FRIDAY

You could feel the energy from zip codes away. Although the music didn’t start until Friday afternoon, the camping portion of this festival opened its gates on Thursday to a rested and energetic group. This year was about a 50/50 split of Iowans and travelers, providing a wide range fans eager to see this incredible lineup.

Friday kicked off with one of my personal favorite bands from the weekend, Scowl, coming off of their second album Are We All Angels with an absolutely electric set. An incredible band and great group of people, I had the chance to interview the band after their set and talk about everything from their opening sets with Blink-182 this fall to what was left on the cutting-room floor from their recording sessions. Stay tuned to Downey’s Hour, Monday Nights 9-11pm, for the interview!  

A monumental task following Scowl, INJI and Good Neighbours had the bar set high. INJI took the crowd in and made them dance, a very joyful set to watch. The energy from her was magnetic and the good vibes continued with the Australian group Good Neighbours. You can’t go wrong with indie rock in the summer, and they brought with them tracks off their upcoming debut LP, Blue Sky Mentality.

Rebecca Black took the stage next, demanding the crowd’s attention and movement. There were very few moments in which her commands were not being followed by the pit. Black covered Katy Perry’s “Ur So Gay,” as she has been opening for Perry’s arena tour all summer. Her set included an interpolation of her hit “Friday” and a track off her brand new record, Sugar Water Cyanide. This wasn’t the only sighting of Rebecca Black as she held a booming DJ set at the campfire stage later that night.

Royal Otis came up next with more upbeat indie rock, taking on covers of the Cranberries’ “Linger” and Sophie Ellis Bextor’s “Murder on the Dancefloor.” Royal Otis knew how to work a festival crowd and enjoyed every second of it. Right after the duo was Remi Wolf, one of the hottest new names on the festival circuit this year. With her incredible live band, including poet and member of Paramore and Vampire Weekend Brian Roberts Jones, it was a nonstop party.

Following Remi Wolf was the sub headliner, Clairo, who waltzed on stage with her band, all holding wine glasses, setting the tone for the relaxed and elevated evening of music she was about to provide for us. With headphones on and an amazing record to showcase, Clairo played a 14-song set, with half of the tracks coming from her third LP, Charm. I adored this set for many reasons, but a huge one was all of the analog instruments being used on stage. A wide range of winds, horns, and synths were all included in this set. A favorite part was multi-instrumentalist Hailey Niswanger setting St. Charles on fire with a saxophone solo that could have woken up a sick toddler on Benadryl who just spent all day in the sun at Disneyland. The band all exited the stage in the same leisurely fashion they had entered, but with the confidence of knowing they had just made thousands of new fans.

Ending Friday night on the main stage was Tyler, The Creator. Coming off his brand-new record Don’t Tap the Glass, anticipation was high for the first hip hop headliner in Hinterland history. A bright green shipping container was flipped from the back of the stage to show the word Chromokopia (the album Tyler has been touring) until stagehands unrolled a big red banner with the most recent record’s title draped over it. Asking the crowd, “Des Moines what’s good,” Tyler made his way on top of the shipping container, where he would spend the next 75 minutes putting on an unforgettable show and complimenting, “I don’t even know where I am on the map, but your town is beautiful.” Opening his set with the first two tracks off Don’t Tap the Glass before jumping straight into almost the entirety of side one of Chromokopia. With a career-spanning set with songs from all but one of his records, Tyler left everything out on the stage. He spoke highly of the energy we brought, mentioning how taxing this tour has been but how crowds like Hinterland make it all worth it. Tyler hustled from Lollapalooza to St. Charles, then right back on a plane to Montreal the next night for Osheaga. Hinterland got the best set of the weekend with four more songs than either fest. An incredible day with a jaw-dropping headliner, Hinterland blasted itself forward on the strongest foot possible.

SATURDAY

Hinterland’s undercard continued to impress with hey, nothing running onto the stage to start the day with the energy of a headliner. They’ll be returning to Des Moines opening for Cage the Elephant in October. I walked into Saturday knowing the least out of the three days, but walked away with so many new songs to add to my playlist. Willow Avalon was a pleasant surprise as she might have been my favorite of the day. During a quick seven songs, including an unreleased track called “Work To Do,” the crowd was swept up on the wave of her soft voice and set lightly back down with the feeling of a lullaby in our hearts.

Hinterland each year seems to book artists who blow up from the time of the lineup announcement to the festival, and this year that included both Gigi Perez and Role Model. I hadn’t been a listener to either before this year, but the excitement around both of these artists led to can’t miss sets. Gigi Perez hitting half of the songs off of her breakout record At the Beach, In Every Life to a loud crowd shouting back words of every song. Role Model also held the crowd in his hand for his big hit “Sally,” where he brought out lead singer of The Marías, María Zardoya. Sandwiched in between Perez and Role Model was another one of the hottest new groups, Glass Beams. Taking the stage masked and with instruments in hand, their type of music was yet to be heard ever before at Hinterland. The trio grooved along with an interesting and new fusion of alt and psychedelic rock mixed with traditional Indian music.

Still Woozy brought some fun set pieces and interesting visuals drawing in attention from the whole hill. It was a fun and fresh vibe Sven Eric Gamsky and company created for their time, getting folks up to dance and sing to their infectious tracks. After Still Woozy, The Marías took the stage to thunderous applause and rightfully so. The Marías showed Hinterland why they’re one of the hottest groups on the festival scene by playing so many songs it felt like a headlining set. I love a band who brings their set pieces to a festival and The Marías were bouncing around theirs for a full hour.

At the end of the night, turf was spread and shrubbery was placed as Kacey Musgraves‘ festival run of her Deeper Well tour hit St Charles. To a colorful and lush backdrop, Musgraves came out sporting butterfly wings, jet black hair, and a tobacco-burst Gibson acoustic. Hitting four tracks off of her brand new record, seven off of her Grammy Award-winning Golden Hour, and a scattering of her earlier works, Musgraves’ 17 songs felt like a story time of who she was, is, and wants to be. An incredibly moving set anchored by her six-piece backing band. A lovely send-off for the night into our final day on the festival grounds.

SUNDAY

Sunday began with Detroit-based rapper Sam Austins, who took the stage to a fairly full festival grounds thanks to the thousands of campers for headliner Lana Del Rey. Austins brought the crowd even closer to the stage, getting legs tired from dancing as the day was just beginning. Irish rocker Orla Gartland followed with a quick set of tracks off of her new record Everybody Needs A Hero, and a cover of Chappell Roan’s “Red Wine Supernova.” The energetic trio made this stop on their way out west opening up for Glass Animals.

Wyatt Flores and Evan Honer both played great sets earlier on in the day, with Wyatt coming out to sing their duet “Take Me As I Come” and Honer joining Flores for a cover of The Fray’s “How To Save A Life” during his set. Flores played another cover, Sturgill Simpsons “You Can Have the Crown,” where he attempted the nearly impossible task of making a Sturgill Simpson song feel like his own, and succeeded at that challenge. They both hustled up to Des Moines after their set to play another show at the Val Air Ballroom that night, but it didn’t stop them from making memorable sets while they were in St. Charles. Michael Marcagi was sandwiched in between and was a great artist to transition in between these two collaborators. With a fun and upbeat set, holding its own emotional moments, Marcagi made time for it all including an acoustic cover of Olivia Rodrigo’s “deja vu.”

Sierra Ferrell continued to move her way into my playlists with an incredible set, kicked off by her band singing “Happy Birthday” to her in front of a sold-out Hinterland crowd. She opened with a fiddle in her hands, singing “I Could Drive You Crazy” off of her most recent record Trail Of Flowers. Between the finger picking and fiddling, Sierra Ferrell makes every audience not only a fan of her work, but a fan of this old-time country folk genre. She’s joined the likes of Billy Strings, Jesse Welles, and Zach Bryan in collaborations in just the past few years, and rightfully so, as Ferrell has launched into becoming one of the faces of the genre. During her set, eyes were taken off of her and directed towards the sky as three hot air balloons floated over the festival grounds. Exchanging waves from the atmosphere and the ground, it was one of those beautiful moments you could only find at Hinterland.

The set I was most excited for this weekend did not disappoint. Bleachers put on a Bleachers show in true Bleachers fashion. The stage: slathered in checkerboard print; the backdrop: all black with sheets draping over Lana’s towering set; guitars: tossed across the stage like baseballs. Without logos, visuals, or much beyond instruments and his voice, Jack Antonoff and company prove once again they are one of the greatest live acts in the world. Kicking off their set with three tracks off of their 2024 self titled LP, Bleachers delved head first into longtime fan favorites after including a cover of “The Whole of the Moon” by the Waterboys which they recorded on their 2023 record Live At Radio City Music Hall. Antonoff called for people to hop on each other’s shoulders during their first single, “Rollercoaster,” to which many in the pit obliged. Before their final track, “Stop Making This Hurt,” Jack recalled watching an old Smashing Pumpkins concert on his way to Iowa and mentioned how nobody crowd surfs anymore. I will admit, crowd surfing at Hinterland was not on my agenda walking into the weekend, but when an opportunity like that presents itself, it’s impossible to turn down. GA and VIP alike, people were being ushered in the sky up to the barricade as Evan Smith and Zem Audu traded 8’s on their saxophones as the band took their bows and danced offstage. Rock and roll is alive and well, and to any doubters, point them in the direction of a Bleachers show.

Lana Del Rey took the stage at about 10:30, later than when some festivals wrap up, which is one of the huge perks of having a festival in the fields. With a mix of theatrics, projections, a string section, backup singers, and dancers, all with the backdrop of a bayou house down south, Lana is known for her production value and she did not disappoint. In her second-ever performance in this state, Lana opened with a variety of tracks including her new single “Henry, Come On.” Closing out the evening with a cover of John Denver’s “Take Me Home, Country Roads.” Lana said this was her last date of the year and for the time being. A sold out crowd stayed until the end and shuffled out with the epidemic of post-concert depression just short of midnight.

HIGHLIGHTS

• Best Cover: Michael Marcagi covering Olivia Rodrigo’s “deja vu”
• Best New Song I Heard: “Late To The Party” by Orla Gartland
• Best Set Design: Lana Del Rey
• Crowd Favorite: Role Model
• Highest Energy: Scowl
• New Favorite Artist: Willow Avalon
• Must See Again: Sierra Ferrell
• Personal Favorite: Bleachers

My Thoughts on Hinterland:

Before all of the people getting on shoulders and crowd surfing, Bleacher’s frontman Jack Antonoff mentioned how Iowa does it right, and even going as far as to say “Glastonbury, take note.” All of these little moments that Hinterland makes snowball into a unique, well crafted and personal festival experience. The crew at Hinterland did an outstanding job this year to make sure patrons knew they are cared for and valued in St. Charles. As part of Hinterland’s 2025 initiatives, as of the start of Saturday, Hinterland had given out over 61,000 17-oz bottles of water. Hinterland also takes care of the town, platforming vendors who were able to raise $3,000 for the B. Well Foundation’s Creative Coaches, the Iowa Alliance for the Arts raising over $3,500, and Wander & Co. Planting 325 trees and donating over 400 meals to area food banks.

Some people walked into Hinterland this year skeptical with what this fresh take on the festival would look like, but with more free water stations, more natural and temporary shade structures, a larger concourse, expanded merch and vendors, more entrances, and a whole new VIP and Saints setup, Hinterland calmed any fears patrons had for years to come and put on the best festival of 2025.

With an abundance of music festivals to choose from, Hinterland goes above and beyond to become a more-than-worthwhile destination for its festival-goers. There is a certain energy that is brought to the fields that foster a sense of community found rarely at other festivals. That community comes from a mix of the classic “Iowa Nice,” the campers, and the organizers taking extra care of this very special festival. You can’t get this feeling at Lollapalooza or Austin City Limits. Hinterland is singular. Hinterland is something you can exclusively feel in Iowa. The groundwork has been laid this year for many years to come. Hinterland will be returning to St. Charles July 31- August 1, 2026, to an eager and reinvigorated crowd. Thank you to the staff, volunteers, security, and all who helped put together this magical weekend in the fields of Iowa.

Tune in to “Downey’s Hour” on Monday nights from 9-11pm for the latest festival news about Hinterland and more!

The post Hinterland 2025 Recap appeared first on KRUI Radio.

FRIDAY

SCOWL (12:00 pm): One of my most anticipated sets of the weekend is bright and early on the first day. Fresh off their second LP, Are We All Angels, Scowl is not slowing down anytime soon. Receiving rave reviews including a 4.5/5 from New Noise and a 5/5 from Kerrang, Scowl’s long-awaited Iowa debut can’t come soon enough. Hardcore has rarely made its way to Hinterland, but this is a more-than-welcome change of pace ushering in a loud and fast welcome to the campers. Listen to Are We All Angels here. 

INJI (1:00 pm): If Scowl’s distorted guitars aren’t your cup of tea, INJI will be for you. Energetic and danceable artists are a huge part of Hinterland, and she brings just that to the camp. If you spent any time on TikTok in 2022, you have definitely heard INJI’s breakout single Gaslight, which helped launch her into prominence. She has a busy weekend, earning herself a spot on Sunday, August 3, at Osheaga in Montreal. You can listen to her brand new single, BOYS AIN’T SHIT here. 

Good Neighbours (2:00 pm): Hailing from across the pond, Good Neighbours burst onto the scene earning themselves a Rising Star nomination at the BRITs this year. Their debut LP, Blue Sky Mentality, is set to release on September 26, but you can hear some of their unreleased tracks at the Hinterland main stage. An exciting and fun indie rock duo, and I am stoked to see where they will go. You can listen to the singles off their new record here. 

Rebecca Black (3:00 pm): It’s fitting, isn’t it, having Rebecca Black play on a Friday. Taking a few days off from her opening gig for Katy Perry to play the common combo of Hinterland and Lollapalooza, Black has a brand new record she’s been touring. Released this past February, SALVATION is a powerful and quick jab of a record coming in at seven songs and 21 minutes. She will also be making an appearance at the campfire at midnight for a DJ set. You can listen to her new album here. 

Royal Otis (4:15 pm): Another international indie duo, this time from across the other pond. The Australian duo made up of Royel Maddell and Otis Pavlovic (see what they did there?) made a big splash with their cover of Murder on the Dancefloor, originally by Sophie Ellis-Bextor, and the anticipation is only growing for their upcoming record hickey coming out August 22. You can tune into the three tracks released from the upcoming record here. 

Remi Wolf (5:30 pm): One of the hottest names in pop right now, Remi Wolf has become a must see after her 2024 breakout record Big Ideas. She’s pulling a triple-header this weekend with Hinterland on Friday, Lollapalooza Aftershow at the Salt Shed on Saturday, and Lollapalooza on Sunday. A busy weekend for a busy artist who has performed over 40 shows on her current tour this year. You can listen to Big Ideas here. 

Clairo (7:30 pm): Boys listen to Clairo, we exist, and it’s not performative. Her gigantic 2024 record, Charm, showed Clairo firmly finding her footing in the music industry and with only four remaining dates scheduled, this set is a must-see. Nominated for a Grammy for Best Alternative Album in 2024, it’s been a monumental stretch for the Georgia native. You can listen to Charm here. 

Tyler, The Creator (9:30 pm): If CHROMAKOPIA wasn’t enough to get you to Hinterland, Tyler’s brand-new record DON’T TAP THE GLASS should do the trick. A surprise release, with only days’ notice, has been a breath of fresh air with its quick and energetic 10 tracks. In only 29 minutes, Tyler has created something we have not heard in the mainstream in a very long time, if ever. What is bound to be an instantly memorable set, Tyler is the first rapper to headline Hinterland in the festival’s history. You can listen to DON’T TAP THE GLASS here. 

SATURDAY

hey, nothing (12:45 pm): Kicking off the second day of Hinterland is the two-piece band from Georgia hey, nothing. They have skyrocketed in popularity in the past year, earning themselves an Audiotree session and almost half a million monthly listeners on Spotify. hey, nothing will only continue to pick up the pace this year, opening for Cage the Elephant on their fall tour. You can hear their new single Waiting Room here. 

Willow Avalon (1:45 pm): Sporting a cowgirl hat and a voice of gold, Willow Avalon sings songs you imagine yourself falling in love to. A great compliment to the Kacey Musgraves headline, these folky and heartfelt songs will be making their way to your playlist. Another Georgia native on Saturday, Avalon’s set is worth getting there early for. You can listen to her single Country Never Leaves here. 

Gigi Perez (2:45 pm): Taking some time off from opening for Hozier on his Unreal, Unearth Tour 2025, Gigi Perez will take hold of the Hinterland stage. With over 1 billion streams on Spotify, Sailor Song has provided a jumping-off point few could ever imagine. In addition to opening for Hozier, she will be hitting the festival circuit hard this year playing Sea.Hear.Now., All Things Go, and the quadruple header of Hinterland, Osheaga, Lollapalooza, and Lollapalooza Aftershow all this weekend. Perez joined Mt. Joy for a single this past May; you can listen to In The Middle here. 

Glass Beams (3:45 pm): Trapped inside during the pandemic, Rajan Silva decided to create a sound yet to be heard at Hinterland before. This three-piece band has earned themselves an opening slot on Rufus Du Sol’s stadium tour through their unique and fresh instrumentation. Sporting face coverings while performing live is where the similarities to Iowa’s own Slipknot end. Glass Beams dawns face coverings while perfuming live, much prettier than the face coverings of Slipknot. You can listen to the latest Glass Beams EP Mahal here. 

Role Model (5:00 pm): With the breakout success of his latest album, Kansas Anymore (The Longest Goodbye), Tucker Pillsbury a.k.a. Role Model has been selling out venues since. A nearly fully sold-out European tour awaits him after his opening slot for Gracie Abrams’ arena tour ends. A very deliberate but relaxing sound is what you get from Role Model. You can hear his new version of his album’s closer, The Longest Goodbye, featuring Laufey, here. 

Still Woozy (6:30 pm): Starting at 13 years old, Sven Gamsky a.k.a. Still Woozy, began creating beats and songs. This love of music has led to 2025 being his eighth year of this project, including slots here at Hinterland, Lollapalooza, and a headlining European tour this fall. You can hear his latest record, 2024’s Loveseat, here. 

The Marías (8:00 pm): Hinterland’s undercard this year hosts some of the hottest acts right now, and The Marías fit perfectly in that category. With almost a spacey, arial sound to much of their music, their 2024 LP Submarine set them up for a long tour. With a sold out show at Red Rocks just days before their Hinterland slot, The Marías will charm you with their amazing live performances. You can listen to their new single Back To Me here.  

Kacey Musgraves (9:30 pm): Modern-day country legend Kavey Musgraves will take the stage Saturday evening in St. Charles for the second time, previously playing Hinterland in 2019. She skyrocketed into stardom after her hit album Golden Hour, along with other singles, netting her 17 Grammy nominations and eight wins. Musgraves isn’t afraid to share her success, joining the likes of other Hinterland headlining alums such as Noah Kahan and Zach Bryan. Her most recent record, Deeper Well, has been an incredible strong progression for Musgraves’ songwriting, earning herself a third Country Song of the Year at the Grammys with The Architect. You can listen to Deeper Well here. 

SUNDAY

Sam Austins (12:15 pm): Kicking off the third and final day of Hinterland is hip hop artist Sam Austins. Boasting over 63 million streams from his hit Seasons, Austins’ live performances are ones to get a good spot for. Releasing music since 2014, his most recent endeavor The woods vol. 1 has placed him in a must-watch category for the future. You can listen to Austins’ Hot like you here. 

Orla Gartland (1:15 pm): Hailing from Dublin, Ireland, Orla Gartland is a breath of fresh air in the indie pop scene. Creating a personal sound in that genre is difficult, but she has a very defined sound that flows so smoothly with her voice. Her most recent record, Everybody Needs a Hero, is a lovely listen with an exciting and youthful glow that earned her an opening slot for Glass Animals this summer. You can listen to her second LP here. 

Evan Honer (2:15 pm): Another artist who got their start during COVID, Honer has had a quick five years that have led him to playing all over the world. After diving in in college, Evan took his spin at being an artist when the pandemic hit, and it has snowballed from there. After some harsh words from a judge during his American Idol audition, Honer has proved his doubters wrong, releasing a monsoon of singles and EPs before his two full-length L’s were released in 2023 and 2024. Honer caught a big gust of followings after uploading his cover of Tyler Childers’ unreleased track Jersey Giant. With a steady stream of great tunes pouring out of him, Honer is going to be a fun watch for the future. You can listen to his 2024 record, Fighting For, here. 

Michael Marcagi (3:30 pm): Back-to-back college athlete Michael Marcagi was on the links for Thomas Moore University when he wasn’t in his room playing songs. His first release in December 2023 earned him a record deal with the promise of more great tunes. The Red Clay Strays caught wind and picked him up for their opening slot on their summer tour this year. His song Scared to Start landed him in the Top 100 Billboard tracks last year. You can listen to his hit single here. 

Wyatt Flores (4:45 pm): A Grand Ole Opry veteran, Wyatt Flores calls upon fiddles, slide guitars, and his own southern voice to create some of the best there is in the modern country scene. Nominated by the Americana Awards for Best Emerging Artist, Flores’ first full-length LP, Welcome to the Plains, is worth all of the praise it gets. With a series of covers ranging from the standard Oh, Susanna all the way to The Fray’s How to Save a Life. This year he released his first live album, Live at Cain’s Ballroom, to a roaring success. You can listen to it here. 

Sierra Ferrell (6:00 pm): Kicking off my favorite back-to-back of the weekend is Sierra Ferrell. Her magnetic songs just wash all over you, and you think it can’t get better until the next song plays. What is set to be a great set from one of the best contemporary artists in folk and country is the perfect time to get your spot set for the final leg of Hinterland. Ferrell makes her first return to St. Charles since 2022, and since then has released Trail of Flowers in 2024. With a new album under her belt, and a brand new single released just last week, Sierra Ferrell is a can’t miss set. Listen to her new album, Trail of Flowers, here. 

Bleachers (7:45 pm): My personal favorite of the weekend, Bleachers is an absolute can’t-miss. This six-piece band, headed by producer extortioner Jack Antonoff, brings down the house each show with two drum kits, two saxophones and members constantly rotating between instruments. It’s alive, it’s loud, it’s rock and roll. Bleachers puts on the kind of show everyone dreams of playing while singing in the shower. Coming off their self-titled album released last year, Bleachers has taken from Fleetwood Mac, Nick Cave, Bruce Springsteen, and much more to create their masterpieces. The Boss was brought on for Bleachers’ 2021 single Chinatown off of their third record Take the Sadness Out of Saturday Night. It’s top of my list and should be top of yours too. Listen to the live recordings from their Live at Red Rocks Amphitheatre set here. 

Lana Del Rey (9:45 pm): Closing out this weekend at Hinterland is the incomparable Lana Del Rey. A powerhouse for the past decade plus, Lana has headlined everything from Coachella to the Newport Folk Festival. With the release of Grammy-nominated Did You Know That There’s a Tunnel Under Ocean Blvd Lana saw her work with producer and Bleachers front man, Jack Antonoff, reach her debut at #1 in the UK and #3 in the US. I’m holding out hope that Antonoff and Bleachers will join forces with Lana to play their song Margaret off of that record. With Hinterland being Lana’s only scheduled date left this year, it is sure to be a must-see. Listen to her new single Bluebird here. 

An incredible weekend of music awaits Iowa, with close to three dozen world-class artists all in one place. You can view the full schedule here, and purchase tickets to Hinterland here. Directions to the festival can be found on the website as well. Stay hydrated, and have a great weekend! 

The post Your Guide to Hinterland 2025 appeared first on KRUI Radio.

Brendan McDonough

Favorite Album: uknowhatimsayin? by Danny Brown

I will always remember the first time I saw Danny Brown live at Pitchfork in 2014, its probably going to be one of the recollections I have on my deathbed. I remember a shoeless man, wearing nothing but a vest made of some kind of animal skins (I didn’t ask), offering me an Aquafina bottle full of a mystery liquor (I also didn’t ask, nor drink it), saying that he drove all the way from Mobile, Alabama just to see Danny perform. Crowd members were inhaling a rainbow assortment of every pill under the sun, and chasing those with cups, flasks and water bottles of their booze of choice. Once the show began, a nonstop mosh-pit lasting the length of his set broke out. Danny’s performance was electric even without a near-lethal dose of substances, and much of his stage energy, and comically emphasized inflections is mirrored on uknowhatimsayin? A far-cry from his critically successful Atrocity Exhibition, his latest release is a reprise of Danny’s XXX days. Produced by Q-Tip and featuring JPEGMAFIA, Flying Lotus, and Killer Mike, among others, unknowhatimsayin is the most enthralling hip hop release of 2019.

Favorite Song: “Jesus is the One (I Got Depression)” by Zach Fox and Kenny Beats

“Free Palestine. Free Tay K.” Twitter comedian Zack Fox took the rap world by storm this summer with this surprise Kenny Beats freestyle collaboration. Coming from The Cave YouTube series, in which Kenny Beats creates tracks tailored to the requests of rappers, who subsequently showcase their freestyle abilities. Adorned with a Lincoln-esque stovepipe hat, stripping naked halfway through recording, and causing the entire booth to break out in raucous laughter, Fox delivered the shows most entertaining performances to date, and delivered the track Jesus Is the One (I Got Depression). A slap-in-the-face trap beat, with Fox rapping about mental illness, thousand island dressing, and of course Jesus, Jesus is hands down the funniest song of the year and a rallying cry for chronically depressed millenials.

Elisabeth Oster

Favorite Album: Sandman by Trudy and the Romance

I can confidently say that this album sounds like nothing I’ve ever listened to before, as Trudy and the Romance’s sound takes influence from such a wide, impressive range of influences across genres and decades. Self-described as “50s mutant pop,” the band’s 2019 debut album provides a dreamy escape with its strong doo-wop sound and creative use of call and response. Although each track easily stands alone, its cohesive form is where the album truly shines, with short musical interludes and a subtle, interwoven story. Sandman’s twelve tracks chronicle fictional leader singer Little Johnny, his band The Original Doo-Wop Spaceman, and the protagonist’s heartbreak. Stand-out tracks include “That’s Not Me”—a diversion that feels fit for a 50s prom slow dance—and “The Original Doo-Wop Spaceman”—a piece that flirts with jangly 60s pop while still maintaining the overarching cosmic vibe of the album. For me, this album is a master class in engineering an album that works as a conglomeration, rather than crumbling to the rising trend of charting singles. Trudy and the Romance have a story to tell and a unique sound to share with the world; each album track is representative of this refreshing, focused vision that I hope they continue to explore past their first musical outing. 

Favorite Song: Ocean by Fruit Bats

This song encapsulated and enveloped this summer for me, and for good reason—its 3-minute runtime distinctly feels like carefree summer days and open car windows bottled up in wistful lyrics and sun-soaked guitar chords. Fruit Bats, whose only consistent member is Eric D. Johnson, has consistently put out 70s influenced albums for the past twenty years with a vocal delivery reminiscent of Neil Young and Supertramp. “Ocean,” a track off Johnson’s excellent Gold Past Life release, doesn’t have a chorus or hook to speak of, but each verse builds on masterful, vivid descriptions of the natural world and the people who open our eyes to such wonders. It’s a nostalgic and tender song, worth a listen for the atmosphere it conjures up. As I am a naturally indecisive person, I am also attaching a runner-up song into consideration: “Chartreuse,” by underrated DIY artist Worn-Tin, is a psychedelic masterpiece released earlier this year on his album Cycles—an alluring track that is a purely fun listen. 

Jaden Amjadi

Favorite Album: All My Heroes Are Cornballs by JPEGMAFIA

This has got to be my favorite album of the year, it’s one I find myself returning to a lot. The production contrasts between lots of smooth, wavy synths and odder, more abrasive sounds. Peggy’s bars are both humorous and confrontational. Songs will switch styles without warning, keeping listeners on their toes. Some really strong melodies are still delivered, like on “Jesus Forgive Me, I Am A Thot” or “Free the Frail”. It really feels like a rap album representative of the Internet Age.

Favorite Song: Everyday by Weyes Blood

This song is glorious. The piano chords and percussion in the first verse are playful and sweet, providing an excellent base for the smooth vocals. The melodies, whether they be on the chorus or the verse or the bridge, are irresistible. The lyrics are a bit somber, but leave room for hope. The choir vocals, strings, and guitar which come in as the track builds are executed so well, and by the time the track is over, it’s felt like a real journey while being approachable and catchy all the while. Amazing song.

Sarah Bridgeport

Favorite Album: When We All Fall Asleep, Where Do We Go? By Billie Eilish

From this year (which felt like a century) my favorite album was When We All Fall Asleep, Where Do We Go? by Billie Eilish. As soon as I realized the album had come out, I sat in my bedroom and listened through the whole thing. “Listen Before I Go” was my favorite song from the album, it was so visual and tragic. Overall, I adored the tone of the album, it has such a distinctive voice. 

Favorite Song: “Kiki’s Song” by Mree

My favorite song of the year has to be “Kiki’s Song” by Mree. It’s a song that’s told like a story, and it’s from the point of view of Kiki from the Studio Ghibli movie Kiki’s Delivery Service. It’s enchanting and makes what I consider to be the ultimate homage by using parts of the melody from Kiki’s theme in the movie. This is a song I hum when I’m in a good mood, and sometimes I hum it to put me in a good mood.

Grace Wachholz

Favorite Album: Immunity by Clairo

Immunity by Clairo is my favorite album of year because it is Clairo’s first true album and she really breaks out of the ‘bedroom pop’ genre she’s always been known for. It’s so cool to see how she’s grown as an artist. I’ve been a fan since her early music so I’ve watched her style change through the years. Immunity consists of eleven tracks that are much more intimate and mature than her past music. The album has been considered one of the best albums of the year on many charts and for very good reason.

Favorite Song: “Never Cared” by boy pablo & Jimi Somewhere

“Never Cared” by boy pablo & Jimi Somewhere is my favorite song of the year because the song reminds me of this past summer. I definitely had this song on repeat for a while then, which made it my top Spotify track of the year! It has a different style than boy pablo’s other music and I like how the he was able to experiment with Jimi Somewhere. I also got to see boy pablo in concert this past August and it was one of the best concerts I’ve ever seen. The band’s personality carries into their music and they’re always a fun band to listen to.

Emma Caparula

Favorite Album: IGOR by Tyler the Creator

Since I was around 15 years old, I have been a massive Tyler, the Creator fan. Back then – in 2013 – he had released two albums, Goblin and Wolf, both of which feature aggressive rapping and unsettlingly angry lyrics. Four years later, with the release of album Flower Boy, a massive shift in Tyler’s style occurred; low-key instrumentals accompanied emotional lyrics about Tyler’s sexuality and relationship issues. This past may, Tyler released his latest album, IGOR, incorporating elements of both Flower Boy and his past albums to produce an incredibly unique and passionate project. IGOR tells a love story; Tyler falls for someone, but the object of his affection is still involved with their previous partner. He desperately wants to be the only person in their life, as he states in New Magic Wand with the line, “This 60/40 isn’t workin.’ I want a hundred of your time, you’re mine.” Eventually, Tyler accepts that his needs will never be met, and the relationship falls apart. IGOR’s mixture of jazz, pop, rap, and hip-hop makes for a vivacious experience capable of appealing to a wide range of listeners; and what’s more, he produced the entire thing solo.

Favorite Line: ..maybe it’s just a dream that I can’t seem to wake up from; my love’s gone.

Favorite Song: “home with you” by FKA Twigs

I listened to FKA twigs’ home with you on a whim the day it was released. Although I had previously listened to bits and pieces of her first album, they never peaked my interest; hearing home with you was a completely different story. Immediately, her enchanting whispers and the haunting electronic accompaniment drew me in. When the song transitioned into a combination of melancholy vocals and gorgeous piano-playing, it struck a chord with me, and I was sure home with you would be one of my all-time favorite songs.
Favorite Line: I didn’t know that you were lonely; if you’d have just told me, I’d be home with you.

Lauren Arzbaecher

Favorite Album: Jade Bird by Jade Bird

Though I had heard some of her singles before, what really drew me to Jade Bird’s music was her performance at Hinterland Music Festival this summer. I had gone to report on the festival as a whole, and she was one of the early performers of the day. Needless to say her engaging stage presence and upbeat songs kept me listening for months after the festival. For a UK artist, her slight twang and focus on the acoustic guitar seem to fit right into the ever-changing atmosphere of American modern country music. This debut album sits comfortably between country-folk and indie-pop, and each song exudes a sincere soulfulness. The lyrics focus mainly on love and all the ways it can affect us, some gems being “Lottery,” “Good At It,” and the raucously fun “Uh Huh.” The 22 year old artist has set a high bar with this heartfelt debut, and she is just getting started.

Favorite Song: “DAVE (turn the music down)” by Juice

Juice is a group that is rather genre-fluid, but tends to settle somewhere between r&b and funk. “DAVE (turn the music down)” diverges into rap, yet still keeps the band’s signature sound with a funky beat that gives the song a unique aura. Like a good amount of music this past year, the lyrics allude to political and social issues, but don’t take themselves that seriously. The songs links rap, psychedelic rock, hip-hop, and funk all in one fascinating combination that is so much fun to listen to. 

Ella Heckman

Favorite Album: The Juice: Vol. I by Emotional Oranges

My favorite album this year was Emotional Oranges’ The Juice: Vol. I. by far, for its unique and tightly plotted R&B funk wave sound. It was a standout for me as the artist’s debut album with a cohesive but unique sound across every track. There wasn’t a single song on the album that didn’t belong and didn’t slap.

Favorite Song: “No Plan” by Hozier

This was my favorite song this year because its bluesy rock sound combined with lyrics conflicted with both hope and fear set the tone for my year. From Hozier’s album, Wasteland, Baby!, No Plan is a patch of solace among the “screaming, heaving, f*ckery of the world” that draws from the rich traditions of blues and rock pioneered by black artists.

Jake Bisson

Favorite Album: There Existed An Addiction to Blood by clipping

My AOTY is There Existed An Addiction to Blood by clipping. It’s a horror-themed noise rap album that near-flawlessly progresses like listening to a horror movie. One of my favorite songs is ‘Run for Your Life,’ which uses an incredible sample of a car driving past blaring beats that match up with the rhythm of the song. At the same time, the lyrics tell a story that incorporates the car itself into the dark atmosphere it builds. It’s one of the most masterfully produced albums I’ve heard in general and has earned itself lots of spins on my show (As Loud As Possible).

Favorite Song: “Dream Catcher Part II” by State Faults

This song is fast and aggressive screamo loaded with emotional vocals and blistering riffs. The mix of rawness and emotion in State Faults’ music has made them one of my favorite bands to come out of punk and metal this year. Their sound reminds me of one of my personal favorite music scenes, the early 2000’s East Coast screamo of bands like Orchid, pageninetynine, and City of Caterpillar.

Luke Bonner

Favorite Album: Father of the Bride by Vampire Weekend

While it’s not surprising to anyone, Vampire Weekend is still a great band. After some recent flagship 2000’s indie bands faltered (cough Arcade Fire), I was wary coming into the new Vampire Weeekend album. However, I had truly nothing to fear. Ezra Koening and crew showed they still have all their old magic and new tricks up their sleeves. Tracks like “This Life” had the classic Vampire Weekend sound I was looking for, but others like “Sympathy” and “Spring Snow” were new territory. The duets with Danielle Haim and stellar lyrics throughout kept this one spinning all Spring, Summer, and Fall for me. Not to mention, Vampire Weekend put on the best live show I saw all year.

Favorite Song: “Cellophane” by FKA Twigs

Where do I start? This might be my favorite song of the year but it is hard to listen to. Releasing this in the Spring, Twigs really got ahead of the Winter sadness because this song is a potent encapsulation of despair and longing. Written after a breakup with star Robert Pattinson, FKA Twigs delves deep into the pain after one loses someone close to them. The self-despair and questioning is all over the song with the line, “Didn’t I do it for you?” resonating. The music video is also essential and by far my favorite video of the year. Who knew pole dancing was so beautiful and evocative?

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