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.”
Fernando Silverio Solis eloquently raises his voice, holds his head high and advocates for solidarity amidst a sea of recurring racial, social and political struggles.
The Flint indie folk singer-songwriter and guitarist speaks volumes about the lingering injustices against people of color and the Black Lives Matter movement’s ongoing fight against an oppressive state on his latest gripping single, “Keep Your Head High.”
“I was just reflecting an expression of what I felt or thought during so many of the Black Lives Matter demonstrations and watching the news of people being murdered by police and then watching the police violence unfold. It was also in reaction to the past four years and what the previous administration brought out of people,” Solis said.
Throughout “Keep Your Head High,” Solis thoughtfully shares those reflections as contemplative acoustic guitar, somber pedal steel and placid cello echo his raw, honest sentiments. He quietly sings,” When did we justify to look each other in the eyes/And decide we are strangers/When all is said and done/And we’re sent to kingdom come/Will we see we weren’t so different.”
“I didn’t want to overstep any boundaries with making it about myself or attempting to speak on behalf of anyone. I really did my best to try to present it from a perspective of ‘I’m here, I’m watching, I do have my own reactions, and these are my thoughts regarding my own reactions as to what I’m seeing happen,’” Solis said.
Solis teamed up with several talented collaborators to bring a wistful Americana flavor to “Keep Your Head High” while recording it at Chesaning’s Oneder Studios with Nick Diener. Australian pedal steel player Jy-Perry Banks lends his virtuoso guitar skills while cellist Ian Legge brings a delicate string sensibility to the track.
“After I did the Wake Up Slow EP, there was a window of time before everything got really crazy. I was able to record more music with Nick, and I have another seven songs that haven’t been released yet. At that time, I came across (Banks) on Instagram, and I saw that he was open for sessions,” Solis said.
“I said, ‘Nick, I’ll record these songs with guitar and vocals, and then let’s flesh out the rest.’ That’s when we got to talking and said, ‘Let’s get this real country feel to it.’ Those songs were finished, and then they sat. We had to mix and master them, and as that was happening, the world shut down.”
“My music has a strong element of escapism. I’ll be in the middle of an experience that I don’t want to be having, feeling that inner roar of resistance, and then suddenly a melody with words and a vibe will pop right into my head,” Steih said.
“A big part of musical journey is increasing my skills so that I can capture those ideas to convey them to others. It’s really important to me to share (the ideas) because they arrive like gifts from the universe.”
Throughout her latest release, Steih packs an expansive, cerebral and folky sound across four hypnotic, ethereal tracks while venturing through past experiences, changing relationships, personal growth and long-awaited renewal. It’s a mesmerizing, introspective follow-up to her breathtaking, spiritual 2019 Americana album, Hymns of the Huron.
“I’ve always loved theatrical music production like Pink Floyd, Queen and Kate Bush. The sound of this album is influenced by my collaboration with Samn Johnson while the sound of Hymns of the Huron was very influenced by the band that Ben Lorenz put together,” she said.
“I bring the melodies and chord progressions, but the final product is colored by who’s there and the vibe of the environment we’re in.”
For Bill Edwards, the basement provides the ideal music lab and creation space.
The Ann Arbor country singer-songwriter and multi-instrumentalist retreated to his subterranean studio during the pandemic and experimented with his recording gear.
“When we went into lockdown and realized we weren’t going to be playing live for several months, I thought it would be a great opportunity to learn the ins and outs of my recording software. I wanted to get better acquainted with MIDI instruments, or musical instrument digital interfaces,” Edwards said.
“MIDI instruments have come a long way since their invention, and the sampled instruments that are available now are just incredible. It gave me the opportunity to do things like drums, bass and pedal steel, and a whole world opened up.”
Eighteen months later, Edwards’ MIDI software explorations have resulted in an ambitious, yet prolific 30-track double album, Whole Cloth, out Friday via Regaltone Records.
“It feels like birthing a very large baby, and I’m really proud of it for a lot of reasons. I think the songs are good, and the fact that I was able to do it all by myself feels like a pretty big accomplishment,” said Edwards, who spent 15 months writing and recording his new album.
“Over that period, I probably had 70 songs, and I would finish one and then move on to the next and start building it together. I didn’t plan to do a double CD, but then I had all this stuff, and I thought, ‘Well, why not just put it all out?”
Audra Kubat boldly brings the gray undertones of the red, white and blue to the surface.
The Detroit indie folk singer-songwriter brilliantly unravels the antiquated, divisive Confederate legacy, traditions and mindset that still permeate our racial, social and political fabric on her latest single, “Gray Glory Parade.”
“Originally, the song was called ‘The Next American Revolution,’ and it was so bold in a way. I was exploring other titles, and then it hit me this line, ‘Gray Glory Parade,’ and it had this really strong ring to it,” Kubat said.
“‘Gray glory’ is sort of the southern pride around the uniforms of the Civil War. The first lines of the song, ‘Sculpted and praised/A gray glory parade/Hollow men disgracing pedestals,’ show this pride and glory around a misunderstood history, like sort of a parading around. I thought it was a stronger title than the other one.”
Throughout “Gray Glory Parade,” Kubat thoughtfully unstitches each worn, destructive gray thread as luminous acoustic strums, reflective synth and tranquil bass provide newfound strength and hope. She reveals, “Our silence now is damaging/Time for a reckoning/A great awakening/The next American revolution.”
“The revolution is that we have to deal with a falling apart first. I’m ready for the fall-apart part to happen in a bigger way, and the scary thing is so many comforts and things that we’re used to will have to change to make the real change that is needed,” said Kubat, who started writing the track during a July 4, 2020 trip to Washington, D.C.
“There’s so much to address, and it’s going to be so painful for everyone. That’s why it’s taking so long, and it takes so much self-steadiness to be able to stand up and say, ‘My lifestyle is not only destroying other people’s lives, but the environment and social structure beyond that is so flawed, that it really must be taken out thread by thread.’”
Kubat continues removing each thread as she reflects, “Yet I’m quiet and listless/Do no more than bear witness/But it’s not enough as warm blood runs from broken bodies.”
“Prior to that trip, I had been trying to write a song in response to the things that were going on, and everything I wrote just seemed so flimsy. I couldn’t find the right words, and I also felt like it was a big undertaking to try to share what I was feeling and without it sounding uninformed and as an observer,” said Kubat, who also included lyrics from the national anthem throughout her track.
“I really didn’t know how to do that at the time, and it wasn’t coming. When my partner and I went to D.C., we were walking among the protests that were going on and sharing space with folks there. Going to the monuments and being a part of everything else that was going on along with the tourists and seeing the capital was an interesting juxtaposition.”
That juxtaposition inspired Kubat to think about the American flag unraveling and how that served as a timely metaphor for the nation’s growing racial, social and political tensions. She quickly wrote “Gray Glory Parade’s” first three verses, but struggled to find the last line.
“It took me a couple of weeks to come up with the line, ‘The silence is victory beckoning.’ If we don’t have to shout anymore about it, that’s us being victorious,” Kubat said.
For Matthew Milia, Keego Harbor represents a nostalgic, winding metro Detroit pathway from youth to adulthood and back again.
The Detroit indie folk singer-songwriter and Frontier Ruckus frontman eloquently drifts through deep childhood recollections, gritty suburban landmarks and dichotomous neighborhood adventures on his well-crafted second solo album.
“This has been a lifelong obsession, especially with the suburban world. It’s inspired by the fact that the suburban experience is not monolithic. It’s all these mingling beautiful dualities and contradictions of the human experience that live in this space,” said Milia, who grew up in Keego Harbor.
“I’m juxtaposing Pontiac and Bloomfield Hills because those places are contiguous, and they couldn’t be more different. That’s a hard thing for people that don’t live in this area to understand. My endless personal quest is to give as much vivid description and detail of these contradictions that I’ve experienced.”
Throughout Keego Harbor, Milia intricately constructs snapshots of mundane Michigan experiences – junk mail, rotten mulch and phone chargers – and static places – party stores, drive-thru lanes and nail salons – across 10 introspective tracks to capture a beautiful legacy of life unchanged.
“I think this record is a bit more about generational inheritance. My parents met in Keego Harbor at a place called the Back Seat Saloon that’s no longer there, and the first placed they lived together was in a little loft above a house. The age I am now is when they were doing all that. It’s a bit of time travel while seeing myself as my parents and all the things that entails,” he said.
While much of Keego Harbor remains in the rear-view mirror of the mind’s eye, another portion welcomes the uncertain future with outstretched arms. It’s a matter of looking toward the past to better understand who you’ve become and where you’re headed, whether that’s in a city or a suburb.
“I’m also thinking on another level about my experience in the music industry. It’s such a weird commerce to toil in, and my life since 2006 has been writing these songs and making these records with my friends and putting them out into the world and seeing where they take me,” Milia said.
“I think that a major trope of this record is the recalibration of one’s dreams and expectations. And knowing that immense beauty and surprise can be hiding there. Once you recalibrate what you think you wanted or were working toward, you might just find something even more rewarding.”
“We went in there with the idea of recreating the tracks. It’s a cool way to revisit the songs and get together with the boys. There are only three people that can play ‘Next Few Winters,’ ‘Black Ice’ and ‘Where It Starts,’ and it’s us recreating that space sonically while being in the same room together,” said Kyle Rasche, aka Chain of Lakes.
Rasche (vocals, guitar) teamed up with Jeffrey Niemeier (violin) and Kyle VanderVeen (ambient guitar) to record the intimate live show at Grand Rapids’ Second Story Sound in June. Mixed and mastered by Greg Baxter and filmed and edited by Drew VanderVeen, the video features Chain of Lakes performing inside a dimly lit, wood-paneled, red-walled studio.
“I was not envisioning sweating in shorts and a tank top while I was practicing for Next Few Winters. We had to dress a little warmer for the video so people might actually believe it was recorded back in the winter,” said Rasche with a laugh.
The Ann Arbor pop-soul-folk singer-songwriter deeply reveals her personal metamorphosis on “I Say,” an authentic, fearless anthem about taking charge of one’s life.
“It encapsulates exactly how this last year has gone for me. It’s just been a huge transformation in realizing if you can let go of the ‘supposed tos’ and the ‘shoulds’ and just live more boldly with conviction and confidence life opens up so much more,” Albrecht said.
Albrecht carries her courageous mindset forward as beating electronic drums, delicate cymbals, mellow bass, contemplative piano and tranquil synths provide internal strength. She soulfully sings, “Silence the voices/Chin up/Look into the mirror/Lock eyes with the face/And finally the fog begins to clear/Biting my nails down/But alone/Nowhere to hide/I breathe the same air/With a fresh new pair of eyes.”
“I’ve been diving into passion projects rather than thinking, ‘I should do this’ or ‘I should do that.’ I’m finally having the confidence of living in every moment and being present. This time, I say I’m not going to listen to those outside voices like I had been for a long time,” said Albrecht, who’s inspired by Sara Bareilles.
Albrecht teamed up with younger brother Andrew Albrecht to co-write and produce “I Say” in their home studio. Andrew provided the thoughtful piano instrumental while Albrecht penned the personal lyrics during a brief, torrential downpour.
“Two seconds later, the clouds suddenly parted and the sun beautifully shined. I was like, ‘That is such a metaphor for the song, and I need this right now.’ I tried to harness that sort of energy, and we wrote the song real quickly. It’s definitely one of my favorites,” she said.
The Albrechts sent the finished track to Jim Kissling at Ferndale’s Tempermill Studio for mastering. Once the single was released in March, the siblings started developing a concept for the upcoming “I Say” video, which will drop later this summer.
“We’re so lucky to live in an era where we can do things ourselves. I’m all about authenticity and trying to know exactly who I am and who we are. I think capturing video and audio in spaces where we feel comfortable gives the audience great insight into who we are,” Albrecht said.
Filled with sensual, soulful grooves and mellow, jazzy soundscapes, ANA beautifully embarks on a newfound path of self-discovery and intimacy.
Along her transformative journey, the Detroit neo-soul singer-songwriter shares her deepest emotional reflections and vulnerabilities while poignantly embracing personal growth and exhilaration on “Fall With Me.”
“This song is a trifecta of things. A lot of it is about exploring intimacy and being open to that. But self-love was a big one, especially during the pandemic because we have spent so much time being isolated from each other. I feel like a lot of the things we desire become a lot more physical and manifest in a way of self-care while deepening the expectations we have for ourselves and the things that we love to do,” said Ana Gomulka, aka ANA.
Now available on all streaming platforms, “Fall With Me” magically transports listeners to a carefree, breezy spring day that provides instant relief and ample time to recharge. Thoughtful, enduring trumpet, delicate drums, mellifluous bass, fluttering synth and vivid electric guitar provide a mesmerizing escape into ANA’s dreamy world.
Gomulka beautifully sings, “Cause when you show up at my place/And ring my bell/I’ve been feelin’ for ya/You know very well/But if this is too much for you, yeah/We can just kick it like we used to.”
“I decided to put this song out first because I’ve been working on a lot of music that’s going to be coming out in 2021. I also wanted to make this a love song to my audience and the people who have supported me throughout the whole time I’ve been making music,” said Gomulka, who also fronts the jazz-fusion group Honey Monsoon.
“I’ve been writing songs since I was 13 years old, and this is the first time I’ve ever officially put out a single myself as a solo artist. I wanted to make this single to invite people to follow me into the joy of what I’ll be sharing. I’ve always been a really sensual, vulnerable person, and I think a lot of authenticity lies there.”
“Fall With Me” also serves as ANA’s first new material since releasing Honey Monsoon’s 2019 enchanting album, Opal Soul. She invited an all-star team of collaborators to join her on the track, including Haruki Hakoyama (bass, trumpet), Sasha Kashperko (guitar), Todd Watts (drums) and Barry Chambliss (keys), and meld captivating R&B grooves with jazzy, hip-hop beats.
“This song was actually something that just came to me. I had studio time booked already for different songs, but this song was the newest and the freshest one. I had just laid down the guitar part first for the demo,” said Gomulka, who recorded the track at Fundamental Sound Co.
“I did the instrumental, and then the vocals came while the lyrics came afterward. I just reflected and manifested in feeling what I really wanted people to get out of this song. I’ve also been making a lot of electronic music, but I thought it was important to have actual instrumentation on it. I think that comes with the realness of my music, and it’s a reflection of my musical spirit.”
The Detroit neo-soul singer-songwriter opted for a classic Motown-inspired sound on her debut EP, Purpose, after forging an initial electronic, trip-hop pathway.
“I love the sound of Emancipator and FKJ, but after touring and performing with them, I realized I wanted to capture more of that Amy Winehouse-Sade vibe. At that moment with electronic music, I wanted to go more in an organic direction of being live with everyone in the studio, and I think these songs lend themselves to that,” Grant said.
“I’ve got this combination of songs, and they sound like Motown, Al Green, Bill Withers and Stevie Wonder. They don’t sound like sound like trip-hop, FKJ or Emancipator. The people who helped arrange these songs with me were U-M jazz school alumni, and they added some jazz influences in there.”
Grant beautifully jazzes up her nostalgic, soulful project across five introspective, fervent tracks. Out today via all streaming platforms,Purpose delves beneath the surface and explores the challenges of reaching self-actualization during a personal transformation.
“After listening back to these songs and realizing this intense process I went through creating this EP, I had this image of a butterfly that kept coming into my mind. When moths and butterflies go through this transformation and reach their final stage, they have to go through this intense cycle. It’s not always pretty, but in the end you’re left with something that’s worth waiting and being patient for,” she said.