soul

Schmiddy: “Nebula” (ft. Andyah)

Austin beatmaker Blake Schmidt has released a string of instrumental mixtapes under the moniker Schmiddy for the last three years, all the while working towards something more comprehensive. Schmiddy’s background in composing for short films in college for grades to composing hip-hop tracks for fun has led him to last Friday: the release of Schmiddy’s debut album Lightning In A Bottle. The album is not only a showcase of Schmiddy’s brand of beatmaking and production, but of his talent for sourcing and matching the right vocal talent for each track and creating something true to his background: cinematic.

“Nebula” features Nairobi-based artist Andyah as vocalist and co-writer. Her vocals are light but rich, working in tandem to the movement of Schmiddy’s groove. Think of a camera slowly panning down a bolt of layered red velvet with an intoxicating fire burning in the background. And it’s that right kind of spicy that makes you want to sensually slow dance, even if just to yourself in the mirror.

Sloppy Scales: “Sweet Baby Jesus”

After spending twelve straight hours in an international airport, I can authoritatively say that we could use a few more new Christmas originals to give all those timeless classics a much needed rest. Seriously. You can rework “Holly Jolly Christmas” into reggae, Western swing, or house, but it doesn’t change the fact that at some point in the repetition, those melodies cross the threshold from charming familiarity to mentally degrading.

And who better to help tip the scales than Sloppy Scales? Tomorrow the Atlanta-based satirist shares his debut full-length This Machine Mocks Fascists: The Sloppy Scales Songbook, a nine-tune collection that clowns the nation’s far-right. Through infusions of Latin, blues rock, and countrypolitan formulas (on top of the obvious Woody Guthrie folk influence both lyrically and sonically) this society-scathing LP is better suited for Arthur Fleck than for Paggliacci.

So if you need some satire to spike your Yuletide spirit and spruce up your seasonal playlist, brings gifts of gospel, calypso, and soul to the manger with “Sweet Baby Jesus” – a brassy, percussion-driven, and hook-heavy slice of vapid midcentury spirituality.

The Delines: “Left Hook Like Frazier”

You know what they say: you can take the woman out of Texas but you can never take Texas out of the woman. It’s a bit of a moot point, considering the Lone Star State sure ain’t a shining beacon of women’s rights, and that sets natives up to become ex-pats. Still, it’s a sentiment that rings true…especially in the world of music.

Like, look at singer-guitarist Amy Boone. Back at the turn of the millennium, Amy was a real boon to the Austin scene thanks to her work with The Damnations. These days though Amy’s up in Portland as frontwoman of retro country-soul quintet The Delines, sporting a twangy southern charm that’s inseparable from her vocal performances – and a perfect fit for the rhythm-and-songwriting team of prominent Richmond Fontaine veterans. But after a dozen years together and loads of lyrics that dwell on downfalls, The Delines are setting themselves up for a more optimistic outlook in 2025.

And that’s through their fifth full-length, Mr. Luck & Ms. Doom, dropping next Valentine’s Day. On top of the usual Americana-folk infusions found in their sound, Luck & Doom takes a noticeably upbeat and soulful approach to the protagonists of these eleven women-driven narratives – a welcome change of pace to those who are sick of getting punched down on. And speaking of punches, since the Tyson-Paul matchup was such a disappointment, we’re thankful for the contender that is Luck & Doom‘s lead single, “Left Hook Like Frazier”.

Good vibes from the first guitar chord all throughout its conga-and-tambourine pulse, heart-mending horns, and evocative vocals, “Left Hook Like Frazier” will easily leave a couple marks on your face. Not with a broken jaw or a disfigured ear, but with a smile and an earworm.

Isak Thomas and The Stoop Boys: “Miss Strut”

It’s T-minus 48 hours until prep for the big feast and other Thanksgiving festivities. And even though some always end up just getting some takeout, the Turkey Day hunger is munching on most Americans’ minds right about now. But if you’ve got your meal all planned out and are still in need of some soul food for your ears long after unfastening that belt, you’re in luck.

In other words, you can give thanks to Isak Thomas and The Stoop Boys – a healthy helping of handmade soul-funk from right here in Austin, seasoned with players from Nashville and L.A.. Despite their handle, The Stoop Boys are far from lower-tier, and they sure as hell don’t need to rely on busking to get by; since 2018 they’ve shown an insanely strong grip on grooves, reached the upper steps of Texas’ retro soul-funk scene, and cemented their status with a couple singles that’ve racked up streams in the multi-millions, not to mention an equally impressive cumulative metric.

So, through three EPs and the 2019 full-length Somewhere, Somehow, we’ve heard a lot from Isak Thomas and The Stoop Boys. But after doing the dang thang for more than half a decade now (and stepping up the production quality and songwriting formulas with each release), it’s not a bad idea for the band to re-introduce themselves, especially if you’re putting them in the same room as your folks for the first time.

Yes, after a five-single-streak that started in early September, Isak Thomas and co. drop The Stoop Boys this Friday. Now, the LP release show is already behind us, so if you’re stuck at home with the family or succumbing to couch lock, you don’t need to change your plans. On the other hand, if you need to get your metabolism back on track after all that stuffing and tryptophan, spinning The Stoop Boys straight through is a solid first step. Don’t believe us? Press play on The Stoop Boys‘ lead “Miss Strut” and see just how long you can stay still to this soft-spoken, super slick possessor that falls somewhere between Durand Jones & The Indications, Jungle, and “That Lady”-era Isley Brothers.

Muzeke: “New Man”

Like it or not, we are in the home stretch for 2024. So don’t be too surprised when you start hearing everyone talk about their lofty New Year’s resolutions in the coming weeks. But if you yourself need some extra solidarity to help turn a new leaf and hit the ground running in 2025, we’ve got just the thing for you.

We’re talking about Austin’s Muzeke – the La Fayette-born-and-boiled singer-songwriter (and former Uncommon People frontman) that’s full of R&B, soul, rap, and alternative flavors. Beginning on a couple of collaborations with MILD Inconveniencé and continuing with another two pairs of solo tracks across last year and 2024, Muzeke’s mashup of melodic vocal lines and confessional lyrics always makes for a smooth (albeit, often poignant) listen.

So, while Muzeke will most likely spend part of this Thanksgiving week showing his usual gratitude to music as an expressive platform (duh; it’s right there in the moniker), we may bear witness to a slightly altered, more matured person on Muzeke’s debut EP next Spring. How do we know? Well, last Friday Muzeke shared his second single of the year (and the lead off the EP), “New Man”. Chronicling a recent big shift and closing a chapter of past romances, “New Man” also marks the introduction of a more determined individual whose unafraid to get a little aggressive. Not to mention, this Caribbean-inspired instant cuffing season classic might be the hottest ménage à trois of riddim, sensual electric guitar, and vocal seduction this side of the holiday season.

Maggie Rose: “No One Gets Out Alive”

Itchin’ for a sentimental dish of Southern soul ahead of Thanksgiving? You’re in luck! We’ve got a member of Nashville country royalty gracing us with her presence in just a couple days.

Yes, we’re laying out a path of petals ahead of an upcoming appearance from Maggie Rose. It’s been a decade and a half since the Potomac-born singer-songwriter-guitarist first emerged as Maggie Durante and just shy of a dozen years since the debut LP that introduced her current handle. In that time, Rose has blossomed into one of Nashville’s finest, but her sound certainly isn’t restricted to country; Rose flourishes with pretty much any genre she touches, be it pop, R&B, funk, rock, folk, and beyond – a talent that’s earned her prominent placement on bills with Kelly Clarkson, Joan Jett, and Heart.

For her latest innovation (which has already scored a Grammy nomination for “Best Americana Album”), Maggie Rose commands a crossroad of soul and country, evoking the iconic ’70s-era Laurel Canyon sound on this April’s No One Gets Out Alive. In support of the LP, Maggie’s back on the road and touring these dozen new tunes across the US. So if you want to give Rose her flowers in person, stop by ACL Live at 3Ten 8PM this Friday to catch Maggie alongside opener India Ramey. And if you’re not familiar with the new record yet, go ahead and get started with the eponymous album opener. Because at a room-and-heart-filling five-and-a-half minutes that blooms with a wide dynamic range and an enormous orchestral arrangement, we’re betting “No One Gets Out Alive” from the full-length’s introduction without falling for what may be Maggie’s magnum opus.

Honey Made: “Pass Me By”

It’s finally starting to get chilly ’round these parts…at least at night. You know what that means: cuffing season is upon us. So if your slow jams playlist is starting to feel a bit stale, we’ve got great news for you.

Austin soul-funk nine-piece Honey Made just unfurled a sensual five-minute inferno – “Pass Me By”. Is it a departure from their historically uptempo sound? Undeniably. But does it also echo the hot-and-heavy energy of golden age quiet storm, not too far from Between the Sheets-era Isley Brothers? Absolutely.

Even if your evening plans don’t include staying in bed with your boo, you’re in luck too. Honey Made plays a free show 8PM tonight at Drinks Backyard. Either way, for those feeling like their world’s quickly spinning out of control, slow things down a notch or two on your way out of the workweek with this expertly crafted, violin spiced reminder to always love the one you’re with, something that’s sure to wrap you up like a warm, snug blanket throughout the upcoming winter.

Tish: “Burning Up”

We’re barely a week into October, everyone’s spooky season decorations are going up, excuses to miss Thanksgiving are already stewing…and we’ve still got highs in the 90s here in Texas. Autumn is a bit ablaze. Just goes to show you that life’s a…Tish?

At least, Tish is a big part of life for one particular group of Austinites. What started out as a sweetheart deal between Ethan Ames and Erin Thelen a half decade back has since rounded out into a four-piece thanks to the addition of AJ Audain and Tyler Rusin. Needless to say Tish has influences galore across their personnel’s varied backgrounds, but we’ll go ahead and put them somewhere around the intersection of indie rock and soul pop.

And this year Tish is finally ready to dish out their efforts onto streaming with the release of their debut studio album early next month, corresponding with an LP release show on November 3rd at Hole in the Wall that’ll be joined by Cash Grab and Foxglove. If you’re trying to stay as far away from ACL this weekend but still want to get out, check out Tish for a single release show 6PM tomorrow night at Knomad alongside openers Tiny Specks at 4PM and Ivy Mine at 5PM. And if you’d prefer to stay a slave to the precious A/C without ever stepping foot outside, go ahead and set your senses aflame with the record’s lead offering “Burning Up”. Evoking the nostalgia of that ’90s tightrope of grunge, alternative, and pop (complete with guitar distortion and unconventional vocal harmonies), “Burning Up” torches with airtight instrumentation, clever section segues, and overall just a ton of heart that leaves us eager to hear more.

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.

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.

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.

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.

Sir Woman: “Never Gonna Give Me Up”

Self love. Loss. Disco balls. You’ll feel the freeing energy of all three across two neat little packages later this year.

We’re talkin’ about Austin’s secret soul weapon, Sir Woman. This week Sir Woman broke the news about an upcoming twin release – two full-lengths set to drop this fall – If It All Works Out and If It Doesn’t. The gemini finds Sir Woman in top shape, and marks the first time Kelsey Wilson‘s facilitated some full-band co-writes, ultimately the closest experience to emulating their live shows we’ve received to date. Speaking of live shows, Sir Woman performs this yin-yang across two nights at The Parish on Saturday, July 20th and Sunday, July 21st. And if you really want to do your homework ahead of those shows, check out an extensive interview with Sir Woman’s Kelsey Wilson from yours truly.

But let’s get to this new stuff. While the Burt Bacharach-style, ’60s-swing arrangement of “Who You Gonna Love” perfectly captures the carefree essence of If It All Works Out, its counterpart “Never Gonna Give Me Up” tackles the realist-optimist attitude of If It Doesn’t. A luscious groove from its first snare fill all the way through its tambourine-conga outro, the track’s titular vocal refrain is so damn easy on the ears. And with in-the-pocket vocal harmonies, progressive-soul intersections of piano and organ, plus some tasty breakdowns, Sir Woman’s sense of soul reaches the summit of jazzy classiness, and selective rejection’s never sounded so sexy.

Foxglove: “Sunday Highs”

Craving some musical soul food for this weekend? Treating yourself to some Foxglove ought to be a good fit!

Since 2022 this Austin six-piece has scattered their musical remedies through fields of funk, soul, and R&B alongside forays into indie and hard rock. And as heard on last October’s Ephemeral Daydreams EP, Foxglove forgoes the generic formulas in favor of authentic, moving passion pieces.

They’ll be taking the stage as part of the Happen Twice Showcase 8PM tomorrow night at Güero’s Taco Bar, where their handful of recorded tunes will be joined by Foxglove’s latest newcomer: “Sunday Highs”. There are a lot of moving parts to this single; how it starts sure ain’t how it ends. But the complex song structure of “Sunday Highs” alone speaks volumes to Foxglove’s versatility, not to mention how well each member’s talents play off one another in this sprawling five-minute emotional journey.

deCasa: “INSTIGATOR”

Remember that expression “in the house” that was used to show enthusiasm about someone or something’s presence in close proximity? Yeah, you don’t really hear that one much anymore in the 2020s… But if you do want something that’s retro without sounding too dated, deCasa is sheer delight.

Since 2019, deCasa’s Ricky Santiago-Cruz has incorporated his Puerto Rican upbringing into this Austin solo project with effusive flavors of funk, soul, hip-hop, and reggae for a breezy, inner-city-meets-remote-island vibe. On top of that, this Caribbean Cowboy’s the head honcho of his very own label, the emerging Rock Bottom Cartel. And with the added experience of playing alongside KUTX favorites Mobley and The Bright Light Social Hour, Santiago-Cruz has mastered the art of moving the crowd as deCasa.

Speaking of which, ahead of an open invite free house party on Saturday, July 20th (DM Ricky on Instagram for all the deets), last week deCasa rolled out a soulful, synth-y piece of daytime disco. So if you wanna start shit on the dance floor without breaking too much of a sweat, “INSTIGATOR” is short, sweet, and begging for rhythmic feet with a relaxed uptempo energy that doesn’t sacrifice the accessibility of its slick, Jamiroquai-esque grooves.

Grandma Mousey: “When I’m Not There”

Ever since we first caught sight of them in 2022, we’ve continued to make room for Grandma Mousey in our wheelhouse, even after their initial nest expanded from three members to five. Yeah, Granny M’s grown on us so much over the past couple of years, that we don’t mind ratting on their talent again at all.

Because between endeavorous concert stage props, Apollo program-era influences spanning from psych and classic rock to jazz, a humble refusal to take themselves too seriously, and an ongoing obsession with grasshoppers in their song titles (see the previous point), this Austin indie rock lab experiment feels like an anthropomorphic version of Fe, Fi, Fo, Fum, and Phooey, spacey tastes included. And coming off their third studio installment Couch Surfing from last October, they’ve stirred local show rodents into a modest following…at least enough to keep the Orkin man from shuttin’ ’em down.

Now, a half decade out of their hole, Grandma Mousey’s stickin’ their not-so-elderly indie rock whiskers into something that’s a little less Mothers of Inventions and a little more your grandma’s speed – Motown-inspired modern rock. And that’s on behalf of “When I’m Not There”, the lead single from Grandma Mousey’s upcoming EP Slime Community – out this Summer. Where Vanilla Fudge famously put a decelerated, painfully melodramatic twist on The Supremes, Grandma Mousey maintains the powerhouse harmonies, infectious hand claps, upbeat tempo, and major chord progressions of soul’s golden era, albeit into strange places of softly sweet, paradisal psychedelia thanks to some choice synth swells, liquid bass lines, and far out lead guitar.

In terms of Grandma Mousey’s gig next Friday at Anderson Mill Pub? We hope you’ll be there. To Grandmother’s mouse we go!

Stephanie Rodd: “Stronger Than Ever”

For us uncultured Americans, we tend to invent a caricature when we hear about a “French songstress”. Yes, we let our assumptions automatically paint a picture of a smoky nightclub against a traumatic war torn backdrop, a slender figure in haute couture wardrobe, cigarette in one hand, microphone in the other, and lyrics toutes en français. The reality, of course, is much more of a mixed bag; I mean c’mon…we’re talking about a massive nation with a century-plus of cross cultural influences here.

Enter: Stephanie Rodd. The Parisian-Londoner up-and-comer pardons herself past the stereotypical chanson midcentury chic of Edith Piaf or Juliette Gréco and instead slides towards the more contemporary energy of acts like Adele, Estelle, and the late Amy Winehouse. Based on what little we’ve heard so far, there’s no doubt that Rodd’s time in England has helped her find the right R&B-soul-pop soundscapes for her singing style that’s reminiscent of Jorja Smith.

And in 2024, as part of a rapid trajectory, Stephanie Rodd’s shooting for the moon with the release of her debut EP next month. Following her mid-February introduction “Worth It”, Rodd’s sophomore single “Stronger Than Ever” finds Stephanie sounding…well…just like the song title. It’s an intriguing, minimalist arrangement filled with passionate chord pads, seductive synth squeaks, carnal guitar, trap-type drums, and soul-warming subs – all anchoring a bold vocal mix of triplet rhythms and unconventional melodies.

The Reverend Shawn Amos: “It’s All Gonna Change (For the Better)”

Search “reverend” on any streaming platform and you’ll see just how many clergy folk make the most out of their musical passion – and not just in the world of gospel. You’ve got Al Green, Gary Davis, hell we’ll even throw Horton Heat in there. Here in Austin? We don’t get on our knees and pray, because The Reverend Shawn Amos makes us want to get on the dance floor and slay.

Born in the Big Apple to a nightclub singer and a talent agent turned cookie mogul, Amos has been releasing records for nearly three decades – and as “The Reverend” for ten years now. Throughout, his sonic proselytizing through blues, soul, and roots has converted casual listeners into hardcore fans, made clear by Amos’ collective millions of streams. And following the release of last October’s “Revelation” and February’s “Back to the Beginning”, the good Reverend is getting settled into his next set of sermons.

That’s right, the anticipation for Soul Brother No. 1 (out May 3rd) has been building up for months now. The album stacks ten tracks – nine originals and a Sly Stone cover – which we only mention because the LP’s latest, “It’s All Gonna Change (For the Better)” boasts major Family Stone energy, wailing organ, wah guitar, brazen vocals, optimistic outlook and all. To best soak up this groove, we recommend checking out its succulent music video, one that captures that earthly essence of fluid transformation in a really fascinating and satisfying way.

Nakia: “Thrill-O-Matic”

If you’re already planning out your weekend and want to offset the Sunday scaries with some fresh visuals, consider checking out a three-act bill that coincides with a music video premiere.

The ringleader behind the affair is Nakia, the mononymous grifter of Austin’s vibrant blues scene. With only two records to his name at the time, Nakia started off the 2010s strong as a semi-finalist on The Voice‘s inaugural season. That’s absolutely an accolade worth bragging about, but nothing compares with new content, right? Well, keeping pace with his already-robust post-pandemic output, Nakia’s got some new optics he’s about to drop under the spotlight.

This Sunday Nakia commemorates the music video release for last October’s “Thrill-O-Matic”, a tune that was actually penned right after The Voice‘s finale, demo files long lost to the aether before a recent recovery made it a reality. Doors are at 7PM, Junerise kicks it off at 7:15, Nakia does his thing at 8:15 (your only opportunity to see “Thrill-O-Matic” before it hits the internet on Monday morning) and our June 2023 Artist of the Month Pelvis Wrestley wraps it up a quarter past 9. Until then, vanquish any Tuesday blues with the soul-rockin’, Abbey Road-mastered, Dolby Atmos-mixed mechanics of this Nathaniel Rateliff-esque original.

Kev Bev: “History Books”

It doesn’t matter whether or not lyrics are written before or after the instrumentation; there’s always room to build contrast between subject matter and sonic character. Like for each individual genuinely troubled by the texts of “Pumped Up Kicks” or “Semi-Charmed Life”, there’s a multitude more who just love what they’re hearing without second guessing the words or inspiration. Which proves you can appeal to the masses based on a great groove alone – without having to sacrifice any lyrical integrity.

That just about tees us up for the new one from Kev Bev. For more than a decade now, multi-instrumentalist/singer-songwriter Kevin Collins has helmed this eponymous Austin thirteen-piece, formerly known as Kev Bev and The Woodland Creatures. This hefty ensemble is about as festive as it gets, thanks to the bevy’s proclivity towards dance, loyalty to the jam (sans genre constraints), and especially their collective grasp of historical musicology.

But Kev Bev’s knowledge of history isn’t limited to sound alone. In fact, they’ve just reflected on the heavy lessons from a poignant chapter in our nation’s past: that of the 1921 Tulsa Race Massacre. And this where the power of positivity comes into play. “History Books“ (the lead single and title track off KB’s next LP) confronts some tough stuff for sure, but balances the abysmal with killer brass, incredible rhythms, slick transitions, and easily accessible choreography, even if you’re in the library. The movement-inducing music video arrived just in time for International Women’s Day, not to mention a pop-up performance 5:45PM this Saturday at Austin City Hall for the Falasteen Street Museum and a record release show 8PM next Friday at ABGB alongside Bali Yaaah. So credit to Kev Bev, ’cause edutainment is rarely this infectious.