The Heavy Heavy introduced themselves with an explosion of noise. The instrumental track “Parakeets” immediately captured the audience in their full-bodied rock sound. With the crowd already up and dancing, the band catapulted into “Man of the Hills” – my personal favorite from their new EP “Life and Life Only”. The track showcased the undeniable strength of the band’s rhythm section. The Heavy Heavy rocked the audience with their reverberating bass line and full drums. Singer Georgie Fuller took lead on vocals, shaking the rafters with her effortless belting. The group’s sound and balance were outstanding already, and they only seemed to get stronger as the set continued.

For the rest of the show, The Heavy Heavy alternated between original tracks and creative covers. The covers won hearts with their familiar tunes, but each song was decorated in something distinctly Heavy Heavy-esc. It’s almost wrong to refer to them as covers at all; they existed more along the lines of reinventions. The band tackled “Gold Dust Woman” by Fleetwood Mac, a daunting track to remake, with unwavering confidence. Each musician contributed to their vision of the song instead of meticulously recreating the pre-existing tape.

But the stand-out parts of the show came from the original selections. The Heavy Heavy’s EP boasts a variety of styles and sounds, displaying the variability of each musician on stage. “Go Down River” shrouded the space in a dreamy, summer haze – a perfect homage to our warming weather.

The folk vibes continued into “Why Don’t You Call?”, a faster paced song that showcased the band’s skill. The instrumentals fit together like puzzle pieces as the rhythm bounced across the stage from member to member, never once falling in the complex arrangement. “All My Dreams” delivered on the psychedelic influence, introducing a reverberating, hypnotizing sound. The featured guitar melody filled the space, swirling up and around the dancing audience. The trance seemed to spread on stage as well, with every member rocking to the same beat. As the harmonies took flight, the whole space became magic.

To have a full, five-member ensemble who are just so unbelievably solid in their techniques is a rare treat in today’s music scene, and The Heavy Heavy takes full advantage of it. Their full sound gives flare to their quiet moments as well as in their rafter-shaking ones. Each instrument contributes to a balanced, complex sound that would be impossible without the group’s size.

There’s often an unfair ultimatum put on up and coming rock bands today like The Heavy Heavy. Embracing the sound they love could mean being written off as copy-cats or a doomed thing of the past. Pushing themselves too far in a “new” direction could mean losing the beloved genre’s authenticity and soul. But The Heavy Heavy seems to be ignoring that pressure all together. On Saturday I saw a band who knew who they were. They were halfway across the world from home, stranded in the middle of Iowa of all god-forsaken places, and they still played with as much ease, joy, and talent as you can hope to see in a band. Their sound and passion are thrilling to witness. I hope that this first EP will be the start of a long and beautiful career.

I got a chance to speak with a few members of the band after the show, gathering a few comments on the night’s performance and their ongoing “Life and Life Only” US tour. The band seemed just as pleased with the night’s energy, saying they were pleasantly surprised by the audience’s dancing and singing within the sit-down venue. They’ve had similar warm receptions across the US so far, playing to a diverse set of venues, audiences, and climates. With more successful shows on the horizon, it seemed natural to ask if a second album was underway.

“Oh, it’s definitely in the works, we’re just slow cooking it right now,” remarked lead singer and guitarist Will Turner. “It’ll taste better that way!”

Singer Georgie Fuller added that their second release could be expected some time next year. With the exciting thought of new music, and a possible tour returning to the midwest, be sure to listen to “Life and Life Only” and be on the lookout for more Heavy Heavy news.

The post The Heavy Heavy: Mission Creek Festival 2023 appeared first on KRUI Radio.

This five-person ensemble takes full advantage of their size. They successfully create the big-band sound achieved by iconic groups such as Fleetwood Mac and The Mamas & the Papas. Will Turner and Georgie Fuller lead the band on vocals, but the full power of the group’s four-part harmonies turn their tracks from a listening experience to a spiritual one.

Their first album was released last year with an extended version being added to Spotify just last month. “Life and Life Only (Expanded Edition)” introduces some live versions of their songs, capturing this outstanding group in their raw element. The new release also contains a few covers, including Father John Misty’s “Real Love Baby”, which boasts the band’s full sound and soulful capabilities.

The Heavy Heavy will be performing at 5:30pm Saturday evening at Big Grove Brewery. On the last night of Mission Creek, The Heavy Heavy is sure to send us home with warmer hearts and renewed hope for sunny weather. Check out their discography below and stop by for their set this weekend!

The post Mission Creek Preview: The Heavy Heavy appeared first on KRUI Radio.

His first show certainly sounds like an idol’s iconic origin story, but it didn’t look that way to Hendrix at the time. Mid-act, the band let Hendrix go for “too much showing off.” In many ways, this failed gig foretold the continuously rocky start to his live music career. 

Hendrix identified music as his path early on, using it as a sanctuary from his stormy home life and a place of revelation for his creative spirit. At 16, Hendrix’s father bought him his first guitar, a right-handed acoustic that Hendrix taught himself to play upside down. His longstanding love for blues and rock quickly grew into a desire to create his own sound. Hendrix dropped out of high school to pursue music full time. But despite his passion and talent, Hendrix struggled to break into the music scene. He worked odd jobs to support himself while searching for opportunities.  

In 1961, Hendrix ended up enlisting in the U.S. army, training as a paratrooper at Ford Ord in California. While in training, Hendrix put together a band called The King Casuals, keeping his musicianship in practice even during bootcamp. But The King Casuals only lasted a year; the army honorably discharged Hendrix in ‘62 after an injury. After leaving the army, Hendrix was still only booking as a session musician, playing backup for performers such as Little Richard, B.B. King, and Sam Cooke under the name Jimmy James. But in 1966, Hendrix signed a management contract with Animals bassist Chas Chandler, who took him to London. There, Hendrix was introduced to bassist Noel Redding and drummer Mitch Mitchell, forming the Jimi Hendrix Experience band. 

And that’s when Jimi takes off.  

Hendrix becomes a guitar legend – earning admiration from fellow icons such as the Beatles, the Rolling Stones, and Eric Clapton. He released three albums in two years, each soaring to the top of the charts. He played the most iconic festivals of the decade – both Monterey Pop and Woodstock – and led the psychedelic rock wave. Crowds screamed for his experimental sound and awe-inspiring tricks – including playing his guitar with his mouth and behind his head. And, famously, he sets his guitar on fire! Hendrix was on top of the world, leaving his rainy hometown of Seattle and synagogue basements behind. 

But as fast as Hendrix was to ignite, his flame was put out even faster. Hendrix passed away in September of 1970 at the age of 27. Gone too soon can’t even begin to describe the loss his death represents. The world lost an incomparable artistic talent, but Hendrix lost the chance to grow old, to embark on new adventures, to explore all the highs and lows life can give past the age of 30. Jimi Hendrix is an icon of rock and roll, the face of an entire decade of music, but it can never be forgotten just how much of his true legacy, his own breath and joy, was stolen. 

Looking back on his life and career, it’s difficult to say how instrumental Hendrix’s first performance was in making him the musician he became. Perhaps it put a chip on his shoulder, a confirmation that he had something special, even if the synagogue basement crowd couldn’t see it. Perhaps the experience haunted Hendrix in his early years, no matter how much he tried to move on.  

Hendrix, when reflecting on being fired from his first gig years later, simply remarked: “I was trying to play from the soul, and the other band members thought I was showing off.” So maybe that was all it was, Hendrix bearing his soul to the wrong crowd. Now, it’s easy to see that his soul belonged on only one stage – the eternal one.  

The post This Week in Music History: The Beginning of a Legend appeared first on KRUI Radio.

The issue featured John Lennon on the cover, dressed in uniform for his role in the film “How I Won the War.” The lead article covered the Monterey Pop Festival. Copies of the bi-weekly magazine originally cost 25 cents, equal to $2.22 today.

Rolling Stone was founded by Jann Wenner and Ralph Gleason. The first print included a message from Wenner explaining the title and mission of the magazine. “You’re probably wondering what we’re trying to do. It’s hard to say: sort of a magazine and sort of a newspaper,” Wenner wrote.

The message continued, “The name of it is Rolling Stone which comes from an old saying, ‘A rolling stone gathers no moss.’ Muddy Waters used the name for a song he wrote. The Rolling Stones took their name from Muddy’s song. ‘Like a Rolling Stone’ was the title of Bob Dylan’s first rock and roll record.”

“We have begun a new publication reflecting what we see are the changes in rock and roll and the changes related to rock and roll,” Wenner wrote.

Rolling Stone gained a strong following for its combination of “street” and professional journalism. Their initial focus on the rock world quickly broadened into more diverse topics. Wenner wrote that the magazine “is not just about the music, but about the things and attitudes that music embraces.”

Iconic releases such as “Fear and Loathing in Las Vegas” by Hunter Thompson in 1971 further defined Rolling Stone as a politically involved organization and a voice for the student population. Today, Rolling Stone’s interconnection with the entertainment industry is undeniable. A spot on the cover and a featured article are major landmarks in any celebrities career.

Rolling Stone is an institution of the upmost influence in the entertainment world and has changed in countless ways since its first issue. The magazine is a great example of a publication maintaining their relevancy despite changing political and social landscapes. Congratulations to Rolling Stone on 55 years of news, politics, and loving music.

The post This Week in Music History: 55 Years of Rolling Stone appeared first on KRUI Radio.

If I had to choose one word to describe this performance, it would be raw. At all stages in the show, you could feel the vulnerability, the power of these dancers. The performers presented their hearts and minds in a web of art forms – interlocking movement, comedy, poetry, and music. Their roles as performers, but also their individual identities, were never hidden from us.

As audience members trickled into the Englert, handpicking their seats on the floor, we watched the dancers stretch and warm up. Their bodies bent and contorted in impressive ways, but not in a boastful way. It was a glimpse into the world of dance and the community built between performers. They rehearsed moves and conversed with each other, occasionally waving to the audience as they spotted a familiar face. Immediately, the audience was immersed along side them on their stage – no boundaries or exclusivity.

The show was divided into three acts, all directed and choreographed by Jennifer Kayle, associate professor at the University of Iowa. Kayle also co-directs the university’s MFA program. The three acts were titled “Nocturne for Sleepwalkers,” “Turns at the Intersection,” and “Another Stage of Staging Ourselves.”

When the first act began, you could feel the dancers shift into focus. The performers delivered their moves with unmatched liveliness. The audience laughed and grinned as the performers tossed pillows back and forth – a visual expression of the energy exchanged between them. They delivered comedy exclusively through motion, calling Charlie Chaplin to mind.

The second act, “Turns at the Intersection,” maintained the first act’s palpable energy, but expanded its influence beyond choreography. The back curtain of the Englert’s stage lifted to reveal two sound technicians who worked in tandem with the dancers to create an improvised performance. The hypnotic, pulsing soundtrack intermingled with the dancers’ intermittent narrations. Taking turns at the mic, some performers briefly detailed their experiences. Others ventured into the audience, asking for our experiences to narrate the movements unfolding onstage. The musicians then remixed and echoed these sound bites, creating a surreal atmosphere of total truth.

The experience was severe in its simultaneous approachability and intimidating rawness. The act concluded with two duets, inspired by weightlessness, which we had just seen be developed, reworked, and finalized. These overlapping art forms captured the human experience in a stunning and inspiring way. I have so much respect for the creativity, vulnerability, and genius of these artists.

Brady Van Patten and Zachary Bird performed the third and final act. The duo once again immersed the audience in their creative process by combining choreography and dialogue. The pair effortlessly transitioned from comedy to vulnerability, raw movement to narration. You could never guess their next step. Each phase revealed a new truth about the performance and the performers.

Brady and Zach boldly retold the intricacies of queer identities and relationships. They tore open the pushes and pulls of life – the forces that act on all of us but seem so personal. The performance capitalized on the anticipated intensity and the liberation of honesty.

All three acts of this performance completely blew me away. Its intentional mystery left the interpretation of this piece to the audience. Every moment infused centering and reflection. The performers silenced our minds and awakened our hearts, forcing us to acknowledge how unique this night was, that there would only be one performance like this. “Another Stage of Staging Ourselves” perfectly encapsulated the humanity of movement and art.

The post Witching Hour Review: Another Stage of Staging Ourselves appeared first on KRUI Radio.

“Another Stage of Staging Ourselves” is a dance performance directed by the University of Iowa’s very own Jennifer Kayle – associate professor and co-director of the MFA program. Kayle’s dancing is known for its “muscular presence” (Dance Source Houston) and her past works have been praised for their “distinct…affecting scenes” (Hampshire Gazette, MA). According to her website, Kayle’s works aim to combine “both personal and political lenses to engage choreography as ‘public art.'”

The University of Iowa’s Dance website describes this program as “Three music and dance tragicomedies, a multi-gender-race-age ensemble, some complicated queer relationships, spontaneous dances, sleepless fits, and badass moves.“

The program will feature Brady Van Patten – an undergraduate and current MFA candidate at the University of Iowa. Van Patten has worked with Kayle previously on several projects, including the Harvest Chicago Contemporary Dance Festival, where he performed with Kayle + Company. Since then, Van Patten has moved to Chicago and worked with groups such as 500 Clown and the Neo-Futurists.

“Another Stage of Staging Ourselves” is a part of the Englert’s Witching Hour festival. The program will take place at 7:30 p.m., Oct. 29 at the Englert Theatre. Tickets are available for purchase on the Englert’s website.

The post Witching Hour Preview: Another Stage of Staging Ourselves appeared first on KRUI Radio.

Since her debut album “Queen Of The Clouds” in 2014, Tove Lo has been making space in the music industry for the true female experience – never shying away from divulging her own experiences with sex, drugs, and heartbreak to tell the story. Classic songs from her discography such as “Talking Body,” “Habits (Stay High),” and “disco tits” proved to the world that this Swedish grunge-pop artist could light up a dance floor. Now, “Dirt Femme” explores a new story.

Fueled by Tove Lo’s own journey with her femininity, this album brings to light the usual taboo thoughts and feelings that come with womanhood. “True Romance,” my personal favorite, lives within that fine line between love and obsession. Explosive vocals showcase her powerful emotions and her range as a singer. The simple background synths are borderline hypnotic and the lyrics completely submerge the listener in the story of a feminine urge to sacrifice everything for love. The track is a departure from Tove Lo’s popular club sound but shows off the most creative lyricism of the album.

Tracks “Suburbia” and “Grapefruit” blatantly critique expectations of femininity and, while their messages are important, they lack depth. The immense pressure to have children that “Suburbia” attempts to describe is portrayed without weight.

The crushing beauty standards and painful eating disorders discussed in “Grapefruit” come off as meek complaints rather than resounding disagreements. The peppy instrumentals clash with lyrics that, while certainly clear and direct, lack any resolution. They are no doubt personal testaments to these issues but ultimately feel underdeveloped. If you’re going to talk about it, shout about it.

For those wanting Tove Lo’s signature sexy-cyber-dance sound, this artist is still delivering. Tracks “2 Die 4,” “Call on Me (with SG Lewis),” and “Pineapple Slice (with SG Lewis)” keep it playful lyrically while the underlying instrumentals and beat drops make them the perfect club soundtrack. These songs embrace the fun, sexual, and empowering sides of femininity and Tove Lo doesn’t apologize for it.

Tracks “Cute & Cruel (feat. First Aid Kit)” and “Attention Whore (feat. Channel Tres)” explore new combinations of vocals and rhythms that set them apart from other up-beat songs on the album. The featured artists are successful additions to the sound rather than distractions, something many features fail to do.

“How Long” is unimpressive despite its spot on the “Euphoria” soundtrack and its place as the album’s closer. Previous two tracks “I’m to Blame” and “Kick In The Head” also disappoint in their lack of lyrical energy, leaving a confusing and open-ended album closing. Maybe it’s symbolic in some hidden way? Whatever the case, the album loses its narrative in unoriginal sound.

“Dirt Femme” is a disorienting whirlwind, but if that’s not a reflection of the female experience, what is? The album deserves at least one listen and some tracks, such as “True Romance” and “Call on Me” have earned their places at the top of Tove Lo’s discography. However, the inconsistent lyrical personality and uncomfortable pacing drag the album down as a whole. Tove Lo expressed herself in new, bold ways but her inability to commit to that sound sabotaged most of these tracks.

The post “Dirt Femme:” Tove Lo’s feminine revolution appeared first on KRUI Radio.