Jack Anderson

Ramiro Pinheiro & Rodrigo Balduino: “Moon River”

No matter how much of an “instant classic” it may have been when it first dropped, after a half century of air play, most people feel like they’ve heard certain songs ad nauseam. That is until you hear a fresh take on it. And we’re not just talking about slapping some drums or a new verse on it and calling it a remix. No, we’re talking about someone from a different cultural background who, without ever having been bogged down by it the way we were, is able to breathe new life into tunes that’ve been around for more than half a century.

Enter Ramiro Pinheiro, a singer-guitarist-composer hailing out of São Paulo. Pinheiro calls Barcelona home these days, but as chamas of Brazilian tradition – be it jazz, bossa, or samba – still burn through his fingers and onto pretty much anything he touches, no matter the music’s origin. Case in point: his second collaborative single of the year “Moon River”.

Recorded alongside fellow Paulistano Rodrigo Balduino, this version of “Moon River” isn’t just a ripple off that mid-’60s flood of Western pop renditions in a bossa nova style. No, there’s intimate honesty to the raw recording of this Breakfast at Tiffany’s triumph that channels the delicate acoustic passion of Jobim or Gilberto, string squeaks, breaths, close quarters instrumentation, and all. And even without translating Johnny Mercer’s lyrics into Portuguese, Pinheiro’s accent alone enchants with an exotic charm, gracing this Henry Mancini mainstay with a new set of legs that’ll last another fifty years, at least.

Breathing Space: “WASTING”

Whether it’s the inevitable return from a much-needed vacation, spying some inspiring light post-wrestling with depression, or just the routine changing of the guard between Sunday scaries and Monday blues, the addled and anxious of us can always appreciate an extra minute or two to block everything else out and just breathe, hopefully with a vital reset on the horizon.

But even if you’re cool as a cucumber all year round, we can’t recommend Breathing Space enough. Comprised of Maura Dooley and Emi Salinas, this Austin-via-Houston two-piece has been parsing out the finest elements of dreamy lo-fi for more than half a decade now. Breathing Space was a godsend when they first hit streaming just before the pandemic, and their modern, alternative meditations quickly became an essential part of our COVID routine thanks to a fairly routine single release schedule. And while the duo’s maintained that regimen, they’ve continued to push the boundaries of their sonics. Chiefly in terms of how upbeat can you turn it up with disco-funk elements until you kill the chill (think August’s “DREAMING’S EASY” and Fall 2022’s “GOT IT BAD”) and how mellow can you make things before it’s just plain bleak?

Especially with the latter, that line remains to be drawn in the sand. However, last Friday Breathing Space did blow us away with what may be their slickest production to date, “WASTING”. A relatively simple composition (characterized by a brief runtime, repeated lyrics, and barely more than a pair of chords to alternate between), this intersection of trip hop and alt-R&B expands a surprising amount on behalf of careful vocal layering, sultry saxophone, sneaky sampling, and beautiful bass work.

Lyrically? If you’ve been drooping on a throne of complacency and medication, these two queens may just put that reign on a platter and help you rejoice at the beheading of any bad habits or lingering shortcomings.

Kolumbo: “Spin the Bottle”

For a lot of people with contemporary tastes, exotica only equates to easy listening. Understandably so, since in the modern era it may strike first time listeners as muzak, elevator vapidity…jazz sans soul. But when you strip those biases and revisit the movement that began with the likes of Martin Denny and Les Baxter, you can better appreciate the transportive power of exotica. It’s right there in the name: “exotic”. So while coastal folks are flush with the everyday magic of an oceanside breeze, palm trees, and three hundred and sixty days of perfect weather, we’d argue that city slickers get the most value out of exotica.

At least it seems like that’s what first got Dallas-raised keyboardist-composer-arranger Frank LoCrasto craving something a bit more Bohemian to break out of the urban mindset, which lead to re-christening himself Kolumbo. Now based out of Brooklyn, Kolumbo introduced us to his tropical twists with his Summer 2022 debut Gung-Ho. It sure wasn’t easy wrangling about a dozen musicians together during the pandemic, but if exotica truly was easy, you’d hear a lot more of it, right?

Now, as summer makes way for the fall, LoCrasto proves once again that Kolumbo isn’t just a seasonal excursion. And that’s on behalf of Kolumbo’s sophomore followup Sandy Legs, out this Wednesday. Before we get to spin the LP in full, Kolumbo’s getting the symphonic jazz pop flirtations started with “Spin the Bottle”. Beachside vibes from its first downbeat, “Spin the Bottle” speaks an awful lot for an instrumental. So if you’re dreading this next work week and need a mental vacation wherever’s most convenient for you at the moment, kick off your shoes, close your eyes, imagine digging your toes into some beige grains, and shut everything else out while Kolumbo takes you on a midcentury style tropical tour.

When Saints Go Machine: “Chainsaw”

There’s probably a big chunk of Texas choosing not to think about the word “saints” after last weekend. But even Cowboys fans can agree that a quality chainsaw is a great way to start carving into the weekend. I mean, chainsaws have been a state pride since 1974, right?

So if you’re overdue for some Danish pop, dig into When Saints Go Machine. Throughout all their pop trials, the Copenhagen three-piece has kept from getting cornered in any one sub-style, be it classic club, hip-hop, or post-punk. But a dip into their discography quickly tips you off to one consistency; what these Danes have been doing for a decade and a half now is a strictly digital endeavor.

That in mind, this morning WSGM hit the world with somewhat of a surprise: the trio’s introductory experiment in acoustic equipment. Alongside “Trying”, which is a real trip of its own, “Chainsaw” comes off awfully organic compared with all the project’s prior outings. But somewhere between the liminal, strobing solitude of its visuals and the fresh perspective on WSGM’s secret formulas, it almost feels like a sin for Saints to have waited this long to “get real” with it.

The Jaws of Brooklyn: “Litebringer”

We don’t really put stock in the idea of “talent by association”. Sure, we’ve witnessed plenty of attempts to pivot from a successful group into a profitable solo offshoot. But if they didn’t have the spark to start with, they won’t have much to bargain with on their own. And on the ongoing collaborative level, when one player reaches a certain tier of talent, they rarely lower the bar in terms of the artists they surround themselves with, let alone their choice of creative clientele.

Now bear with us as we break down a bit of history here. Alabama Shakes hires Ben Tanner as a touring keyboardist. Tanner helps Alabama Shakes secure the 2018 Grammy for “Best American Roots Performance”. Then, just last year, Tanner does it again by snagging “Best Roots Gospel Album” for co-producing, engineering, and mixing Echoes of the South by Blind Boys of Alabama. In between it all, Ben continues to prove himself as not just a prized player, but a prolific producer with a musical Midas touch. So for Ben to bring an out-of-state group of relative-unknowns to his Muscle Shoals studio and bang out their debut? Sure says a lot, doesn’t it?

The group in question is The Jaws of Brooklyn, who as you might’ve guess are from…Washington?! Yes, we got our first feel for this Seattle septet from their aptly-titled Summer 2022 full-length The Shoals. And sure, while Tanner did put a proper polish on it, but a firm grasp on the classic garage-soul-rock sound (complete with ’60s-style girl group gusto) was clearly ingrained in J.O.B. from the get-go.

Now, following the fickle affair that is swapping out frontwomen, The Jaws of Brooklyn are back at it with Gretchen Lemon in the lead singer slot. And with Alabama Shakes acolytes Shannay Johnson and Karita Law also returning to Tanner’s auspicious Muscle Shoals recording space, The Jaws of Brooklyn have cranked out a dozen-plus new tunes, soon to be split across two EPs. The first one drops next April, (when J.O.B.’s stint at SXSW 2025 will still be fresh in memory), and we got a taste of that latest batch this morning with the record’s lead single, “Litebringer”.

By hinging on a hefty mix that’s instantly evocative of golden age Alabama Shakes, (snappy percussion, full house vocal harmonies, gritty garage guitar tones, and all) “Litebringer” has our mouth watering for what’s to come from The Jaws of Brooklyn, no matter what they sink their teeth into next.

Gypsy Mitchell: “Drive By”

We’ve been gabbin’ a lot about the retro soul renaissance lately…so much so that y’all must be getting pretty sick of reading about it. But what comes after soul? That’s right. Funk. And boy oh boy do we gotta have that funk here in Central Texas.

So with our scopes still set on the Lone Star State, let’s talk Gypsy Mitchell. This Dallas-born singer-songwriter-guitarist-arranger’s had a jam packed journey over the years; he founded gospel funk outfit The Relatives when he was just seventeen, went on to provide six-string for blues legend Buddy Ace in the ’80s, and has played alongside the likes of Little Milton, Johnny Taylor, and Joe Simon. Safe to say, Mitchell’s got an impressive resumé.

These days your best bet to catch Mitchell in person is here in Austin haunting venues like Antone’s and C-Boy’s, but it’s only been within the past year that Gypsy’s shifted gears towards a solo career. Like a fine wine freshly cracked from a well-aged cask, Gypsy Mitchell dropped the introductory “Movin’ (Down the Highway)” last December and teamed up with Houston institution Paul Wall this January for “I’m Still Standing”, all ahead of his debut Love Is…Infinite, out October 25th, with a release show to follow November 15th at Antone’s alongside Egyptian Lover.

And the LP’s latest lead single “Drive By” is joined by a music video that shows a whole lotta love for Busty’s Bar & Jukebox, making it a must-view for motorheads who haven’t made that pilgrimage yet. Bold talk box toggles the ignition on this soul-funk-rocker, chock full of psychedelic lights, classic cars, grins, and tabletop performances. And in light of the video’s charmingly low-budget production, the tune itself is a rich testament to Gypsy Mitchell’s status as a class act as it cruises through bluesy grooves, gospel-style group vocals, virtuoso instrumental riffs (thanks in no small part to longtime collaborators Zach Ernst (guitar) and Matthew Strmiska (percussion) of Black Joe Lewis and the Honeybears), and commanding vocals.

In other words, we sure as hell hope Gypsy doesn’t put things in park anytime soon.

Inesse: “On My Way”

Outside of theater, choir’s typically stereotyped as the vehicle for churning out stars of the next generation. Which makes sense, since it gives you all the essentials to become a singing sensation: allowing harmony to become a natural instinct, blending your voice convincingly alongside others (even in chorus), and most importantly for future potential, maximizing those big solo moments.

So we don’t exactly need to digress when introducing y’all to Austin-based vocalist Inesse Chichou, better known by her mononym Inesse (and that’s “E-ness” for uninitiated). Inesse began climbing the creative ladder through choir, and following a pivotal performance at Carnegie Hall under choral legend John Rutter, broke that focus to recenter on her solo prospects. In that realm, Inesse’s full-bodied, effervescent, and inherently feminine style falls somewhere between Jazmine Sullivan and Alicia Keys, all the while differentiating her voice from the rest by leaning on the exotic, traditional, and often dark Arabic elements of her Moroccan upbringing.

And after her October 2023 debut, Inesse has been putting the work in for 2024; following up four luscious standalone singles, Inesse dropped her freshman collection It Was Good…While It Lasted just a couple weeks back. Revolving through six cylinders of seductive originals (each produced by a different collaborator), It Was Good…tears down the gate between turn-of-the-millennium megastars and modern era heavyweights for a thoroughly unrestricted R&B-soul experience. Yeah, even though Latin R&B is a Goliath of the industry right now, the acoustic guitar-coated EP ender “On My Way” is a little less Latin American and a lot more south of the Mediterranean. “On My Way” instills a certain sense of sultry urgency, all anchored by GRAHAM.‘s gripping beat that drips with swagger, co-writer Elijah Ford‘s cohesive contributions, and of course, Inesse’s immaculate vocal intervals.

Female Gallery: “Simon Says”

Scrolling through social media, watching ten-second clips of people’s little circus acts in the comfort of their own natural habitats…it can sometimes feel like a human zoo. So while we’ll never fully encourage those vapid grasps at short-term stardom, anything that detracts from the oversaturated landscape of bland masculinity in the entertainment sector’s worth the price of admission, right?

On that note, today we’re taking a gander at Female Gallery. The Austin-based four-piece sources their rock-meets-dance (dare we say indie-post-punk?) sound from the likes of Paramore and No Doubt all the way to Pink Floyd. But in terms of Female Gallery’s overall brand, the pairing of Queer identity with Latinx roots almost speaks louder than their literal influences.

And after starting off strong with two back-to-back introductory singles in Spring 2022, Female Gallery’s feel-good energy’s set to score the quartet a new force of fangirls with their upcoming debut EP Best Friends Together Forever, dropping just before Halloween ahead of a namesake tour next summer. As if to put a collective foot down proudly declaring their diversity against cis-heteronormativity, Female Gallery pulled the curtain on their latest, “Simon Says”, last Friday. An uptempo, reverb-washed original that effortlessly shifts gears throughout a sophisticated sequence, this four-and-a-half minute affair’s gonna make you forget all about following the leader and instead will get you fueled up to become BFTFs with Female Gallery six weeks from now.

Thee Phantom Interview

Confucius and Fresh talk with Jeffrey McNeill of Thee Phanton and Illharmonic Orchestra ahead of an Austin appearance, do a little more prep leading up to the series on beefs, and unwrap an Unpopular Opinion on Vivica A. Fox’s stardom.

Allisen & The Wy’s Guys: “Tell Me (Like A Man)”

If you’ve seen Big Wy’s Brass Band, then you’re already hip to the spark that is multi-instrumentalist Wyatt Corder. Furthermore, you’re probably familiar with the fact that Wy’s got high standards for the folks he plays with; if he hand picks you as a performer, it’s a real privilege…especially when it comes to pulling off Amy Winehouse covers.

This is where singer Allisen Hinojosa comes in. Corder and Hinojosa first met as DJ colleagues at KVRX, shared interests in the vintage blues-soul section, got together in 2021 to jam a few times, and soon found success with their Amy Winehouse tribute Back to Black. Back to Black’s still alive and well, but the pair have also begun channeling their chemistry into an original project, aptly titled Allisen & The Wy’s Guys.

The two best bets for which venues you’ll catch Allisen & The Wy’s Guys? C-Boy’s Heart & Soul (where they play 6:30-8:30PM every Thursday this month) and the Continental Club, where they’re staging a two-night takeover. Tonight it’s Back to Black at 11:30PM after openers The Point at 10PM and tomorrow it’s Indoor Creature opening up at 10PM followed by Allisen & The Wy’s Guys at 11:30PM for a single release show.

And the single in question is nothing short of awesome. Absolutely embodying the airtight modern flavors of Mark Ronson and Amy Winehouse, “Tell Me (Like A Man)” is yet another benchmark of Austin’s overall progression from the “boring blues” of decades past to the slick, seductive soulscape it is today.

Rett Smith: “Stop Signs”

For well-established acts, keeping faithful to the formulas that first made ’em famous is often the key to longevity. We’re talking AC/DC, legacy acts that dare not alienate longtime fans by trying to fix what ain’t broke. But the big difference between AC/DC back then versus now is how frequently they put out new material. Yeah, for up-and-comers cranking out at least one studio album a year, staying in just one lane ain’t exactly a great strategy.

Like check out Rett Smith, who flexes the nexus between Austin and Nashville. His post-covid discography alone (of one release per year starting in 2020) speaks to Rett’s relentless work ethic. So with that impressive volume of work already under his belt in such a short time, weighing in on the steady shift towards “shoegaze-icana” isn’t necessarily a threat to Rett’s brand at all. No, we welcome the move for its variety, innovation, and evasion of letting Rett’s style get stale.

Sandwiched right in between a free Waterloo Records in-store performance 5PM today and a headliner show 9PM this Saturday at The Mohawk alongside Travesura, tomorrow we receive Rett Smith’s fifth, A Weighted Remorse, in its entirety. And to help give the LP its official green light, “Stop Signs” (and yet another abstract Super 8 music video that evokes the psychedelic side of “Old Austin”) ought to halt any RS haters dead in their tracks. Revving through tremendous dynamic range in just over two minutes, “Stop Signs” is the hard rock equivalent of alternating a souped up muscle car between peeling out and slamming on the brakes while commuting from a love making session to a late night dive bar gig. So just make sure you’re at least attempting to obey traffic laws when blasting Rett’s latest in your car stereo.

Mozworth: “Postcard”

Since the days of Thoreau, we’ve often romanticized the idea of a creativity-spurring wilderness retreat. That’s especially true of Justin Vernon’s illness-evoked cabin sanctuary that ended up being the backbone of Bon Iver’s 2007 debut. But the product in mind doesn’t always have to be so strictly transcendentalist (or even acoustic for that matter) for an “escape to nature” to yield quality results.

Cut to: Logan, Iowa, the stomping grounds of avid skater and ’90s rock connoisseur Michael “Boz” Bosworth. It sure seemed like Logan was the end all, be all location for Bosworth as he settled into a day job and family life…until he split from the routine and trekked out to an isolated cabin in McLouth, Kansas for some extended songwriting sessions. Just as Boz kindled the cabin’s sole source of heat – a wood stove – so did he stoke the flames of his first proper songs with primitive recordings.

A couple summers back, Boz moved down here to Austin and instantly fell in with the thriving music scene. After revisiting those early demos and recruiting a few like-minded musician friends to help flesh ’em out, Bosworth’s finally to share the cabin’s bounty under a new mononym: Mozworth. Mozworth is an amalgamation of Boz’s core interests: the independence so closely associated with skate culture and angsty energy shared by so many pre-millennium rockers…albeit textured by the mature lyrical reflections that could only come from civilization-removed meditations.

And the first polished piece from those cabin correspondences, “Postcard”, arrived in our collective mailbox today. Packaging everything we love about ’90s indie-alt-rock into a four-minute envelope, “Postcard” proudly puts Mozworth’s stamp on these nostalgic sounds, less of a “wish you were here” and more of a “can’t wait to show you more” ahead of his upcoming debut album.

Kelly Finnigan: “Be Your Own Shelter”

We’re starting to sound like a broken record over here…but the retro soul renaissance? Not only is it verifiable; it just keeps getting better and better. And one of the movement’s biggest players is back at it again.

We’re talking about Kelly Finnigan, the chief songwriter and class act frontman of psychedelic soul giants Monophonics who’s also found plenty of success on the solo tip. When you hear Kelly sing, you might assume that his pipes are his strongest skillset outside of piano. But even when he’s not behind the mic or the ivories, Finnigan’s become a prized producer and engineer for other soul outfits thanks to his careful flirtations with pretty much anything you could categorize as “classic R&B-soul”, including a deep understanding of old school mixing. Seriously, it’s almost unnecessary to liken Kelly’s compositions and arrangements to specific artists, since his expansive discography offers so much ’60s-and-’70s-inspired variety.

And although we were anticipating the instrumental version of 2022’s Sage Motel for the next installment of Kelly Finnigan’s incredibly consistent release schedule, this year we’re getting something completely fresh: A Lover Was Born, out October 18th. Kelly hasn’t missed yet, and we’re not expecting him to on this near-dozen batch of new tunes. Because where some of the most creative beatmakers have breathed new life into dusty sounds through sample flips, Kelly once again internalizes and rejuvenates those R&B-soul rarities that exist within and enhance said genres.

Hear for yourself on the LP’s second lead single, “Be Your Own Shelter”, and try not to imagine Isaac Hayes and co. nodding their heads in approval.

Damascan Daydreams: “People” (prod. Oddmanrush)

Making memorable trip-hop’s not just a matter of slowing down breakbeats, and swapping out rap verses with some reggae-dub bass and exotic-sounding samples. No it’s a tricky tightrope that walks the thin line between sneaky and seductive, mellow and bangin’, and of course, hip-hop and psychedelia. And in our opinion, the tunes with women singers have shown a lot stronger of staying power.

In an ideal example of the “two heads are better than one” approach, dark dream pop singer-songwriter Damascan Daydreams recently teamed up with post-industrial multi-instrumentalist-producer Oddmanrush to create a sprawling, seventeen-minute exploration of that iconic ’90s style. Appropriately titled Archangel, these four originals capture that fall-from-grace vulnerability with a post-pearly gates perspective and ethereal-meets-sinister atmosphere.

In other words, it’s a awesome experience of flawed humanity best experienced front-to-back, or better yet, on-stage and in-person. So catch the pair performing later this fall on November 10th at Hotel Vegas and again on November 15th at DadaLab. And if you’re feeling a little gloomy going back into the workweek, let Archangel‘s sophomore song “People” put you in comparable, Portishead-esque spirits. A real achievement of minimalism, this downtempo trip-trop treat touts simple synth chord progressions, bare bones MIDI drum programming, and vocals that swerve between reverb-enriched and almost completely dry.

LARA’ Interview

Austin R&B singer LARA’ joins Confucius and Fresh in conversation on her new album Luvology and her upcoming tour with Rapsody. Then the fellas weigh why R&B isn’t as profitable as hip-hop and Meek Mill’s status as a top tier rapper.

BOO85: “Retrograde”

You’ve heard the excuse before. Ya know, somebody spaces on a date, forgets to turn in an assignment, or otherwise just kind of has a minor misstep. What do they say after shrugging? “Sorry, man. Mercury must’ve been in retrograde.”

Sure, scapegoating the cosmos for your own shortcomings isn’t the most mature thing…but neither is naming your band BOO85. After kicking things off last Spring with their streaming debut “Just Friends”, this Austin-based all-girl alt-pop-rock project’s still jigglin’, gigglin’, and making great tunes through 2024. And today BOO85 rounds out the summer by completing the pair that began with this February’s “Heart“.

Coincidentally falling on another astrological Friday after last week’s “Like a Sagittarian Archer”, “Retrograde” sets the horoscope for your weekend with a headliner performance 9PM this Sunday at Sahara Lounge after openers Alexi 8Bit and Jay Wanderer. And this latest original racks up another bouncy bop to BOO85’s already-busty brand with carefree sonics like viscous vocals, a breakbeat-adjacent drum pattern, top-gear guitar and bass work, infectious effects, and sanity-demanding lyrics.

Motenko: “Free Yourself”

Here at Song of the Day, we’ve observed a resurgence of classic-style soul in recent years, and reported plenty on it too. As a matter of fact, when Sir Woman’s Kelsey Wilson came by KUTX a couple months back, we had to ask the genre authority whether or not she’s picked up on a retro-soul renaissance. The verdict? A resounding “yes”.

So it totally checks out that one of Kelsey’s Wild Child chums, keyboardist-singer Micah Motenko, is savant of Motown mimicry himself. Well, we should say Micah and his namesake Austin-based quartet Motenko, who’ve been masterfully sourcing inspiration from soul’s golden era for nearly half a decade now. Between their eponymous debut early on in the pandemic and last November’s What You Want, Motenko’s scored some pretty respectable streaming numbers, a trend we expect to continue with yet another fall release – that of their third EP To Grow, out next month.

This extended play foray finds Motenko further embracing the magic of modern production: emphasizing digitally layered multi-instrumentalism on one track before stripping down to an intimate keyboard-vocal duet the next. But the one that takes the biggest advantage of Micah’s vintage variety is the embodiment of a beautiful exchange with his late mother, the EP’s lead single “Free Yourself”. Butter-smooth singing, sultry guitar chords, slick bass work, and air tight drumming make the verses enough to get you feeling emotional, and the addition of falsetto vocal harmonies, soaring orchestral swells, and well-placed pizzicato plucks propel “Free Yourself” to a wholly empowering experience without overstaying its welcome past three fleeting minutes.

And before hitting the road for a Wild Child tour a couple months from now, Motenko makes an appearance 10PM this Saturday at Far Out Lounge in between openers Égaux sells at 9PM and closers Uncle Roy & Spice at 11PM and again Thursday, September 19th at Antone’s alongside Toubab Krewe.

The Belle Sounds: “Oh Humanity”

For a lot of people, when you think of synth pop, you think “inorganic”. You think “artifice”. Which, to be fair, “synthesizer”, “synthetic”…we get it. But despite the constructed character of those modern mood makers, there’s plenty of potential for passion and authenticity in the synth pop sector.

So let’s get into the The Belle Sounds. This morning the five-piece indie-folk-rock family affair unfurled their fourth EP Oh Humanity – a six-song stretch of anthemic hooks, in-the-pocket vocal harmonies, and retro-inspired textures that tastefully recycle the best elements of ’80s pop. And if you want to rock out to the Blondie-esque bops in person, catch The Belle Sounds at a double release show 8PM this Saturday at 3Ten ACL Live alongside Ray Prim and Suzanna Choffel.

Still not sold on the heart of this synth pop art? Let the EP opener and title track “Oh Humanity” convince you of otherwise. Because despite its lyrically bleak outlook, its a brief, upbeat piece of pop perfection (anchored by riling arpeggios, killer chords, and pleasant pads) that’ll make for an banging addition to your retro pop playlist.

Sonny Gullage: “Go Be Free”

Blues is an almost stereotypical staple of the “old Austin” Sixth Street sound. But if you wanna break out of the city limits, let loose, feel unleashed and all that good stuff? Of all the notable places to split from the whole program and make the best of the blues, New Orleans always stands tall at the top of the shortlist. So it makes sense that rising NOLA blues rocker Sonny Gullage graced his recently-unfurled debut full-length with the title Go Be Free.

Gullage’s journey began way back as a precocious twelve-year-old writing heartfelt reflections on the BP oil spill. And that ability to translate a complex sense of understanding into readily accessible blues is alive and well a little over a dozen years later as Gullage finally hits streaming. Sure, Sonny leans on fellow twenty-five-year-old Clarksdale guitarist Christone “Kingfish” Ingram for one of the LP’s heavyweights “Worried About the Young”, but aside from that Go Be Free is a fervent, self-fueled endeavor.

The twelve-track (produced by Grammy nom Tom Hambridge) navigates a tightrope of consistency and eclecticism that makes for forty-plus minutes of exceptional blues rock. And like any good blues, Go Be Free also reckons universal suffering with everyday ebullience, as heard on the album’s eponym “Go Be Free”. It rocks. It riles. It’s as real as it gets. And we can’t wait to see what this keyboardist-singer has in store for us next.