Jake Rye lost his home and entire recording studio, Social Recording Company, in that same fire. He’s been vital to the Michigan music scene by crafting the sound of notable acts, including Michigander, Brother Elsey, Pretoria, and The Hacky Turtles.
If you’re unable to attend the show, you can donate via a GoFundMe campaign to help offset Rye’s loss and raise money for the other residents affected by the fire. Half of all donations will be split up and distributed to each apartment leaseholder.
Lucas Powell finds renewal and clarity on his new single, “Lose You on My Own.” Photo courtesy of Lucas Powell
Three years ago, Lucas Powell embarked on a pathway to self-healing.
The Royal Oak, Michigan singer-songwriter and multi-instrumentalist found closure from a past relationship after writing a new song about it.
“I often write to tell stories about myself and my experience and to process my feelings. This one was a song I wrote to say all the things I couldn’t say directly to a former partner,” Powell said.
“Going through heartbreak without explanation leads to a lot of self-gaslighting and blame and was one of the loneliest periods of my life.”
What resulted is Powell’s cathartic new single, “Lose You on My Own,” which openly explores that heartbreak and disbelief alongside emotive indie-rock instrumentation.
Backed by intrepid electric guitar, synth, bass, and drums, Powell sings, “Now, I’m pulling at the steering wheel / And I’m not sure how I’m supposed to feel / Looking in the rearview mirror because forever didn’t last / Asking, “How can this be real?”
“I hope people who hear this song will be given words for what they feel and know they aren’t alone in their experiences,” he said. “Three years later, I couldn’t be more thankful in every way for the changes I’ve endured via the specific hardship mentioned in this song.”
The American Hotel System offers a highly cathartic listen on “Can You Hear It?” From left: Hailey Petty, CT McCallister, Jake LaMotte, Samuel Overman and Jacob Betts. Photo – Jake Orr Photography
For The American Hotel System, a new EP offers inspirational messages of hope, growth and perseverance.
The Grand Rapids, Michigan alt-rock quintet digs deep into past experiences and personal reflections to share words of encouragement on Can You Hear It?
“I think these songs are the most hopeful for me. It’s a great reflection of the journey personally that I’ve been on between all the crazy stuff that’s happened with the band … but also my personal life with my relationship with my wife, my son and my health,” said Jacob Betts, the band’s vocalist and guitarist.
“I feel like these are the songs we’re supposed to be singing right now, and I’m eager to see who we cross paths with. My prayer is these will hit people where they are.”
On Can You Hear It?, The American Hotel System instantly hits listeners with six anthemic tracks, which explore emotions and situations dealing with desire, mental health, love and pride. The EP’s insightful lyrics, fiery electric guitar solos and epic pop-rock instrumentation offer a highly cathartic listen within an arena-sized sound.
“This is our label debut; it’s a new era for us. This is the first time we’ve been able to work with such an amazing team of professionals behind the scenes,” said Betts, who’s releasing Can You Hear It? with his bandmates via SONO Music Group.
“We’re trying to say something here, and asking this question, ‘Can you hear it?’ Well, that encapsulates the whole thing we’re going for. Not just with the theme of ‘Can you hear these things? This longing that you’re longing for,’ but here’s what we have to say.”
Hickey Eyes’ Jake LeMond and Juliane Bednarz sparkle on their latest single, “Nosey.” Photo – Alayna Currey
Jake LeMond and Juliane Bednarz serve as an emerging, magical songwriting team.
The Hickey Eyes indie rock duo and real-life couple meld enchanting, lush harmonies with infectious, glistening pop soundscapes on their latest single, “Nosey.”
“‘Nosey’ started off as just a chorus I came up with. That same night I was on the phone with Juliane joking about how she’s nosey, and we thought it would be funny to use that as an idea for another Hickey Eyes song,” said LeMond, who’s based in Detroit.
“I sang her a melody of how I thought the verses should go, and she sent me the whole first verse. I thought her words were perfect, so all I had to do was write a second verse.”
Throughout “Nosey,” breezy, sleek Mellotron seamlessly fuses with ascending, vibrant acoustic strums, tranquil slide guitar, steady drums and mellow bass to overcome potential relationship challenges.
LeMond sings, “Electric start/I head for the airport/Every goodbye seems to be cut short/Wish we could talk/Dead on the weekends/Against the clock/Gone off the deep end.”
“Collaborating with Jules on this one was fun because I would just send her voice memos of my progress throughout the night while I was writing, and she sent a verse, so it all came pretty fast since the chorus was already written,” he said.
“We share music ideas with each other as they come to us, and being that we’re so close, we’re not afraid to share honest opinions. Jules is new to songwriting, so she is still figuring out her style.”
LeMond and Bednarz also expanded their Hickey Eyes “Nosey” collaboration to include Ian Ruhala (slide guitar, Mellotron), Chris Koo (vocal editing), Ben Fisher (drum editing), Jake Rye (mixing) and Mike Cervantes (mastering).
“I spent a good chunk of time demoing out this one in my bedroom while learning how to use Logic. It started out much slower and sounded pretty sad to be honest. Jules wasn’t all that crazy about that version, so I tried to give it more energy to balance out the somewhat sad lyrics,” LeMond said.
“I (also) tracked slide guitar and Mellotron at my friend Ian Ruhala’s house. Ben Fisher who mixed ‘Spoon Me’ helped edit drums. Chris Koo, who I’ve had the opportunity to write with a lot for this year for his project Yueku, edited vocals, and he’s definitely inspired me to put out more music recently with how consistent he’s been with his releases.”
The Flint indie folk rock singer-songwriter will perform his first headlining set in nearly 18 months at the Hamtramck venue.
“I can’t even express how good it feels to be playing shows again. I really hadn’t considered how vital that type of experience was in my life until it went away. I really had to push it away for a while when we didn’t know a timetable for the return of live music,” said Dylan Grantham, aka Young Ritual.
“Once the show was announced, all of those feelings came flooding back. I just want to make this night a loud and beautiful entry back into the music scene out here for Young Ritual.”
Hosted in partnership with Audiotree Presents, the show will allow Young Ritual to debut several new tracks since releasing his introspective, two-track A/B EP in March. He’ll be joined by Fenton indie pop singer-songwriter Au Gres, aka Josh Kemp, and Detroit indie folk singer-songwriter Emma Guzman.
“They are all pretty driving rock songs because that’s where my intent in writing has been, and the one I’m most excited about is called ‘Julianna.’ The song is kind of Springsteen and The Killers, but absolutely Young Ritual top to bottom,” said Grantham, who will include Au Gres as part of his live band.
“Josh from Au Gres is one of my closest friends, and I adore his band. He writes the sleekest indie pop imaginable and is just a pleasure to have around. I haven’t met Emma yet, but I’m a huge fan of what she’s been doing, so I’m really excited to have her on board.”
Michigander’s “Everything Will Be OK Eventually” EP offers hope and optimism for the future. Photo – Kris Herrmann
For Michigander, a new release lights the way after a dark year.
The Detroit indie pop singer-songwriter shares a renewed sense of personal and creative purpose on his third optimistic, six-track EP, Everything Will Be OK Eventually, out today on all streaming platforms.
“I’m hoping these songs will become a soundtrack of a return to normal. I tend to write sad music, but it sounds nice and happy, and that usually kind of tricks people. People resonate with each EP and every song coming out at certain time frames in their lives,” said Jason Singer, aka Michigander.
“It feels weird to know this one will do the same thing, and I know one day I’ll look back on this time, so I try to enjoy it now. I hope it serves as a time stamp and takes people back to where we are right now.”
Released via C3 Records, Michigander’sEverything Will Be OK Eventually instantly transports pandemic-fatigued listeners to a hopeful nearby future filled with highly anticipated face-to-face interactions and group gatherings. Each melodic, expansive track allows people to release pent-up sighs of relief and shed lingering worries as they progress from one song to the next.
That cathartic return to normalcy starts with Singer’s latest exhilarating, spirited single, “Better,” as ascending, vibrant synths, roaring electric guitars, pounding drums and buoyant bass reveal a promising road ahead and a peaceful disruption in time.
Singer reflects, “You’re always scared of getting caught/Always questioning your thoughts/But you can’t hide how you feel/I wanna know how you feel/Feels like time is moving quicker, but I’m getting slower/Guess that’s just a part of getting older/Wish I could look away.”
“I tend to write music with the intention of knowing what’s the opener and what’s the ender, and I fill everything in the middle. ‘Better’ and ‘Together’ are purposely where they’re at on the EP, and it was very intentional to open it massively and close it softly. My favorite albums have great openers and great endings, and it’s something I always want to replicate when I make my music,” he said.
Josh Kemp embraces uncertainty on his latest Au Gres single, “At Home in the Dark.” Photo – Kris Herrmann
For Au Gres, not every problem requires an immediate solution.
Instead, the Fenton indie pop singer-songwriter finds instant relief in uncertainty on his latest introspective, self-comfort single, “At Home in the Dark,” which dropped Feb. 26 via all streaming platforms.
“I hope this song might encourage others to be more present with each other during hard times, though not necessarily in the physical sense, pandemic and all. I wrote it specifically about someone dealing with depression, but I think it applies to much more than that,” said Josh Kemp, aka Au Gres.
“These moments don’t always call for ‘solutions.’ Sometimes the best thing to do for someone is just let them know you’re available to talk and reassure them that they aren’t ‘broken.’”
Au Gres beautifully provides a sense of solace as ascending, sheeny synths, thoughtful electric guitar, delicate drums and soft bass surround listeners while they’re feeling “At Home in the Dark.” Kemp reveals, “I wanna be there when it rains/I wanna know you on your bad days, baby/I wanna be there when you start/To think the wrong things in the right time frame.”
“So much of this track is inspired by my experience with depression (i.e., the dark). I’ve had moments in my life where I really needed someone to help me feel less alone. I’ve also been the one to do that for others,” said Kemp, who’s inspired by Passion Pit, Phoenix and The Smashing Pumpkins.
“The thing about depression is that it’s usually episodic, and when you’re in it, you usually don’t want or need to hear solutions. Sometimes the best thing to do for someone is just sit with them while they’re in it. Bringing over a cheap bottle of wine often helps, too.”
With an eye on the present, Melanie Pierce wants to leave the past dead and buried.
The Ann Arbor pop-rock singer-songwriter beautifully entombs former relationships, painful experiences and destructive thoughts into a secret crypt on “Your Grave,” a heartfelt, courageous anthem about moving forward.
“It was several situations that were not ideal and that happened at the same time. When the song was originally written, I had a lot of rage because it felt like so much was going wrong,” said Pierce, who released the track Oct. 30 via all streaming platforms.
“My mindset when I was younger was more angsty and negatively focused, and I was in a band at the time, and they were breaking up and a relationship was failing. It felt like too much at the time, and this song was born out of it.”
Throughout “Your Grave,” murky, alternating synths ping-pong between yesterday and today while pulsating drums, calm bass and intermittent piano ultimately lower Pierce’s past six feet underground.
She bravely sings, “Turn left because I ran out of rights/Done pretending to be so nice/So formal like we’re supposed to/Keepin’ tabs on people livin’ my dream/I’m livin’ with the ghost you left for me/Remember when you said this was just a dream/And that’s all it will ever be/I’ve been pickin’ up the pieces slowly.”
“It’s taking the next step and acknowledging things aren’t going your way and have ended. I’m literally speaking through the lyrics that I’m throwing this in a grave, moving on and seeing the other side of the bad situation and stepping into a positive, new beginning,” Pierce said.
“I think everybody has the ability to change in all aspects of life, and I feel like I’ve shifted toward a much healthier perspective. Being able to cope with change also comes with time as you grow and learn more about yourself and the world around you. I was put on this planet to make music, write songs and perform. I’ve really stepped into the artist that I’ve always wanted to become and learned how to navigate this musical journey.”
Au Gres’ Josh Kemp celebrates a new relationship on “Nervous.”
Au Gres instantly creates the proverbial comfort zone.
The Fenton indie pop singer-songwriter quickly throws anxiety, hesitation and doubt aside in his latest warm, dreamy pro-soulmate single, “Nervous,” which dropped Oct. 16.
“The song was inspired by my girlfriend, and I don’t usually set out to write a song. Instead, I mess around with progressions until I get an idea of what I want it to be about, and the song kind of writes itself. But for this one, I just felt so comfortable with her, like right off the bat, and I wanted to write something that felt that way,” said Josh Kemp, aka Au Gres.
“I sat in my room for a long time, and I wrote that bendy hook and everything else around it because it felt perfect to me. It was just me with my laptop in my room. I think I wrote most of it in an afternoon, and then I came back to it quite some time later and added more and more to it.”
With glistening acoustic strums, whimsical electric guitars, vivid bass, pulsating drums and atmospheric synths, “Nervous” serves as the ideal romantic icebreaker that immediately puts apprehensive partners at ease. It’s the melodic, soaring anthem everyone longs to hear on a magical first date.
Throughout the Mac DeMarco-like track, Kemp reveals, “I think I overstayed my welcome/But I think you want me to/Stick around/To bring you coffee or a cigarette/I don’t think we’re done yet/Not for now.”
“It’s a reminder that the reward is worth it so to speak, and I’m talking about long-lasting, real relationships. It’s tough to make yourself vulnerable with people, and sometimes if you want to have that kind of relationship, then you have to be the one to take the plunge and let your walls come down,” said Kemp, who’s inspired by Passion Pit and Phoenix.
Eight months ago, Kemp shared bedroom laptop demos of “Nervous” with Jake Rye at Adrian’s Social Recording Company. Rye solidified the track’s final version while Noah de Leon (guitars, keys, synth) and Kemp (guitar, keys, synth) handled the arrangements and invited drummer Brodie Glaza.
“Noah and I had most of the arrangements filled out, but Jake would take a look at certain parts and help fill in the gaps a little bit. He gave things a lift where they needed and dove into those melancholic, indie feels. He was really good at drawing that part out,” Kemp said.
“I think it really grew into what I had in my head, like when I was in my bedroom. And to hear it come alive with real drums because I was just using samples, and even now listening to it and thinking about that experience, like COVID, and how strange it is to be back working on music, but also at the same time it felt very right and very good. It finally felt like a slice of something very nice.”
Last week, Kemp shared another slice of “Nervous” through a new lyric video recorded with Darity’s Linsley Hartenstein. The quirky video shows Kemp enthusiastically performing multiple parts on a flashy, portable ‘80s color TV (akin to Lindsey Buckingham’s 1981 “Trouble” video).
“It’s a little silly, and it’s my first go ever using a green screen,” said Kemp with a laugh. “We wanted to have fun with it.”
Melanie Pierce reflects inward on her latest single, “Illusions.” Artwork – Jenya Po
Melanie Pierce magically travels to the other side of the mirror.
The Ann Arbor pop-rock singer-songwriter ventures beyond the looking glass and reflects on misunderstood life moments in “Illusions,” a spellbinding glimpse into vivid realizations and intense ruminations.
“I was in this relationship for a long time and had felt misunderstood on so many levels throughout that period of time. And not just by that person, but also by my family because they were not super on-board with music. I also lost some friends in a short amount of time due to music and that relationship,” Pierce said.
“I was really reflecting on that time, and I remember exactly what I was doing when that song came out of me. The first line that actually came out was, ‘Painted words on paper-thin walls,’ and I was watching this TV show, and I paused it and went to the piano. That song was written in like 40 minutes, and it was written very easily and clearly, like I knew in me what I wanted to say and what I wanted to get out.”
Featured as part of this month’s “The Stratton Playlist,” “Illusions” blends somber synths, sorrowful piano, shimming electric guitars, soaring electronic drums and throaty bass into a hypnotic, sonic head-trip.
Akin to Vanessa Carlton, Pierce’s soulful vocals implode her romantic mirage as she ponders, “I thought I’d figured it out/Wide-eyed, I mapped it out/But you say I’m too difficult/Honey I know, honey I know/I try to pull back/Quiet the noise inside my head/But you say it’s too difficult/Honey I know, honey I know/I’ll never let this go.”
Pierce recorded “Illusions” earlier this year with producer Jake Rye at Adrian’s Social Recording Company. He helped Pierce crystallize the track’s vision and added majestic arrangements to quickly transform it in the studio.
“We would go back and forth like, ‘What do you hear for this part?’ and he had a good direction of where the production was headed. He came up with an awesome, meaty bassline, and I can’t really say enough positive things about him,” said Pierce, who learned about Rye through his collaborations with Michigander.
The Stratton Setlist 