get to anything. And then I was a day after surgery so I wasn’t my finest for tech troubleshooting either. The station is closed up for the holidays now but I will get the archive up later.

Added Feb 17:

You are download our playlist on Spotify or check it out below. As usual these are created before the show and rarely reflect what we really played – these are the songs we’d play if we had an extra hour!

Continue reading

Space, Genre, Body and Audience in the delivery of Aggressive Punk Performances: An Analysis of Jay Reatard and Kitten Forever

Delighted to share a guest paper from Lily O’Donnell. She wrote it for a class; I thought it was so good I wanted to share.

Space, Genre, Body and Audience in the delivery of Aggressive Punk Performances: An Analysis of Jay Reatard and Kitten Forever

Maggie Werner argues in her piece, “Deploying Delivery as a Critical Method: Neo- Burlesque’s Embodied Rhetoric” that delivery can be applied as an effective analytical framework for embodied rhetorical performances. She shows this by evaluating the interplay of the delivery elements of space, body/persona, audience and genre on the performances of neo- burlesque. Through her analysis, she proves that delivery can be used to provide a full contextual perspective of the purposes of the performances of neo-burlesque often overlooked in other evaluations of the embodied performance. I will be using her argument for the genre, space, body/persona and audience in the delivery of embodied performances to compare the purposes and context for punk performances with a focus on the early 2000s aggressive performances of the late Jay Reatard compared with the 2015 performances of the feminist all girl punk trio, Kitten Forever.

Through my analysis, I will also further Werner’s conclusions on why delivery works as an effective critical method in the study of embodied performances particularly performances that are somewhat counter culture, or not quite mainstream. I will also be using Naomi Griffin’s article “Gendered Performance: Performing Gender in the DIY Punk and Hardcore Music Scene” and her conclusions on the DIY punk music scene as being a male dominated space to argue how Jay Reatard’s often aggressive and antagonistic performances worked because he was performing in male dominated spaces and represented a masculine delivery style often celebrated within the genre of punk. I will be discussing how his performances compare next to Kitten Forever, whose presence in the male dominated genre and spaces of punk are inherently political. Through this comparison I will be illuminating the conclusions made by Griffin on how gender affects delivery.

Overview of Jay Reatard and Kitten Forever

Jay Reatard was an Indie Punk/Garage Rock superstar in the early 2000s. He was described as an “Elvis type figure but angrier” (Hammond 2011). His real name was Jimmy Lee Lindsey Jr. but he was known mostly by his stage name “Jay Reatard” (Sisario 2010). He was a driving force in the music scene of his hometown of Memphis, Tennessee for years before breaking out in the national scene in 2006 with his critically acclaimed solo album, “Blood Visions” (Phillips 2010). He passed away on January 13th, 2010 from “cocaine toxicity”. Alcohol was also a contributing factor in his death at the age of 29 (Sisario, 2010).

Jay Reatard was a prolific songwriter, by the end of his life his massive discography was comprised of hundreds of home recordings and 22 full length albums (Sisario 2010). He played with many bands beginning at 17, with his first band The Reatards, as well as starting bands like The Lost Sounds, The Bad Times and Angry Angels before launching his solo career (Sisario 2010).  Jay had a reputation for his tornado-esque creative process as well as his belligerent stage manner. He sometimes smashed equipment on the audience mid set, or on a band member; he was known to randomly storm off stage, scream at audience members and provoke fights with band members while performing. He often put the entire microphone into his mouth, plugging it into the amp and simply screaming his lyrics, deafening the audience. The stage represented the release of internalized angst and an outpouring of dreary emotions as well as a purpose for staying alive.

Kitten Forever is a staunchly different group. Kitten Forever is a Minneapolis, Minnesota based band comprised of three women: Corrie Harrigan, Liz Elton and Laura Larson (Harris 2018). The group is unique in terms of their delivery style as well as musical dynamic as they don’t follow the typical formula for bands; they are made up of a bass player, a drummer and then a singer. They use a telephone microphone not a typical microphone so their singing sounds more distorted and like the chants from a phone left off the hook (The Lowertown Line 2015). The group also rotates instruments mid set without stopping the noise (Harris 2018). Their music is often a mockinging Christine De Pisan-esque chanting of exaggerated rules for women or femininity in mainstream society. For example their song “Temple” repeats: “Trust no one, eat your tears, swallow your pride, kill your fears (“Kitten Forever- Temple”).”

The group is proudly feminist and use their platform to sing about their politics as well as infuse some self deprecating humor into their lyrics (Harris 2018). In an interview with the Lowertown Line in 2015, they said they wanted their shows to have “a community feel” and connect the performer with the audience. Their performances are very energetic and often celebrate feminism and intersectionality in the terms of their lyrics as well as the representation their existence adds to the music scene. Harrigan discussed the struggles of being a woman in a male punk dominated scene and how she adopted her own delivery style: “You’ve got to be tough and you’ve got to be screaming into the mic and you’ve got to be… you know, a dude. Now that it’s like, well, it doesn’t have to look that way, it doesn’t have to sound that way either (Harris 2018).” The band worked to create and celebrate more diversity and inclusivity in the Minneapolis punk scene as well as adopting their own unique delivery style that would create a fun and exciting environment.


Genre. Werner describes genre in delivery as “comprised [of ] bodies that perform, the spaces in which they perform, and the audiences to whom they perform (291).” Genre works based on the interplay of all the other elements of delivery. In the performances of Jay Reatard, genre can explain the rowdiness of the audience, the body/persona of Jay and the spaces where he performed. The genre of punk has always been more open to all genders as performances were based mostly on extreme self expression (O’Meara, 300). As well as that, the tradition of punk rock has always been based on a staunchly DIY attitude as well as a complete ideological opposition to mainstream music (O’Meara, 300). These standards within the genre of punk music are the defining connections between Jay Reatard’s brash and offensive performances and the loud chantings of Kitten Forever. Aggression in one way or another has always been a pillar of punk rock. For Jay Reatard, this is manifested in an aggression towards himself, life and the audience. For Kitten Forever, this aggression is taken out more on the oppressive nature of society, it’s targeted towards sexism, racism, homophobia and other systems of hate within society. Therefore, the crowd in  a Kitten Forever is working in unity to celebrate a sense of anger against the exclusionary systems of oppression that affect their everyday. The anger or aggression promoted at a Kitten Forever is empowering.

 Aggression has always been an essential part of punk performers, in the identification of punk as a genre, the separation of real punks and non-punks within audiences and as a way to redefine the traditional power structures within commercial rock performances. Punk performances became, in a way, a celebration of violence and antagonism. Some other results of the aggression in early punk performances was it worked to create punk as a genre and alienate the other, or the non-punk from audiences (Laing 106). From the audience-performer aggression came an equalized relationship and a new power dynamic within punk rock performances that was completely different than the commercial rock performer speaking to audience dynamic that had been traditionally seen (Laing 106). That was one of the key parts of the movement, to drastically change mainstream music, and this shift in dynamics led to the formed identity of punk- the performer was just as much a part of the movement as the rowdy audience throwing chairs (Laing 106). From this unity came a sense of community that inspired audience members to become more active participants by starting bands themselves. From this we can see the beginnings of the DIY attitudes and desire to radically change conventional performance styles in rock music that led to the formation of Kitten Forever. We can see how punk as a genre provides some context for all other elements of the delivery of Jay Reatard and Kitten Forever. Both artists are dependent on punk as a context and point of exploration for their style.

Body/Persona. Body in delivery for Werner is both physical, as in the voice, clothes and movements of a performer as well as political as the race, gender and ethnicity of the performer is put into consideration (Werner 292). Body in the performances of punk had physically been used traditionally to reinstate dominance and express masculinity. Performers would stand or posture in a macho way, displaying their violent or sexual fantasies on the guitar, thrusting it against themselves while playing it and smashing it with the instrument often dubbed the “cock of rock” (Laing 109-110). Punk rock had traditionally been an obvious display for blatant machismo (O’Meara 303).

We can see by watching the performances of Jay Reatard, that his performance style was heavily cemented by the tradition of masculinity within punk music. In his 2007 Memphis, Tennessee Goner record store performance, we see his  stance is slightly slouched over his guitar, he’s heavily sweating over the microphone and rocking back and forth while performing and completely avoiding eye contact with the audience while he hollers out his lyrics (Goner records). Jay Reatard seems to exemplify the traditional representations of masculinity within punk performances, with an added touch of humiliation and self deprecation. His aggression towards the audience can also be seen as fueling an energy of aggregation and internalized masculinity that becomes almost a rtualistical sort of release during his performances.

Another aspect of the body to consider for Jay Reatard is that he is a white male, and as the study of DIY Punk and Hardcore spaces by Naomi Griffin tells us, punk spaces are usually dominated by white men. White men usually organize the shows, dominate the dancefloor and are most likely the performers (Griffin 70). As Griffin theorizes, this means men have a monopoly over the local music scenes, they can decide who is given literally a voice (71). From this, we can see how the literal body identity of Jay Reatard in a male dominated and male created space and genre is less politicized as it represents the hegemonic culture of punk/DIY punk as a scene as well as representing mainstream hegemonic culture.

    The body/persona for Kitten Forever is much different. Fashion and clothes have been theorized often for their rhetorical impact (Griffin 69). The fashion and bodies of women within the punk scene have become “sites of resistance (Preston et al, 220)”, meaning sites to portray displays of nonconformity through dress, tattoos and body modifications (Preston et al, 220). This can be seen in the fashion choices of Kitten Forever in their performances: the women are seen sometimes with brightly dyed green hair, piercings, tattoos, unconventional makeup and colorful, unconventional clothing. Kitten Forever continues the punk rock tradition of using body as a place to state one’s rejection of society’s norms. They also physically perform in a style similar to Jay Reatard, in that they often rock with the guitar and seem to often avoid direct eye contact with the audience. They also hop around the stage and shake their hips – they are more obviously dancing to the rhythm than anything Jay Reatard might do in a performance. They dance and move around the stage constantly, whereas Jay Reatard simply stands in one place for most of his set, maybe moving around slightly and violently banging his head to the music while he aggressively forces the strings on his guitar.

Audiences. Audience participation is a crucial part of the performances of Jay Reatard and Kitten Forever. The energy from the crowd is an essentialist part of the genre of punk (Griffin 71). For Jay Reatard in particular, aggression was a huge part of his audience interactions.  David Laing discusses in his novel, “One Chord Wonders: Power and Meaning in Punk Rock”, how punk bands were aggressive and provocative towards audiences from the beginning. Bands had the power in performances because of the literal stage spatial placement as well as having the electrical power, meaning they had the microphones and the ability to be louder (Laing 105). Audience members responded physically with “gobbing” or spitting on performers, throwing cans and chairs at the stage and invading the stage (Laing 105). These actions became in a way ritualistic for the audience, and an essential part of the band’s identity (Laing 106). For example, The Damned always got all the furniture in the room thrown at them by audiences (Laing 106). However, these dramatic responses were out of appreciation or admiration for the band, a bored or disinterested audience would symbolize a boring band. That was one of the results of the aggressive relationship between punk performer and audience; it inverted cultural norms of aggression to become expressions of appreciation (Laing 106).

    The punk antagonism is very present in the performances of Jay Reatard. In his 2007 New York City performance at a venue called,  Cake Shop, Jay Reatard begins screaming at an audience member, “You motherfucker, get the fuck off my shit!” and continues yelling at him throughout in between songs (Pitchfork, 2016). We can see that punk was the ideal genre for Jay Reatard’s provocative performance style and outlandish antics as a way of self expression and an outpouring of internalized aggression. We can also see in his 2007 Cake Shop performance that the crowd is very rowdy, they are seen “moshing” which is a style of dancing where people congregate near the front of the stage and jump up and down, toss people on the ground and violently collide into each other. This passionate and violent dancing style can be seen as a performance of masculinity (Griffin 71).

    For Kitten Forever, their audiences are not as actively rowdy as Jay Reatard’s audiences. We can see the audience in their May 2018 Kansas City performance in a venue called Kum n Go. The audience is not as violent or aggressive. Kitten Forever doesn’t yell at them or insult them and the crowd is not violently moshing against each other (Rhoades). Kitten Forever does not display the same kind of aggressive masculine performance style seen traditionally in punk music and in Jay Reatard’s performances. Kitten Forever creates their own unique performance style that celebrates their femininity while upholding a sense of aggression that is a pillar of punk rock. Therefore, the audiences don’t respond by performing in the typical masculine impassioned ways, but instead they mirror Kitten Forever’s delivery style. They shake their hips and dance along. The audience-performer relationship is one more rooted in unity and an us versus the oppressive powers outside this space. Due to this, the audience doesn’t have a violent or aggressive performance but more of a happy and celebratory positive performance that they emulate in their dancing.

Spaces. According to the piece “Gendered Performance Performing Gender in the

DIY Punk and Hardcore Music Scene” by Naomi Griffin, the spaces where DIY punk and hardcore music are performed are monopolized by men. Masculine performance styles are more celebrated, men usually dominate the spaces, whether that be in the crowd, on stage and in organizing the shows (Griffin 70). Griffin discusses how in patriarchal societies, men are seen as the reference point and women are seen as the other (Griffin 70). Therefore, masculine displays of passion and power are celebrated and normalized (Griffin 70). In Griffin’s analysis of Hardcore and DIY punk shows, she concluded that women aren’t very often involved in these performances. This shows how the performances of Jay Reatard as representing the attitude and values of the spaces he mostly performed. His masculine performance style was more obviously celebrated as it expressed the values, perhaps subconsciously, as the venues he played at and the audiences who showed up. However, this makes the performances of Kitten Forever more politicized as they express their own unique feminine delivery style.

    An example of how the male dominated spaces affect the performances of Kitten Forever is in the way they almost create their own feminized space on stage within a more masculine space. It is also very reflective of the DIY nature of punk . In their Lowertown Line performance,  Kitten Forever has the stage covered in balloons, with chains of fake flowers covering all their equipment (The Lowertown Line, 2015). They use eccentric self expression to create an almost ironically feminine, innocent or imaginative oasis on stage that contrasts starkly with their brass vocals and heavy bass and drum beats. This can symbolize how Kitten Forever creates their own unique feminine delivery stye within a male dominated space that celebrates intersectionality and feminism within a scene that often ignores the topic or doesn’t practice what it preaches.


Based on the analysis of Jay Reatard and Kitten Forever and their delivery styles we can see that masculinity and femininity are expressed in different ways within punk performances. Jay Reatard expresses the more normalized, hegemonic expression of masculinity and aggression, whereas Kitten Forever has created their own unique delivery style based on unifying an audience and simple dancing. For both performers, the traditions of punk as a genre are important for their deliveries as they provide a context for their audiences and provide a framework of DIY ethics, anti-conformity and aggression to create and perform their music within. The genre of punk may unite Jay Reatard and Kitten Forever, however their delivery styles are expressed completely differently in terms of how their audiences react, their bodies and the rhetoric that comes from their physical presence on stage and the spaces where they perform and how they create, change or express themselves within those spaces. This analysis also expands the argument made by Wener for delivery as an analytical framework as through the study of delivery we are illuminated to the power structures within the genre and the spaces they are performing. Delivery provides a fuller perspective for the artists and their purposes for performing.

Works Cited

Hammond , Alex and Ian Markiewicz, directors. “Better than Something – Jay Reatard” .

YouTube, 2011,

Harris, Keith. “Kitten Forever Look Back at How Their Band-and the Minneapolis Scene-Has

Changed in the Past 12 Years.” City Pages, City Pages, 2 May 2018,

Goner records. “Jay Reatard, Live at Goner Records 5/11/07 (4/4).” YouTube, YouTube, 11

Dec. 2011,

Griffin , Naomi. “ Gendered Performance Performing Gender in the DIY Punk and Hardcore

Music Scene.” Journal of International Women’s Studies , vol. 13, no. 2, 2012, pp.


“Kitten Forever – Temple.” Genius, Genius Media Group Inc.,

Laing, David. “Chapter 4: Looking .” One Chord Wonders: Power and Meaning in Punk Rock ,

PM Press, 2015, pp. 103–141. Google Books ,

O’Meara, C (2003) The Raincoats: breaking down punk rock’s masculinities, Popular

music, Vol. 22, No. 3, p.299-313

Pitchfork. “Jay Reatard Live at Cake Shop 10.10.07 (Full Set).” YouTube, YouTube, 10 Oct.


Phillips, Amy. “R.I.P. Jay Reatard.” Pitchfork, Pitchfork, 13 Jan. 2010,  

Preston, V and Ustundag, E. (2005) Feminist Geographies of the “City”: Multiple Voices,

Multiple Meanings, in Nelson, L and Seager, J (2005) (ed) A Companion To

Feminist Geography, Oxford: Blackwell, p.211-227

Rhodes, Aaron. “Kitten Forever at Kum-N-Go.” YouTube, YouTube, 8 May 2018,

Sisario, Ben. “Jay Reatard, 29, a Force in Punk Rock, Is Dead.” The New York Times, The New

York Times, 14 Jan. 2010,

The Lowertown Line. YouTube, YouTube, 4 May 2015,

Werner, Maggie M. “Deploying Delivery as a Critical Method: Neo- Burlesque’s Embodied

Rhetoric” The Fifth Canon of Rhetoric: The Art of Delivery. Edited by Tracey Whalen,

University of Winnipeg, 2018, pp. 285-300. Originally published in Rhetoric Review, pp. 44-59. Course Pack.


Mostly Minnesota Music on WMCN – theme stop or go – guest star Jason Chaffee

We were so excited to have Jason Chaffee play in studio today. He sounded great and it was inspiring to hear his story of how sobriety has brought him serenity, joy and returned him to a love of music. His album is about his personal journey from struggles to triumph. He is debuting his video on Jan 10th at the Aster Café!

The theme this week was stop and go. Ironic since we also had a host of uninvited gremlins at the station (really on my computer) making us stop when we wanted to go. There was a lot of live Macguyvering on air and I got to talk for longer than I might normally want to talk. BUT it was fun. If you don’t so something that scares you now and again, you’re living wrong!

Next week is the last show of the semester. We have to reapply for next semester. We have our fingers crossed.

Download the Spotify playlist or check out the written list below. Both are what we planned to do – not necessarily what we really did.  Continue reading

Lynn O’Brien Leads the Audience to Rise at the CD release of Rising

Who starts a concert with a minute of joyful silence? A genius like Lynn O’Brien, that’s who.

After the silence she started in with an a cappella world beat piece like an acoustic tUnE-yArDs number but more accessible.  Lynn led the sold out crowd at the Hook and Ladder into her space so comfortably she turned it into a shared space. She wordlessly brought the audience in to clap and sing with a call and repeat gesture.We were hooked.

Lynn is also a music therapist; I know that work is distinctly separate from her work as a musician but there’s a positive influence on how she interacts with the audience and brings them along on a magical ride. Her music is about triumphing – as a person or as a community.

How Can I Give my Love Away? is an uplifting, personal song with a country guitar, a brushing drum and strong, almost bold gospel voice with the balance of the backup vocals. There’s an easy swing to the song. It’s the kind you think you can sing in the shower, but most of us can’t. What’s lovely is that often such a song is about heartbreak and this song is about sharing your heart, not necessarily with one other person just with the world.

And she has some anthems. Whoa. Letting You Know is about settling boundaries – with the refrain of – she’s letting you know. It should be required listening on college campuses, high schools, workplaces all over the world. It’s sassy. More like jazz with the keyboard and a more playful side of Lynn’s voice. But my favorite of the night. The song I think they should choice for the Women’s March Minnesota theme for 2019 is Rising. It starts as a softer song with a 70s easy beat for storytelling that builds into a rap of spoken poetry. It’s not a charge to act, it’s a soundtrack to what’s already happening. It’s a celebration and recognition. Where Lynn’s voice is bold and ebullient in How Can I Give My Love, it is controlled and in command for Rising.

She has such a good feel for when to be loud, when to be soft and when to sing nothing at all.

Amanda Grace and Katy Vernon proving that “female singer” isn’t a genre

I love to see a music show that features talented women. So I really enjoyed Amanda Grace’s CD release last weekend at the Amsterdam with Kay Vernon. Hearing them together is a reminder that “female singer” is not a genre.

Amanda has a gritty, almost guttural sound that feels raw and powerful. Strong American is a favorite song from the CD and the show. She starts with a breathy, aspirated, eerie lead up to a powerful full-force finish. The building and the range are compelling. Yet that wasn’t even the best showcase for her voice. Amanda played a song that she plays with her folk band Wildflower – it featured a long held note that would make you hold onto your hat!

Some of her music is quite dark. It’s part folk part (ballad) rocker but there’s an uplifting message – especially with Rayne Angel, written for a young woman she met on tour. She wanted to help Rayne see that even when you feel like you don’t have anything, you still have something to give.

Katy was a fun compliment to Amanda with her sad songs on a happy instrument – the ukulele. She had her full band (with one substitute); the ukulele, keyboard, horn and the rest give a nostalgic old time charm to the music. We heard some of my favorites: Lily and 5:00 Somewhere. We also got a sneak preview of Undertow, a new song from the upcoming release. It has the trademark upbeat demeanor but Katy’s voice takes on a sultry tone – a new dimension.

It feels too easy to compare Katy to fellow Londoner Lily Allen, but they both have a sardonic wit where the happy sounds and humor are like sugar that helps the medicine go down. Very clever.

Mostly Minnesota Music on WMCN – theme covers – guest stars Lynn O’Brien and Blair Ransom & Leng Moua from Wild Age

We were delighted to have two sets of guest stars today at the studio. We got a sneak preview of Lynn O’Brien’s latest album Rising. It will be released at a sold out show at Hook and Ladder on Thursday (Dec 6) but you can listen to a few tunes below. My favorite is the title track – which celebrates the movements happening lately to lift up all people. We also had Blair Ransom and Leng Moua from Wild Age. They are playing at the Moon Palace on January 13. They are getting some traction with their latest CD, Sea of Health. I love the flow of it and look forward to their new work in 2019. The theme was covers, which made for some interesting choices. I feel like very guy I knew (round about my age) suggested Slave Raider!

We talked about Wild Age’s latest video venture:

You can download the playlist from Spotify  – or see the list below. The playlists are rarely true to what we end of playing; it’s what we intended to play if we got extra time. Continue reading