My day at Stop/Time actually started with a completely separate event. Waking up and knowing I had a few hours to kill before my sets started, I decided to check out Public Space One’s Ice Cream Zine Fair. Even as someone who rarely engages with art in this medium and actively avoids anything resembling a crafts show or farmers market, I thoroughly enjoyed sifting through the various tents and seeing so many different unique and talented artists captivating work. From diy magazines, to more traditional printed art, to experimental short film video compilations, this was living proof of the depth of quality and variety living within Iowa City’s vibrant arts community. And I’m more than happy that I got to experience this the same day as another fantastic arts festival. 

Unfortunately during the zine fair, I misplaced my Stop/Time badge which led into a minor panic. Frantically searching my whole dorm and car with 30 minutes left on the clock before Evicshen began, I ended up biting the bullet and returning to the festival’s headquarters at The Graduate hotel and begged them for another one. Thankfully they abided and graciously gave me another one before I could miss more than I already did.

Evicshen

Walking in a few minutes late I immediately took in the piercing buzz saw like noise and pulsating energy even from outside Gabes’ building. This enticing feeling carried on as I walked upstairs to the dark flickering lights shining on a crowd of people completely entranced by something completely alien in sound and performance.

As mentioned in my preview, Evicshen can be better described as a performance artist instead of the more conventional musician. She focused more on creating these extremely enthralling atmospheres using various sound distortion techniques and visual experiments. These techniques included bending records, scratching them with blades, and outright spinning them building into the occasional moments of harmony and rhythm. She created such an unpredictable environment, anytime I thought I had her next move pinpointed, I was sidestepped. 

After a shockingly beautiful moment of horn playing during her set, we returned back to the full-effect harsh noise as her body became wrapped in a tangled mess of cords, torn up records, and recording equipment scattered across the dance floor. Finally, the set ended with possibly her most shocking act: a large strong twirling of a real whip in the middle of the audience floor. It twirled only inches away from the closest audience members (myself included) as the distortion blared at its highest. With one final splitting crack of her whip, the distortion stopped and the lights turned on, capping off an incredible performance.

Sharp Pins

Coming into the next set I was already extremely excited, I’ve been a regular listener of Sharp Pins and the Kai Slater canon ever since discovering a Lifeguard track on our lovely KRUI music staff new-adds back in September. It’s very easy to get drawn into his catchy songwriting and quirky 60s aesthetic (both musically and visually), but the band keeps you staying with consistently great music. I had high hopes for their performance and was more than pleased for those to be completely fulfilled.

The three piece started their performance with Every Time I Hear, one of their most popular songs off of my personal favorite album of theirs, Radio DDR. The song perfectly kicked off the set with this gorgeous twangling guitar riff and simple but effective drum pattern, coming at a modest volume, but not enough to completely drown out the band’s beautiful three part harmonies. Almost instantly after the song ended, the band transitioned into You Turned off the Light, another catchy lo-fi pop rock banger off of their debut Turtle Rock record. The repeating bar chords and “girl, oh girl,” during the chorus continued to raise the light, abrasive energy of the concert into new heights while Kai Slater does his classic little rock kicks and jumps. 

As Sharp Pins seamlessly shifted from song after song of warm, lush musicals textures and lovable songwriting I realized I was losing myself in the performance, not wanting it to end. Unfortunately, as all good things do, it had to. They ended the setlist with I Can’t Stop, undoubtedly one of their best works. Their usual soft yet gorgeous sonic palette is no different on this track with the repeated lines “when I think of you don’t forget it,” tickling my eardrums in the best possible way. The song finishes with little instrumentation and the layered chanted chorus graciously fading into the background, ending a phenomenal concert experience.

From the loud and visceral Evicshen to the warm and soft Sharp Pins to even the Zine Fair, it was truly incredible getting to see such a unique and strong array of artistry across Iowa City that day. A true testament to this city’s talent and commitment to all forms of art. Thank you Hancher for bringing all these talented artists to Iowa, and thank you Stop/Time for a great first year.

The post Evicshen & Sharp Pins at Stop/Time Festival, April 4th appeared first on KRUI Radio.

It was the warmest day in two weeks, and people were enjoying it. Southbound from 3145 North Sheffield was a stream of hundreds of people. Whether the meteorologist was calling for rain, sleet, or worse, it wouldn’t have stopped this dedicated string of folks. Each one with at least one shared intent, to get as close to the stage as possible. The layered tiers inside quickly filled up as the crowd filed in, making split second decisions on which side of the sound booth they would go around. Within minutes, you could hardly move. Adorned with a red curtain and a circle of lights, the anticipation grew amongst the masses. 

On that stage would be Evan Honer and five of his best friends as they brought their It’s a Long Road Tour to The Vic Theatre in Chicago, Illinois. The Arizona born artist loaded up the sunshine from his southern state to a packed Vic in a vibrant format, blasting through 25 songs to his adoring fans. Honer is halfway through his 33-stop tour across North America in promotion of his latest record Everything I Wanted making his way from east to west. He gave love to new and old, playing nine songs off the latest venture and three from his debut LP West On I-10. A first-time listener would not be able to tell what tunes were new and old as fans belted every word from throughout the venue.  

Honer began his set the way he ended it, with a backflip. This might have been my first backflip on stage that I’ve seen, and for sure my second. That was a great prologue to the type of night Honer was about to give the crowd. Switching between a Martin acoustic and a cherry red Gibson ES-335, Honer took us along the journey of his catalogue whether sad and slow or animated and loud. These songs bleed honesty and experience, even in Honer’s young age. “Mr. Meyers”, the fourth track off Fighting For, tells the tale of watching a man lose himself in his own losses. Directly after in the setlist was the second song from the same record, “Brother”, discussing Honer’s difficult time understanding his own brother’s mental illness. A song that encapsulates the hands tied feeling of not being able to help someone you love.  These songs rip each chord out of your heart and try to plug it back in oh so delicately. An artist able to evoke such strong feelings from a crowd of 1,000+ is someone to not take for granted. 

He couldn’t let sadness linger in the air for too long, so Honer made the great call to bring man’s best friend on stage. Ushered on to thunderous applause was his dog, Leroy, accompanied by an all-to-brief cover of “Bad, Bad Leroy Brown” by the legend Jim Croce. A quick dance with a bulldog lightened the mood as the band began a sprint to the end, hitting classics “Foolin’ Ourselves” and “Too Far Gone” from his first record. Sandwiched between those two was the first seed to Honer’s fame, his cover of Tyler Childers’ “Jersey Giant”. Honer’s maiden release from 2022 was an elusive track by Childers’ that does not have video of a performance from the author until 2025. With some synchronized choreography, a capo on the first fret, and a breakdown in the bridge, Honer the nearly impossible by making a cover sound like his own.  

Jersey Giant was not the only cover of the night, as the well-earned encore contained the 9x platinum single “Sugar We’re Going Down” by Chicago pillars Fall Out Boy. When I think of Evan Honer my mind does not immediately jump to From Under The Cork Tree but this faithful rendition shows his bands versatility and the dynamic voice he carries. His closer, “IDK Shit About Cars” left the crowd wanting even more as the house lights flared up. Clocking in at almost 2 hours, Honer’s set was well worth the price of admission and gives understanding as to why there are so many repeat customers at his gigs. 

The crowd was treated to Chicago native Michal Leah to begin the evening. Leah released her debut album Universe this past October with a deluxe edition, including three more tracks, in December. Alongside just her guitarist, she led the crowd through a showcase of her new discography, giving the audience a first listen to songs soon to be added to their playlists. She later reunited with The Vic, joining Honer for a rendition of “Waiting Ain’t Easy”. The combination of their voices felt like a fresh set of sheets as it wrapped around the whole theatre. In the audience was her father as well, who gifted the singer-songwriter flowers near the finale of her set. Leah provided a soothing, intimate, and strong performance to her hometown. You can follow Leah for updates here. 

The tour name implies the truth, there are many more nights of the It’s A Long Road Tour left for Evan Honer. Looking beyond this tour seems silly, but what lies ahead is exciting. This summer Honer will be hitting the road with the poet of his first release, Tyler Childers, on Childers’ Snipe Hunt Tour. This busy season is also sprinkled with headline dates and opening slots for Darius Rucker and The Head And The Heart at Red Rocks. As an independent artist, Honer has established himself and his record company, Cloverdale Records, as important pieces of the modern industry. You can follow Evan Honer for updates and find tickets for his upcoming shows here.  

The post Evan Honer’s Long Road Comes to Chicago appeared first on KRUI Radio.

Chat Pile – Sifting (single)

Fresh off the heels of their latest collab album with postrock artist Hayden Pedigo, Oklahoma hardcore/noise band Chat Pile return to their typical fast paced and abrasive style with two new singles. Starting off with the absolute head thrasher Masks, you can really feel the influence of their new record label Sub Pop, which they themselves cited as influencing the song. “It’s a true dream to put out a single on Sub Pop, and our new song Masks hopefully honors the spirit of the mythical, sometimes mystical, city of Seattle,” said Chat Pile in a recent press statement. This influence is apparent with the aggression and style of other iconic Sub Pop bands such as Mudhoney and The Melvins. Still though, they maintain the band’s complex rhythms and Raygun’s own unique vocal style to give this era its own spin.

Continuing along with the Seattle tributes, the band paired the Masks release with a deep cut cover of Nirvana‘s Sifting. If you thought that song couldn’t get dirtier and sludgier, you’re in for a treat. The perfectly sloppy guitar solos pairs with these muddy backing riffs and vocals that are just low quality enough make for such a grimy and fun listening experience. The six minute run time feels like a breeze, considering the level of quality we’re working with, and it makes me more than excited to listen to whatever they have planned for the future.

–Tarik Krob

My New Band Believe – Numerology (single)

altFresh from the elegantly titled My New Band Believe is their second ever single, Numerology. Helmed by Cameron Picton of black midi fame, My New Band Believe offers on Numerology a blend of very poppy indie rock with elements of samba and disco that feels triumphantly hectic. The lyrics evoke a night on the town with your buddies as you get increasingly…inebriated, and the finale of the song is admittedly comical, but still feels like a ripe conclusion for the preceding spectacle. The song clocks in at 4:18, yet its manic energy makes it feel half that length. As a consequence, I usually listen to this song at least twice in a row. After the conclusion of black midi, frontman Geordie Greep has received the brunt of the attention from the public, especially following the release of his album The New Sound, in 2024. However, I imagine Picton will have his own stint in the windmill-scene spotlight as Numerology feels undoubtedly like Picton’s Holy, Holy moment.My New Band Believe releases their debut album on April 10th, be there or be square!

–Jack Manley

Lana Del Rey – White Feather Hawk Tail Deer Hunter (single)

To say this new Lana Del Rey track was surprising would be an understatement. Not only is it shocking that she actually released it, instead of just relentlessly teasing it on social media like she’s been doing with her upcoming Stove album for half a year now, but the song itself is a very different direction for the singer. It’s dark and sinister. It builds tension in the verses and dissolves it with an almost “Disney princess” cadence of soft whispers in the chorus. The atmosphere is at times heavy, and at times light, but an underlying eeriness keeps the listener on their toes. The song is composed of haunting synths and magical entrancing string instruments like violins, violas and cellos. Sweet guitars, piano, percussives, brass, and even a harp bleed into the delicate mix. These instruments build the orchestral nature of the track, giving it an almost ethereal and uncanny quality.
Instead of leaning country like Lana promised with the upcoming Stove album, she seems to be more interested in exploring ominous soundscapes with this track, opting for a southern gothic route with her own spin. However, the singer’s tendencies to romanticize the mundane are still very much present, with her basking in the traditional, stay-at-home-wife lifestyle that she has come to greatly appreciate. White Feather Hawk Tail Deer Hunter paints this picture of Lana cooking for her husband while she awaits his return from hunting wild animals in the spooky woods near their home. Mentions of words like “voodoo” and “magical” evoke a mystical feeling into her daily affairs, and the expression “whoopsy-daisy” and the “yoo-hoo” ad-libs make the song feel all the more whimsical.
Lana Del Rey’s new single offers a glimpse into a darker side of her music which was prevalent in the earlier days of her discography. Her Born to Die album and her Lizzy Grant persona both offer a preview of this gloomy sound, as highlighted by many fans in online spaces. But despite similarities to her earlier works, White Feather Hawk Tail Deer Hunter demonstrates an entirely new soundscape and tonal shift for Lana, which is exciting to experience as we await the release of the upcoming album.

–Clara Carrion

Ratboys – Singin’ to an Empty Chair

Chicago has always consistently been putting out incredible music: Wilco, John Prine, Mavis Staples. Today, there is something brewing in the second city, that has come to boil over. Leading this charge is indie-rockers, Ratboys. The Notre Dame Alumni, and Chicago natives, celebrated their sweet sixteen as a band by releasing their sixth studio album, Singin’ to an Empty Chair.

This is not only a continuation of their breakout success from 2023’s, The Window, but an expansive journey into their own sound and personality. This album feels as though every note has a meaning behind it and every strum is a continuation of a bed time story you don’t want to end. Ratboy’s has a comforting sound, one that puts the listener in their world with lyrics reading, “the bugs are writing books with their eyes.” This sense of joy and poetry bleeds from songs, while reflections of todays wild world in The World, So Madly brings it back down to earth. The slide guitar sings by itself, and the bouncy yet fuzzy guitars within the band blend together like peanut butter and jelly.

Ratboys throw in hits throughout their album like its nothing, and put forth my favorite album of 2026 so far. They will be touring the record this spring with support from Florry, villagerrr, and fellow Chicagoans Free Range.
FFO: MJ Lenderman, Waxahatchee, Wednesday, The Beths

–Logan Melia

xaviersobased – Xavier

Periodically, it seems that the Music Discourse Eye of Sauron happens to latch its all-consuming gaze onto a particular artist who has established a particular brand of sound until it has become so virulently synonymous with their name that it cannot help but seep through these fiber-optic spaces into the minds of those cultural sleuths so invested in the all-important web of contemporality. Xavier happens to be one such example, the culmination of multiple years of underground consistency and empire building surrounding Xav’s uniquely futuristic, atmospheric, and outright unpredictable approach to production. He proves himself to be at once an absurdist paragon, a staple of the modern cloud rap scene (as well as the extended Surf Gang universe), even forming his very own imprint 1c in the lead-up to this album. Thus, through following an approach that is entirely unpredictable yet expected, Xav has captured the spotlight into a…decidedly mixed reaction.

The seasoned listener will notice differences. There is a greater sleekness in each beat’s construction. There are feature placements that would have once seemed impossible with Zaytoven and Rio da Yung OG, as well as this being Xav’s first big-boy big label treatment, giving cause for a greater critical stir even with this being his first studio album in four years. It seems Xav took this opportunity to give people more of what they had flocked to him for in the first place: a cinematic, woozy, and disorienting experimental rap album. iPhone 16 features a discordant symphony’s instrumentation that wouldn’t have been out of place on a Steve Reich composition. Production standouts include Tony Hawk, as well as 100,000, both ranking among Xav’s most explosive compositions yet. However, the real star of the show is the digital streaming exclusive, Party At My Place, featuring Dylan Brady of 100 Gecs and Skrillex, creating a characteristically mind-bending and bombastic blend of the three’s respective styles. All in all, those who were already fans of Xavier’s output found more to enjoy, whereas those who weren’t (for the most part) gave a collective shrug and continued about their days. Give it five years, though…

–Evan Raefield

Converge – Love is Not Enough

Metalcore legends Converge return with another intense record after five years. This band does not miss, they wind up each shot and take the fattest fucking swing at it and send it flying at wee Anthony Fantano’s slippery baldass head. It’s a great record, neither their best nor worst, but Converge excels at consistency. 30 years of this metalcore business and they’re still accelerating ahead, splitting noise and peeling catharsis off the razor’s edge. Vocalist Jacob Bannon describes the album and its creation as “unrelenting and super raw the entire time, and that’s by design, because that’s how we feel. That’s what’s resonating in our collective spirit right now.” It’s a surprisingly political album, with lyrics from Bannon lying much more grounded in reality than his previous work, themes ranging from human powerlessness to the opiate industry. The band describes Love is Not Enough as less approximating an album, instead existing as the culminating “artist’s statement,” of the full band. Don’t let the title fool you, this is a record that advocates for love. Each song is a lonely cry of agony, desperate for more love to lay exposed and shared in the world, combating the darker chaos and panic around us. “Love is essential, but it’s not everything.”

–Pauly

The post KRUI Staff Picks: Best Releases of February 2026 appeared first on KRUI Radio.

Starting in 2014 with their debut record “Native Dreamer Kin”, the Oregon trio quickly became favorites of the indie pop scene. All of the sisters, Natalie and twins Meegan and Allison all had musical backgrounds that helped throw them into this career. With a enjoyable sound that earned them an NPR Tiny Desk concert in 2016, they continued on a path leading them to open for bands like The Lumineers and The Shins. A procession of music came from them, dropping five albums in a nine year stretch. The writing seems to flow out of them, always producing new tunes throughout the changes of the band. 

This new record includes a dozen songs written in the past two years. Becca Mancari of Bermuda Triangle joined vocals for “I Believe in Myself” which was released in June of 2025. Mancari has a connection to the band as she was the opener on Joseph’s 2024 “10 Years of Jospeh” tour. Moving past the decade of accomplishment, Allison decided to step back from the band.  This was their first full length record since the departure and adjustments were made to accommodate the new sound. The setlist featured all six new released tunes as well as a few unreleased tracks. The crowd was close to the band as the two sisters and their drummer, April Lee, ripped through their set with a two song encore.  

It was a sweet evening that felt comforting as the sisters sang their deeply personal stories. Warm and inviting, Natalie and Meegan provided a sneak peak to what feels like their most honest album yet. Joseph will continue their extensive “Closer to Happy” tour as it travels through the United States until April supporting the brand new record. You can get updates from Joseph here.  

The post A Night at The Englert with Joseph appeared first on KRUI Radio.

Logan Melia: Hi. How are you doing?  

Jaret Reddick: I’m doing great. How are you?  

Logan: I’m doing well. How’s the tour been? You’re out with Simple Plan, Lolo, and 3OH!3 right now, how’s that been?  

Jaret: Man, it’s, you know, in one way it’s like a family reunion because Simple Plan have been our little brothers since 2002, you know, when we first brought them to Texas and then took them to the UK and now they’re taking us all over the USA and so, yeah, it’s great. And then 3OH!3, we just love those guys so much and Lolo as well and so it’s just, it’s been a lot of fun and the crowds have been absolutely amazing, you know, kudos to Simple Plan for putting this thing together and taking us out and really, really bringing it.  

Logan: Yeah, they are, to you guys too, but incredible live bands. I mean, they are jumping all over the place, they’re a joy to see.  

Jaret: It’s a really, really energetic and fun night. I mean, and that’s, you know, that’s, again, kudos to them for picking the right bands because it’s, man, everybody is leaving with a big smile on their face and that’s what it’s all about.  

Logan: Yeah. Do you have any tours that you remember where you’re just like, God, this lineup was just, you know, if we could do that tour again, you know, is there anything that sticks out in your mind?  

Jaret: Yeah, I mean, there’s so many of them. You know, we’re pretty lucky in that for the most part, our entire career, we’ve hand selected who it is we tour with and, you know, we really haven’t supported many bands. It’s usually been our thing and, but the two co-headlines we did, one with Less Than Jake and one with Real Big Fish are definitely up there with this one as far as the best tours we’ve ever done.  

Logan: Are you a big ska guy? I mean, I wouldn’t say that I’m a big ska guy, but I mean, I love those bands as their music and people. I mean, you know, it’s really to me, it sort of fits in.  

Jaret: I don’t even think about it as ska, I think about those guys as being warped tour bands, you know, because that’s where we all grew up, you know, and seeing each other every summer and that’s where we got to be close and stuff. So it’s funny. It’s really until that I read it every once in a while, I’ll just be like, yeah, Less Than Jake just played our hometown of Dallas and I saw a bunch of posts about it and was like, the ska came to, I forget that they’re a ska band, you know, but yeah, they’re a rock band to me, you know, and, and they’re my buddies and they’re, I can’t think of any band that I like watching more than I do Less Than Jake. Maybe Bad Religion, but, but Less Than Jake being definitely one of my favorite live bands ever.  

Logan: Yeah. Now you mentioned Warped. You have an insanely busy year, you’re touring with Simple Plain, you’re doing a Warped or Bus Tour, you’re hitting Warped, Four Chords, Aftershock, you got a million things and then on top of it all, Wembley. 

Logan: It’s a huge year for you guys. 

Jaret: Huge year for us. I mean, and coming off of our biggest touring year ever and now, you know, doing some of these rock festivals for the first time and just really loving it and, and as I said, as you said, Warped Tour is back. So we have those three weekends and then, yeah, our biggest headlining show ever, Wembley Arena, December 13th and, you know, it’s looking like we’re going to sell it out. And that’s just one of those achievements that, you know, it’s, it’s much like, you know, I guess, you know, we’re sort of stacking those up, you know, we’re Grammy nominated, we just crossed a billion streams and now we’re going to headline Wembley Arena, you know, so it’s like, those are, those are like doctorates, you know, it’s, we’ll always have those things.  

Logan: You mentioned Grammys and the blue tuxes. I did some research that you guys won an award that didn’t win the Grammy, but you won the worst dressed that night from a fashion reporter. 

Jaret: We did, yep. From two actually we won it. We were named Joan Rivers “Worst Dressed” and People Magazines actually.  

Logan: Now in retrospect, would you wear the same, going back in time, would you wear the same blue tuxes? Because I personally think that they’re probably one of the best of the night, but would you have taken it up or would you have kept with the blue tuxes?  

Jaret: No, we would have done it again. I mean, we got so much press out of that, you know, I mean, Jimmy Kimmel even pointed us out on his show before we would ever, we’ve done him three times now, but you know, before we were ever even on there and he pointed out to our tuxes and so yeah, we got a, we got a lot of miles out of that. And also we looked so fun that Brad Paisley was there, he was at his first Grammys and he was, he was walking through and he was like, he was like, hey, I’m here by myself and you guys look fun. Can I just walk through this red carpet with you? And I’m like, yes, Brad Paisley, you sure can, you know, it’s super fun. Yeah, it’s super fun.  

Logan: Now you mentioned Warped earlier and you said like, you know, your bands come up together and stuff like that and I mean, this is the first Warped in, what is it, seven years at this point? Is it a lot of familiar faces?  

Jaret: Yeah, it’s definitely, as I said, it’s like a, you know, like a high school reunion or summer camp reunion or, you know, family reunion or whatever, but it’s, yeah, it’s, I mean, it’s, you know, it’s not quite the same in that, you know, originally your Warped tour for however many years we did it, we were on it for about 15 years, I think. And you know, you’re on it the whole summer and so, you know, you’re, all the buses are parked together and you’re, you know, that’s where you, you’re all hanging out and stuff like that. It’s a little bit different since most of us have to fly in for the shows, you know, and so you see as many people as you can. It’s a little bit overwhelming, but it’s, you know, it’s great to see everybody.  

Logan: I saw Dan Povenmire made an appearance and like, you know, many kids my age, my introduction to Bowling for Soup was, you know, through Phineas and Ferb and everything. So how did bringing Dan out come to be?  

Jaret: That was cool. You know, he’s done that a few times. I can’t really remember the first time we did it. We did it at the Anaheim house. Oh no, I do remember.  

Logan: Is that When We Were Young? 

Jaret: When We Were Young.   

Logan: That’s right. 

Jaret: We did that the first time and he loved it, had so much fun. So then he and Swampy both came, oh, and Vincent, who plays Phineas, all came to our Anaheim House of Blues show last year and we did a little thing and then, but yeah, this one was really cool because Phineas and Ferb, it was the week of the day of the debut of the new episodes.  

Logan: The re-premiere. Yeah. 

Jaret: And so they did a whole exhibit, but like put together a whole installation at Warped Tour and people could walk through it and stuff. And so it just added to the show that Dan was able to come up in the jacket and do the voice and we shot love handle shirts out of the t-shirt cannon and my son was there who’s 19. He was able to do that. So it’s just a great day.  

Logan: That’s awesome. Yeah. I was about, I remember my older sister telling me, I was watching Phineas and Ferb with her and she’s like, they’re like an actual rock band, Love Handle. That’s how I fell down this rabbit hole and fell in love with you guys playing and it’s been very cool seeing that come to be with Dan on stage.  

Jaret: Yeah. And just generations and generations of people who love that show so much. And it’s certainly been a pleasure to be a part of it all this time.  

Logan: Now you’ve been still producing great music, like “Pop Drunk Snot Bread”, I love, you guys are still out cooking, “Don’t Mind If We Do” came out a few years ago. You had the release of “Fishing for Woo’s”. Those creative juices are still flowing, which you can’t say for a lot of bands that came up in the same era. What’s the secret to you guys still putting out good quality stuff?  

Jaret: Yeah, it’s just because we still enjoy ourselves and we never really tried to mess with the formula. We just do what we do and we didn’t try to change with the times or anything like that or evolve or copy any styles or trends or anything like that. We just stayed who we were. I think Bowling for Soup fans would agree that every once in a while you just need a little dose of Bowling for Soup to brighten your day. And we figured that out pretty early, that that was our thing and we really just stuck to that. And we still enjoy what we’re doing. We still love being around each other. So it’s been a blessing for sure.  

Logan: And you added “Turbulence” to the setlist I saw for this tour right now. How do you pick, because you play your hits, but how do you swap in those more deep cut type songs?  

Jaret: Yeah “Turbulence” was an interesting conversation actually. It’s really interesting that you would bring that up because we do that during our full set. It’s usually after I do a whole discussion, a quick two, three minutes about mental health because mental health is really something that is important to me and it’s something that I’ve had issues with in the past and I just really like to communicate that out into the world so that people know that A. it can really happen to anybody. But “Turbulence”, it was really just knowing the Simple Plan audience and knowing that they have those songs like “Perfect” and the “Unnamed Song” and those songs that are just really, really heartfelt. And it was like, you know what, this audience, even though we’re only up there 40 minutes, I think they’re really going to be able to take something away from, with the song Turbulence. And so, actually, it was Rob’s idea, I think, and then we just talked about it as a band and we were like, yeah, let’s just try it and see. And it’s really working. It’s a nice, nice little, we’re really, really in your face for like 30 minutes and then it’s a little breath of fresh air, then we’re in your face for another 10 and then we’re done.  

Logan: Yeah. Well, you mentioned a 40 minute set. Do you remember the longest set you’ve ever played?  

Jaret: Oh, yeah, sure. I mean, you know, yeah, we’ve played three hour shows, I mean, plenty of times and we were one of those bands, you know, when we were back in the bar days, like they would have to pull us off the stage. And our 20th anniversary show, I think, was two and a half hours. And they were literally like, it was a union crew, and our tour manager literally had to walk up on stage and be like, they are going to turn on the lights, you need to get off the stage. So, we don’t, I don’t really see us doing that anymore. We’ve gotten a little older and it gets hot up there, but yeah, I mean, we’ve played some long shows. 

Logan: Yeah. Getting old sucks, but you know, everybody’s doing it as you are.  
Jaret: It’s better than the alternative, right? 
 
Logan: Yeah. Okay. Final one. You got, you know, just a big anniversary tour, you’re opening up. What’s next on that? Are you guys writing, do you write on the road a lot, what’s coming up for Bowling for Soup?  

Jaret: Yeah, as you said, you know, we have this tour, we still got another three weeks left and then we’ll be home for a little bit and then we’re touring some dates in the south to get to Orlando Warped Tour. And we’re playing Epcot as well for two days. And then we got the Wembley Arena show and then in February we’ll be in the studio recording a new album. So, and between now and then we’re releasing “Hangover You Don’t Deserve Live” that we recorded in Manchester last year.  

Logan: I love live records, such a fan.  

Jaret: Thank you. Yeah, well, we’re excited about it. You know, it’s our, I think it’s our third or fourth live record. And so this one, it’s really, really cool because it’s the whole “Hangover You Don’t Deserve” album front to back and then some fun stuff at the end, but yeah, it’s just an exciting time for us. And then there’ll be more, we’ll be in Australia some next year, back to the UK again some next year and then a full US tour late in the summer and fall.  

Logan: That’s exciting stuff. Well, you can catch Bowling for Soup in Council Bluffs, Iowa on August 20th. I’m in Chicago right now, you guys are playing the 24th at Northerly, I’m very excited for that. It’s awesome. You got a good stretch. Well, thank you so much for spending time with me. 

Jaret: Thanks for having me. 

Logan: I really appreciate it. It means a lot.  

Jaret: Thanks brother.

To quote my interview with Brendan Brown of Wheatus, “if you went to a Bowling for Soup show and the PA caught on fire and all of the microphones failed and somebody stole all the guitars, Jared Reddick could stand there without a microphone and entertain 2,000 people by himself for three hours. He could do it”. I couldn’t agree more. The energy Bowling for Soup brings to the stage is contagious, making even tho most stagnant viewers give a little toe tap or head bounce. Bowling for Soup will play their biggest headlining gig at Wembley Arena on December 13th with support from Wheatus and Punk Rock Factory. A handful of US dates, including Innings Festival, have been announced as we await the new album and tour dates for later in 2026. You can keep up with the latest Bowling for Soup news here.

The post Interview: Jaret Reddick of Bowling for Soup appeared first on KRUI Radio.

Addison Rae, ‘Addison’

There was no other album I was more excited to make fun of this year than Addison Rae’s self-titled Addison. Yet, despite all odds and precedents, the TikTok-star-turned-singer-songwriter has deservedly etched a space for herself in the pop star landscape despite following one of the most pivotal years in the genre. In an interview on the Popcast podcast, Rae quotes, “taste is a luxury,” in reference to her own tastes in music and fashion. She credits her success on TikTok and her public as the reason she is now able to pursue her more genuine interest in music. This philosophy becomes very evident within the first few seconds on the album, with the song, New York. A familiar, yet unconventional, pop track opens with a rapid electronic pan and escalates to a breathy Max-Martin-esque dance beat that screams 2000s Britney. It feels nostalgic, yet new. The album is immediately rewarding, offering a fun and campy surface appeal on tracks like Money is Everything and High Fashion. Yet, the listener is often gifted with deeper lyrical focus on songs such as Times Like These and Headphones On. With an entirely female produced record, Addison feels in complete control of the feminine sexuality that underlies the album, reminiscent of her fellow recent breakthrough superstars like Sabrina, Chappell, and Charli XCX. Addison is an incredibly impressive debut project that makes me very excited for her career, and the future of pop music.

-Becca Warfield

Don’t Tap the Glass – Tyler the Creator

DON’T TAP THE GLASS by Tyler, The Creator is a shorter album, running just 29 minutes throughout its ten tracks. Released on July 21, just less than 9 months after the release of his last album, this
album is an outlier in his discography. Tyler’s known for his writing style which (lately) tends to be more
confessional and narrates the personal themes in his life. Instead, this album was written purely to make people move. When he released the album, he was open about this switch and told fans “yall better get them expectations and hopes down this aint no concept nothing” on Twitter. This tweet severely downplayed how strong this album stands out in his discography. While nothing conceptually profound, the album is one of his most upbeat and engaging. Every song builds off of the energy from the one before. Some standout tracks include Sugar on My Tongue, Big Poe, and Ring Ring Ring, which all experienced a lot of hype online. My own personal favorite is Sucka Free. Overall, this album is definitely worth a listen, especially if you need something carefree and upbeat, or just want a good beat to dance to.

-Will Clair

Ethel Cain, ‘Perverts’

Ever since its release back in January, Ethel Cain’s new project Perverts entranced me. This EP represents a drastic tonal and thematic departure from Cain’s debut album, Preachers Daughter, which built a southern gothic narrative from a mix of folk, slowcore, and elements of dream pop. This time around, Ethel Cain completely switched gears and opted for a dark ambient project composed of drone music, unsettling sounds, a near complete lack of lyrics, and a oppressively haunting atmosphere. With Perverts, we are taken on a journey of transcendence to explore the different manifestations of perversion in all its forms. From the opening title track, we are immediately thrust into this world Cain experiences, which transports us to decrepit basements, vast stretches of woods, industrial power plants, and this esoteric divine theatre. 

Songs explore twisted depictions of desire, with kick drums, delicate piano and fragile vocals in Punish, and the terrifying howling over continuous murmurings of “i love you’s” in Housofpsychoticwomn. The album touches on the perversions of pleasure with my personal favorite, Onanist, creating its perversion with whispers, powerful bass, and building crescendos. The rest of the soundscape is a combination of heavy instrumentals, drones, distorted vocals, drums, lap steels and the hurdy-gurdy as Ethel Cain represents lustful experiences in Vascillator, proximity and abandonment from God in Thatorchia, and self-destructive within Amber Waves.

In just nine songs, she explores themes of guilt, shame, eroticism, resentment, faith, transcendence and corruption of self, with a soundscape akin to a horror movie soundtrack. It is best challenging for a casual listener, and at worst downright terrifying to anyone curious enough to peek into her veil. But I would be remiss if I didn’t insist that this project is worth the listen, if only to experience the journey of sonic transcendence Ethel Cain drags us through within her perversions.

-Clara Carrion

Westside Gunn, ’12’

Westside had a big year in 2025 with 3 full-length albums, 2 EPs, and multiple singles, including crossovers with JID, Cookin’ Soul, Karriem Riggins, and Doechii, who just received the Grammy for Best Rap Album of the Year last February. 12 is the newest installment of Westside Gunn’s long-running Hitler Wears Hermes mixtape series, which feels less like a batch of individual songs and more like a cohesive project than any Griselda releases this decade.  Amidst all the deluge of content from the Griselda label this year, 12 went under the radar and underappreciated, even by fans. While the album doesn’t experiment or break new ground sonically, it’s my favorite this year merely for the penmanship and lyrical delivery from all parties involved. 

The best RYM review I’ve ever seen noted, “Westside Gunn is the moment hip-hop goes post-hip-hop—transforming the MC into an echo, the beat into a museum piece, and the genre’s symbols (luxury, violence, nostalgia) into looped artifacts”. Almost nowhere is that more clear than on tracks like Vert and Bury Me with a Stove, where the essential hip-hop drums are replaced with droning ad-libs and grainy phonographic samples: Creating Giselle’s trademark haunting and lavish atmosphere. The tracklist, however, diversifies, with the gritty hardcore boom bap posse cut that is Boswell and Tom Sos’s featherlight voice and rhymes on tracks like Gumbo Yaya and Health Sciences offering a ray of light in 12’s nocturnal atmosphere.

Though technically under the name Westside Gunn, spiritually, this is Stove God Cooks’ masterpiece. He features on almost the entire first leg of the tracklist and steals the show in the album’s drumless outro, Dump World. StoveGod sounds more at home on an altar than in the studio, bringing unflinchingly egotistical lyrics and drumless gospel hymns to create a liturgy of the self, demanding the listener bend the knee and pray. Bars like “The Virgil Rug say rug, the plug name in my phone say plug” or “YOU EVER COOK HALF A BRICK IN DA AIR FRYER”  puts the entire Western literary canon to shame. Stove God features on this project more than any other Westside release. So if you’re looking for the most lavish bars in hip hop today, this project is for you.

-Amman Hassan

PinkPantheress, ‘Fancy That?’

It’s a Pink sweep. This music video for Stateside was shot outside a JCPenny, and really I think that’s all you need to know to truly get what this album’s all about. Music and fashion trends have been dominated by this idea of “Y2K” for the past few years, what initially began as unique and inspired 2000s throwbacks quickly turned into force-fed slop and algorithmic nostalgia regurgitated back at us from every corner Tiktok could touch. This year–praise god!–we’ve maybe started resisting crap in a low-rise bow, and with projects like Addison, Essex Honey, and cheetah print, we’re finally seeing a rise of Y2K nostalgia that is not only hopes to remind, but to inspire.

I hate to laud a southern, but anyone who can flaunt ultra-high rise capris is committed to this Y2K shit. It might as well be 2006 for PinkPantheress as she’s tapping into her U.K. jungle and D&B roots right from the opening beats of Fancy That’s first track, Illegal, with a complete embrace of a nostalgia that doesn’t stale or pull superficial. From Tonight to Romeo, this is neither her most emotional nor ambitious release, but I’d say it’s by far her most stylistically unique and coherent project by far. With this mixtape, Pink’s solidified her image. She’s drawing influences from around the world into her Brit tartan aesthetics, and creates tracks out of it that are so fresh & fit, it’s actually a no-skip record. Whether I was fucking about in Scandinavia or stateside, Fancy That? has been my dearest friend this year. This mixtape is sweet, sexy, and just pure fun with a bassline, it’s everything that this vague memory of an animal-printed and velour-clad 2000s embodies. Nostalgia is a tool, and Pink wields it with her iron-plaid fist. like what!?

-Pauly

Sudan Archives, ‘The BPM’

“An artist’s foray into a “Gadget Girl” persona in the year 2025 may verge on cliche and could even be banal, but with Sudan Archives it just feels so right. Following the acclaimed 2022 album Natural Brown Prom Queen, on this new record, The BPM, Sudan Archives leans even heavier into the (dare I say) archive of dance beats she intricately weaves together to explore the relationship amongst technology, body, and identity. With fifteen songs and clocking in at just under an hour, the album never feels bloated or rushed. The songs, which pull on club beats inspired by Midwest cities like Chicago and Detroit, flow from one to the other to explore Gadget Girl’s sci-fi persona and life. “MY TYPE” is a notable standout, with a racing beat, quick lyrics, and a chorus that is an instant club classic. On the album opener “DEAD” she sings: “Where my old self at? / Where my new self at? / Where my light side at? / Where my dark side at?” with a chorus of “right here, right here” reassuring herself after every line. Gadget Girl can go everywhere and be everything, as she sings on “A BUG’S LIFE,” another album standout, “’cause she never looks back / and she can’t go home.” With Sudan Archives and The BPM, I don’t think we even want to anymore.”

-Corrine

Frost Children, ‘SISTER’

SISTER, the latest Frost Children album, was released on September 12th of this year, which perfectly blends genres to create a timeless electronic-hyperpop-indiepop-EDM album that will be played for years to come. The two siblings, Lulu and Angel Prost, began making music together in 2020, leading them to release 5 albums from 2020-2023. After a 2 year break, they returned and released what is, in my opinion, their best album yet.

SISTER builds upon the electro-punk and indie-sleaze style of hyperpop they employed in the albums SPEED RUN and Hearth Room, but turn the EDM knob up slightly. This gives the album an inherently nostalgic quality that I haven’t heard from a new release ever in recent memory. They perfectly encapsulate the energy of 2010s pop hits but build upon them with their already established abrasive style of hyperpop, to not only draw from the past but to innovate a new style of electronic music all together. Songs like Falling and Position Famous perfectly illustrate this push and pull – they sound at points deeply nostalgic and also very innovative, creating for a sound I haven’t heard before and a mix of genres that I’m sure will influence the next wave of electronic music for years to come.

-Chase

MIKE, ‘Showbiz!’

I, like many others, was introduced to MIKE by his long term friend, collaborator and fellow abstract hip hop artist Earl Sweatshirt. Mainly from a line off his 2018 single The Mint, “I was in the kitchen with that nigga Mike”. Curious, I decided to check out his 2019 album tears of joy, and since then I’ve gotten to experience one of the best and most unique modern hip hop discographies unravel with Showbiz! being no exception. 

With 24 tracks, you’d think MIKE’s signature laid back, monotone delivery would get repetitive or boring but far from it. Combined with the sample heavy jazz & soul inspired production it creates a very relaxed, meditative feeling to the album that makes it feel more dream-like than sleepy. His lyrical ability has also never been sharper with tracks such as Lucky and When it Rains featuring bar after bar of creative and well delivered lyrics. 

But what really holds this album together and makes it my favorite release of the year is its common thread of family, reflection of one’s past and the path ahead of him. On one of its standout tracks What U Boutta Do?/A Star was Born he professes “I’m the living proof, I’m my parent’s child. Put you in my shoes, it’s a scary route”. Since a lot of MIKE’s work revolves around mental health and personal struggles, seeing him be able to so honestly reflect on some of what’s led to these issues discussed on other tracks is very fascinating. On the albums most popular track man in the mirror it begins with a sample of a man discussing the pressure of his job and how “showing off” has almost become a requirement, but also a huge cause of pain in his life. As MIKE has continued to see growth and recognition it’s fascinating to see how this has affected his perception of himself and “the man in the mirror”.

With such a consistent album that I’ve been replaying since its release I’m excited to see where the career of one of hip hop’s best working rappers is gonna continue to lead us toward. And if it’s to more amazing albums like this one. Then I’m pretty happy with the trajectory.

-Tarik Krob

Kevin Atwater, ‘Achilles’

Once again, Kevin Atwater manages to break my heart yet simultaneously make me sing along. His first album, Achilles managed to be in my constant rotation year round. Despite his soft voice, Atwater with each song, manages to illustrate his emotions so impactfully. Atwater has been hurt before and much of that gets channeled in crushing lyrics that paired with intense instrumentals. That’s what I like about Atwater and this album. It wears its heart on a sleeve and inspires a sort of connection with Atwater in a sense. Atwater bares his soul for the album and as a listener I feel appreciative he’s willing to share it all with me. Most of songs come from Atwater’s personal experiences and it’s clear that he’s laying all his cards on the table. I don’t just admire that Atwater’s is willing to get vulnerable, it’s also that I think he’s able to tell the stories in these songs quite beautifully. That’s what got me to got me to come back to this album numerous times this year. Some of my favorite tracks of this album include “Jamie’s Daydreams” and “the cage”, as they show Atwater at his angriest and hurt. Even though Atwater never raises his voice in either song, his anger is palpable and visceral through lyrics that pack a punch. achilles has showed me that Kevin Atwater is still manages capitivate me with his stellar songwriting and has me excited to see what he has in store for the future.

-Ria Das

the side peices (heavensouls x stickerbrush), ‘darkskin n****s with lightskin problems’

Prolific avant-rap producer-mcs stickerbrush and heavensouls more than eke out a place for themselves within an ever-expanding universe of deepweb art. Teaming up for a second time after their initial inverted skintone collaboration, 2024’s lightskin n****s with darkskin problems, 2025 sees the two solidifying their artistic connection in a fragmented and frenetic auditory experience often as multifaceted as everyday life in 2025 feels, an unpredictable world of extremes, liable at any moment to turn on a dime to a polar opposite. Expansive, enveloping sound collages initially cloying in their sweetness give way to harsh staticky bursts, overlapping vocal shards and textures swirling- one moment cacophonous, the next, breathtaking. Any artist that can transition from a verse about zero star yelp reviews to one of the best Jersey Club beats I’ve heard all year surely has a grasp of what exactly they are doing.

While both artists are by no means household names, the sheer quality of this project has caused a slow but steady expansion of their profiles throughout the year, setting the stage for their anticipated third project dropping next year.

-Evan Raefield

Sam Fender, ‘People Watching’

For 2,603 minutes this past year, I was listening to Sam Fender. In November of last year Fender announced his third studio album “People Watching” would be released on February 21st and the anticipation only built until then. Some singles to try and calm the excitement only led to the expansion of this desire to hear the whole thing. The record opens with the title track, my 13th most listened to song this year, and for good reason. Its bright instrumentation, a collection of acoustic and electric guitars brought along with a dancing bassline and much more, welcome you into this reflective and beautiful record.

One of Fender’s greatest skills is making you feel like you’re next to him at a pub talking. These songs trace all the things that have made him who he is to their origin. A disruption of faith on “Little Bit Closer” is written as a confession of confusion from a man who is lost in his relationship with god, or whatever else is up there. It’s not often a younger artist, 31, can be so honest about his worries about death and what will happen to him and his loved ones when that day arrives. A plea for not even an answer, but guidance, placed along with an outro that rivals any contemporaries is something that will rattle around the ears after a listen.

“Arms’ Length” is another favorite of mine, with a riff that made me find the nearest guitar and play along. Fender’s voice is an instrument in and of itself. His tenor range cuts like a silver bullet through his guitars, with a sturdiness that anchors each tune to the stories he is so good at telling. “Rein Me In” has gotten a lot of attention recently too with Fender inviting fellow rising star Olivia Dean along for the tune. “Something Heavy” is another honest reflection on the loss of friends, even if they are still alive. It drips in heartbreak for those who’ve fallen to substances and is an extension of the hand to those trying to make it out the other end. This album is a no skip for me, but these songs in particular have etched their way into my mind.

Fender rightfully so has a stranglehold across the pond, selling out three nights at St. James Park in Newcastle this past June. These annual homecoming gigs in Newcastle keep getting bigger and bigger, and rightfully so. His live shows are an explosion of joy and vulnerability. I had the privilege of seeing him in a much more intimate setting than those in England at The Aragon Ballroom in September. Hitting six songs off “People Watching”, Sam and his band have written their names on this historic venue. Accompanied by a stellar live band that brought my favorite record of the year to life, the closing tune of “Hypersonic Missiles” left me hugging my brother and strangers alike. There was a communal feeling in that room, knowing this was the smallest venue we will ever see Fender in as his conquering of the States will require a much larger space the next time he comes our way.

“People Watching” has not left the rotation and will not any time soon. An open book with a golden voice, Sam Fender is here to stay.

-Logan Melia

Thanks for rocking with college radio in 2025, stick with us here at KRUI in lovely 2026 and beyond<3.

The post Best Albums of 2025: KRUI Staff Picks appeared first on KRUI Radio.

It was surreal to see this band as it was formed 20 years later, still singing through the modern classic The Michael Jordan of Drunk Driving tumbling over into Disposable Everything off their newest record. They chatted with folks between songs, completely just two dudes up on a stage. At one point, a Santa hat was given to Ben Gallaty, who captured the look extremely well. Their sound was sparse with just a guitar and stand-up bass, but they both pulled their notes full to flood into the crowd. AJJ’s most recent record Disposable Everything is definitely an “end of the world” record, nihilistic folk punk in every way AJJ was expected to deliver. They sang through songs about pride, waste, corporations, and the human greed destroying the planet and killing the humanity of what we have left to offer. It’s a change from their earlier discography, which focused through the same semi-nihilism ideas, but from a very personal view. Now, their messages encompass everyone, framed to describe the world at large, and the end of it all. Sean Bonnette’s voice rang out in a fully half-step-off pitch at every point where it mattered, it was a beautiful set. They closed out with a favorite, Big Bird, and the crowd sang and cried along while the final piercing notes of AJJ howled around us.

Room is a generous term to describe The Raccoon Motel venue, a tall but narrow side to the main bar, it’s like Gabe’s upstairs had a wall built halfway lengthwise and shoved a sold out show into the space, people like sardines in a quaint tin. The stage was no different, stickered amps, two guitars, a bass, a firetruck red tambourine, a synth set, a drum kit with the newest Cursive album cover skinned onto the front, and a fucking electric cello sat squished together on a stage that would struggle to fit a mattress, with a massacre of Hy-Vee plastic water bottles scattered around.

That one dude (don’t know his name but remember his voice) who announces these kinds of shows with his crazy impressive yelling stepped on stage to introduce a poet to prelude the Cursive set. A man read out his poem he wrote from emotions seeing Cursive perform when they were last in Iowa, I don’t recall what he said, but his words struck into me that this would be a special show, that could affect us in the same way to be moved into poetry. His words ended, and five people walked on stage, the sixth (Tim Kasher) less walking than bouncing into his spot. 5/6ths of the band was wearing a button-up shirt that night.

This tour formed for the release of the most recent Cursive album, Devourer. Released last year, Devourer is this maniacal end-of-the-world frustration and this idea of the great consumer, an imperialistic devourer that controls our lives, and the very personal imperialism that we find eating away at our own selves. Regaling earthquakes, volcanoes, gasoline advertisements, and self-immolation DIY, and the Cursive protagonist’s own denial of reality as they’re stuck within their own consumptions.

“Happiness is in the devouring. I saw our future, and I want to go back,” Cursive opened the final show of their tour with Consumers. This band has mastered building melodies out of simple riffs for decades, somehow reinventing a blowing heaviness within each pattern. It’s so simple, yet never boring. They continue into The Casualty, another dense melodic tune as the set continues weaving tracks around their full discography from the past 20 years. During a break, Tim Kasher justifies that since this is the last night of their tour, “we have a lot of fucking off to get out of our systems.” As Cursive gets comfortable on the twin-size stage, the singer Tim and cellist Megan Siebe continue to get lost in the throes of their hammering tones. The rest of the band plays incredibly with a much more subdued energy, the others with that desperate gleam of an exhausted runner in their last mile of a month-long marathon.

As the set continued, you could notice a distinct difference in the energy between their older music, and their most recent album. Tracks like The Recluse and Caveman from their younger years were played with a loose recklessness, they felt like a band of 20-somethings playing with lazy exaggeration to cause a scene. That same recklessness became much more intentional, almost a nihilistic abandon during The Avalanche of Our Demise and tracks from Devourer, still filling the hall with the same thundering energy but with a stronger intention.

Cursive continued their unburdening “fucking off” spiral, and the crowd joined right in with them. All around, the vast sprawls of middle-aged dudes in beanies and baseball caps screamed along, a drunk birthday girl and her even drunker friends all dressed in tiaras shoving and shrieking against the rail, before collapsing under the weight of the tallest moshpit I’ve experienced heralding the first thrums of Art is Hard. I’m not exactly one for self-preservation, but even under the intoxicating cello pulls of that tune I’m not fucking about in the midst of eight dudes with perfect elbows swinging into my eye level. Immediately after finishing the song, Tim threw the shot back he had so tenderly carried on stage with him as it became increasingly obvious he was at least reasonably hammered, whipping his ridiculous curtains on his head all around.

Megan Siebe on the cello really pulls Cursive together as a band, the final and fundamental piece that separates them apart from the whole slew of indie-rock bands out there. Seeing her play live was incredible, bridging some gap between classical technique and rock with her skill and intense energy. She also had a wee finger monster stuck onto a knob on her cello, mad respect. I’ve been a huge fan of their music for years, one of the bands that really dragged me into this divorced-dad-indie-rock shithole that we love and adore. Cursive as a band has changed so much, and not at all since their humble Omaha beginnings. It was really lovely to see them at the end of this tour, to really experience how they’ve stayed exactly the same yet changed so much, their fundamental uniqueness staying so consistent yet fresh for the past 20 years. They closed out their main set with From the Hips, with nothing more needing to be said.

Huge thanks to The Raccoon Motel for supporting KRUI, to check out their upcoming events (or to see Kermit hanging off a mountain lion) visit them in downtown Davenport. They’re hosting a record party on New Years Eve. Thanks as well to Marshall Rogers for sharing these lovely photos.

The post The end of the world written in Andrew Jackson’s script, Cursive with AJJ at The Raccoon Motel, December 21 appeared first on KRUI Radio.

Their first meeting was in January of 2025, and they instantly got to work. They released their debut single 6 months later. Now they have started doing shows and testing their newer songs in live audiences. 

For their show at the James Theater, there will be a 10$ entry fee. To keep up with what the band is doing, you can follow them on Instagram under the username @bluffstreetband. You can also find them on Spotify or Apple Music.

The post ‘Bluff Street: From the Vault’ preview appeared first on KRUI Radio.

For those who are new to the band, Mannequin Pussy consists of 4 artists, Missy Dabice on vocals and lead, Kaleen Reading on drums, Bear Regisford on bass and secondary vocals, and Maxine Steen on guitar. They weren’t always called Mannequin Pussy, but I assure you the original name was just as upsetting to the status quo. And that has always been their goal.

Somewhat early on in their show, Dabice made it clear that part of the performance of their art is also conversation with the audience. I found that pretty respectable. It’s not by any means original to include the audience in the experience of art, but seemingly uncommon in mainstream music recently. Dabice began the conversation by discussing the profanity of their name. She told men in the audience to join her in repeating the word “pussy,” stating that their name isn’t funny and it certainly shouldn’t be uncomfortable anymore. And that the consideration of the slang for female genitalia is only inappropriate because of the misogyny that lies in sexualizing women.

At the time I was a little shocked by their openness to topics like this. As someone who has grown up in Iowa, I’m no stranger to the ideas of the reigning majority in the government. It felt surprising because I had really only delved into discussions like that online, in small circles of friends, or in books. It brought up a wider topic for the night about vulgarity and censorship. I found it really interesting because one could actually argue that it’s still inappropriate to use other slang for different genitalia, but ultimately the point is that society deeming parts of the human body inappropriate or vulgar creates insecurities and tension that harm everyone in the long run.

Later on, they would go on to speak on a different kind of suppression under class. Dabice stated that billionaires “want to keep [the middle class] in a fantasy state fighting for something that will never be [theirs]” and that fighting keeps us from realizing corruption. She said America does not center its rage on the correct demographic. The more we fight over politics or identity, the more we fall into a state of pawns. To quote, she asked the crowd to “pledge allegiance to [ourselves] and [our] community.”

The show was a great experience for me as someone who had been listening to a good handful of songs and only had a little knowledge on the band. The small venue also made it far more intimate for the audience. When they came out on stage it felt like you were meeting them in person. Maybe that had something to do with the amount of conversing between songs, but that aspect influenced my impression of the band greatly. Well, that and there was this feeling in their words that other than educating the audience, they also wanted to release this sort of cathartic feeling. The entire audience was invited to scream as loud as possible for as long as they wanted in the last ten minutes. And then they played Romantic as the closer and everyone in the room lit up.

In terms of music, the lineup was great, their set came to about an hour and fifteen minutes in length, and it was electrifying. The song lineup was a lot of their newer album, with some older favorites sprinkled in towards the second half. I found myself dancing a lot, much to the dismay of a guy and his preteen daughter next to me. (Sorry by the way, hope the concert was still pretty good even if you guys stood there the whole time). Mannequin Pussy makes music that makes you want to scream and sing and thrash around in all the best ways. My favorite song just happened to be their closer that night and that made the show all the more special for me.

In my personal opinion, I thought the show was really powerful. I would one hundred percent see them again just to do the same thing all over again. (Though I doubt any one show would be exactly the same kind of magical). Mannequin Pussy are not only extremely musically gifted, they are a visionary group and their shows fabricate a compassion for their craft and the people impacted by it like no other artist I have encountered. As their name would suggest, Mannequin Pussy is an unavoidable display of intimacy and beautifully crafted vulgarity.

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The show began without any address to the crowd, nor waiting for the voices in the lobby to die. Nat simply inhaled, setting his bow upon the wired strings, and pulled out a thick note to reverberate across the room. The crowd grew quiet. Even the chamber outside stood silent as Baldwin linked that first cloying note into the next, carefully working the bow across the face of his instrument. Heavy fingers danced over the neck with instinctive grace and calculated intent, weaving into a low melody. Throaty vocals accompanied the deep bass in a voice which moved as gracefully as the hand pulling his bow, as though he were writing a sentence over the strings. With his words, Baldwin spoke of family, love, age, and time. He spoke of messing up, of starting over, and of trying again. Baldwin sang, played, and spoke out that theater what it felt to be human. The set was short, interrupted only twice by modest introductions and credits, and a brief “I love you too!” in response to a shout from an audience member. And yet, the music seemed to last longer than it could have possibly been, as time turned to hour-miles bent around the heart. The sweetest moment being Nat’s cover of beloved Iowa musician Arthur Russell’s “A Little Lost”, fluttering and earnestly singing “Cause I’m so busy, so busy/Thinking about kissing you,” perfectly befitting of the atmosphere that evening.

As Baldwin closed out his set, he thanked everyone for coming and spoke with audience members afterward, exchanging handshakes, kind words, and various forms of sweet affection. Within the culture of modern music festivals, even at smaller ones like Mission Creek, it can feel almost routine to show up and just choose what’s easiest, what’s simplest, and forget how to care. When I left the Riverside theater that night, I left knowing that Nat Baldwin cared, and so did I.

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