To read or to game? Why not do both!

Where reading is the game. 

I keep telling myself I’m going to read more and game less. Does it happen? Probably not as often as I was hoping for. With “Creatures Such as We” by Lynnea Glasser reading is part of the game. The story is interesting but also at a great price. If you like the storyline and minimal distractions; this game is worth a shot. 

In this choose your own adventure story, you start off in the middle of a game which sets your intro. You eventually go through the character customization.  Being in the choose your own adventure style; from there I can’t really say what happens next. I definitely recommend setting a playlist of your favorite space themed or atmospheric tunes as you prepare to be pulled in by the gravity of Glasser’s writing.  I personally set my Spotify playlist to “Atmospheric Black Metal”.

Test it out on Steam today and let us know what playlist you used as your game soundtrack.

“Creatures such as we” available now on Steam.

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Lowercase Noises’ new album of nostalgia is pure bliss

The new album from Lowercase Noises “The Swiss Illness” takes you on a serene journey of thorough soft melancholy clouds of emotion and self-reflection.

For those unfamiliar, Lowercase Noises is the moniker for the multi-talented musician, Andy Othling, who has previously released six EPS and three full-length albums prior to The Swiss Illness. Without the aide of management or a label, Othling has managed to bring in over 9 million streaming views on his Youtube channel in the last ten years. Impressive, right? He deserves every single one.

Othling defines his latest record as a conceptual album: the concept was initially more about death but evolved to capture the sense of nostalgia experienced by Swiss mercenaries.

“I wanted this album to be about death, but it didn’t fit. Instead I expanded on the idea of loss and made it about nostalgia, which for me means the loss of things both large and small, both incredibly heavy and largely inconsequential. I experienced all those things in 2016, and as a result the only thing I could create was a minimal, slowly-evolving and (hopefully) beautiful dive into that feeling. Overlaid is the story and history behind the word “nostalgia”, which was coined by doctors studying Swiss mercenaries far away from home and their physical ailments brought on by their feelings.”

— Andy Othling

With titles such as ” The Last Stage of Consumption”, “From: Habit” to “From: Memories” and closing with “From: A Bitter Grief,” you can’t help but want to try and create your own narrative of who and/or what this story is about. No matter where your imagination takes you, you’ll experience both the feeling as though you’re reflecting on the memories of a lost loved one and a sense of hopefulness for days to come as the album takes you on a journey through it’s soft waves of crescendos and the ethereal, touching ambiance that comes to life with each beautifully composed track.  


Lowercase Noise- The Swiss Illness
Lowercase Noise- The Swiss Illness

https://open.spotify.com/embed/album/1m1ZyJ9XhUAHn1ZduabQqL

You can buy this beautiful album on iTunes and Amazon stores as well as the band’s official website: www.lowercasenoises.com

All Time Low graduate from pop punk to something… more with latest album, Last Young Renegade

Baltimore natives and pop-punk/emo kings have come a long way since the days of “Dear Maria…” The very same boys who once had little more under their belts than covers of Blink 182 and dreams of performing some day with their heroes (check that off the list) are celebrating their latest studio release, Last Young Renegade. 

All Time Low have been promoting their newest album with a special, unique touch of collectible ‘volume’ denim jackets/patches. Their theme has seamlessly transitioned from FUTURE HEARTS to I DON’T BELIEVE IN SAINTS with the simple upside-down turn of their previous logo. 

Last Young Renegade marks the band’s seventh studio album (ninth if you count their two earlier EPs) and their first release on their new label, Fueled By Ramen after having been with Hopeless Records for two bounce-back albums after a comically bad experience of going major label far too early. (Who remembers their stint with Interscope/DGC?)  All Time Low announced their departure from Hopeless Records with the first taste from Last Young Renegade back when they dropped “Dirty Laundry,” though they leave the Hopeless family on completely different terms than when they left Interscope — happily and with a lot of well wishes. It’s easy to see why “Dirty Laundry” became their front-running single, which served as the perfect blend to connect the new with the old. All Time Low are no strangers to the game. This slower tempo untraditional love ballad has everything you’d expect and love from an All Time Low hit: a strong beginning, an infectious chorus and somewhere just before the song ends, things pick up so lead singer, Alex Gaskarth, can belt the lyrics out in a pseudo-yelling falsetto (jokes aside, we really love this track). 

Although, if we could only use a single sentence to describe All Time Low’s latest album, it would be this: All Time Low have grown up… sort of… they seem to be in the Afterglow (see what we did there?). Last Young Renegade is the band’s second go-around with a major label, and dare we say, this time they’ve got things right? The album was produced by a dynamic duo in addition to the band: Nicholas Furlong (who has worked with a number of artists including Blink 182, Steve Aoki, 5 Seconds Of Summer, etc) and Blake Harnage… you remember him, right? Former member of Versaemerge turned producer/singer/songwriting genius. Alongside All Time Low, who have been on the scene for over ten years now, they’ve created something beautiful. The band may have put aside their scene-kid necessities (although guitarist Jack Barakat swapped out his infamous ‘skunk’ hair style from back in the day and has been rocking a red streak for some time now) and embarrassingly bad antics for videos (who remembers their choreographed dance in “Poppin’ Champagne” or Gaskarth’s side-swept bangs and lisp in “Coffee Shop Soundtrack?” Or the ironic, hilarious nature of so many of their videos: “Weightless,” “I Feel Like Dancing,” and even more recently, “Something’s Gotta Give.”) but, All Time Low have been on this path of ‘growing up’ for quite some time now, it just appears that they’ve finally reached wherever they were hoping to get to. 

It shows the most in Last Young Renegade where the band has given us four music videos before the album itself has dropped… and in none of them are the guys decked out in silly furry costumes and there are no strippers or pet monkeys. Color us proud. We knew this day would come, although we didn’t know it would come so soon. 

True to themselves, Last Young Renegade begins on a hard-hitting, high tempo title track. Although as “Last Young Renegade” builds you up, in the same ways their previous introducing songs have in the past (see: “Kicking & Screaming,” “The Reckless And The Brave,” “Do You Want Me (Dead?)” and even “Weightless”), the songs that follow this opening number are like a smooth ride down a very high rollercoaster. 

It isn’t until track number five, “Nice2KnoU” that the record picks up again. We aren’t exactly against this softer, more refined sounding version of All Time Low. After all, 2017 has proved to be the year of change (with the dramatic differences in other artists’ previous work to their newest releases — Twenty One Pilots, Fall Out Boy, Paramore — are you catching that these artists are also on FBR? Hmm…) and we’re just thankful that All Time Low didn’t attempt to ‘experiment’ with an over-saturated sound filled with computer-driven synth beats. That’s not to say they haven’t flirted with synths paired with piano action (see “Drugs & Candy,” and the Tegan and Sara feature “Ground Control.”) but it doesn’t feel overdone or untrue to the band All Time Low is and always have been. Their embrace of these, in addition to modern R&B vibes (“Life Of The Party” and even “Dirty Laundry”) is what will keep All Time Low relevant in a scene where “pop punk” has become washed out and stagnant due to the millions of soundalikes who just want you to listen to their EP on dirty headphones while you’re begrudgingly waiting in that long line for Warped Tour. 

With “Nightmare” comes a vulnerable painted picture of a man as Gaskarth sings about telling himself he wouldn’t be scared and still facing nightmares. The track is a showcase for Gaskarth’s unique vocal range, his ability to go from a grainy/raspy sound to refine, crisp, clean. He has come a long way since The Party Scene and saying we’re proud is a definite understatement. 

Even though the album is missing that goofiness that became a staple for All Time Low in the past (and we’re sure, Barakat will still happily accept your sweaty bras on stage), the seriousness of their new sound is a breath of fresh air. Of course, if you were a fan of the loud, in your face chorus and riffs off of the band’s Dirty Work and Don’t Panic, you may find yourself a bit disappointed with All Time Low’s somewhere-in-the-middle transition from the old to the new, pop-driven trend that so many seem to be struggling with to escape. But for fans like myself who are also facing the trials and tribulations of having to grow up, the maturity and honesty in their latest album is something easy to accept as we all seem to be coming to that point of change and the mixed emotions that come hand-in-hand. Trust us — give the album a second chance, let it sit, come back to it. You’ll see that the same four guys are underneath these tracks, which may be the truest to themselves thus far. How can you hate the absolute gem that is the closing track, “Afterglow” which takes on an ‘80s jungle vibes, pairing Gaskarth’s tone with the bright talent of each musician in the band (we see you Rian Dawson and Zack Merrick, don’t think you were forgotten) in a track that you may have expected from the likes of Third Eye Blind meets fun. Trust us. It’s amazing, and if you allow this track to close out the album as intended, you too will be caught up in the Afterglow that All Time Low has created.  

Our favorite tracks: Afterglow, Nightmares, Ground Control, Dark Side Of Your Room, Dirty Laundry. 

Be sure to check out All Time Low’s official website for information on their album, pick up a copy or peep their tour dates for their US tour happening this year. 

Closing words about the album from frontman Alex Gaskarth himself: 

Last Young Renegade is a story of self-realization. A collection of songs written from the perspective of the other side of the mirror. In writing this record, I delved into all of the different versions of me that other people might have met over the years, through the ups and downs, in the public eye and behind closed doors.
I gave those other sides of me a persona, and a name, and The Last Young Renegade was born. It became a symbol for those characters and allowed me to comfortably write about some things that I’m not as comfortable talking about openly. This is a very personal record, our favorite that we’ve written. We hope you enjoy the album as much as we do. Thank you for being along for this journey with us.

https://www.facebook.com/alltimelow/videos/10154610115392592/

Bay Area…. get ready for JUNE!

Hey BAY AREA! Are you guys ready for June? So many amazing shows and festivals are happening this month: starting off with the Colossal Clusterfest in San Francisco THIS weekend! And who could forget Live 105’s BFD kicking off mid-June on the 10th at Shoreline! To wrap up the month will be the FIRST EVER ID10T Festival created and hosted by Chris Hardwick, which brings together music, comedy, comics, video games, pop culture and so much more for one forgettable weekend on the 24th and 25th. Don’t miss out. Tickets are still available for all three events, but don’t wait! 

Festival season is officially here! You may have thought you missed out with the kick off of Coachella and the recently wrapped up BottleRock, but never fear! There are so many amazing events you won’t want to miss out on happening in June alone! 

First, the Colossal Clusterfest will be starting the month off! Happening THIS weekend, the 2nd to the 4th at the Bill Graham Civic Auditorium in San Francisco. What can you expect from something called the CLUSTERFEST? 50+ Comedians and a whole bunch of bands filling up 5 Stages! 

You can explore the worlds of some of your most beloved comedies: South Park, It’s Always Sunny In Philadelphia, Seinfeld… enjoy acts from some incredibly funny people: Bill Burr, Kevin Hart, Sarah Silverman, Chris Hardwick, Hasan Minhaj… and so many more. Plus the BANDS! Musical acts include Ice Cube, Tegan and Sara, Lil Dicky, Vince Staples and we’re just getting started.

There will also be a ton of activities including a Drunk History Dunk Tank, a Cuervo Tequila Bar, Mystery Pizza boxes, a Paint-By-Number Wall and plenty more to keep you occupied all weekend. What are you waiting for? A limited number of tickets are still available!

You can visit the festival’s official website (or download their app) for more information and the ability to create a personal schedule to ensure you make the most of your weekend! 


Up next is the beloved BFD from the Bay’s very own Live 105. If you’re unfamiliar, the BFD is held every year at Shoreline Amphitheater and put on by our local radio station ever since June of 1994. Last year’s headliners for BFD included The Offspring, Fitz and The Tantrums, Silversun Pickups and so many more… this year, the line-up only gets better!

Happening ONE DAY ONLY: BFD will take place on Saturday, June 10th. Four stages will span over the Shoreline – including the Main Stage for headliners including headliners Phoenix, Franz Ferdinand, Cold War Kids, Andrew McMahon In The Wilderness. The Bud Light Festival Stage will have performances from Taking Back Sunday, New Politics, Highly Suspect, SWMRS and so much more… trickling down to the Subsonic Tent and the Local Band Stage for a day jammed-pack with fun.

You can visit Live 105’s Official website for further details and ticket information. Don’t miss out on this opportunity to see 30+ bands and this Bay Area tradition! 


Who can forget this year’s first ever ID10T Festival created and hosted by Chris Hardwick! This music/pop culture/media/comedy ultra-mash-up for us nerds will be closing out the month of June happening on Saturday the 24th and Sunday the 25th also at Shoreline Amphitheatre.

The ID10T Festival is the first ever of it’s kind. Bringing together all forms of media with comedy acts, comic books, video games, pop culture and of course: music. Where else can you see Weezer perform one minute and the next see a live taping of Chris Hardwick’s very own Nerdist podcast. As well as comedy performances by Demetri Martin, Nikki Glaser, Michael Che and so much more hosted both days by April Richardson. Special guests will include artists and creators such as Wil Wheaton, Fred Armisen, John C McGinley and really, we’re just getting started. 

Are you ready to experience this once-in-a-lifetime event? The musical acts include over 15+ bands, 10+ comedians, a whole bunch of guests from the biggest names in entertainment, a “Mad Decent Dance Tent” section, autograph signings, interactive games, rides and more! This really is everything you love and more, shoved together for your convenience. 

The Shoreline Amphitheatre is going to be transformed into something straight out of your dreams. Don’t miss out on this amazing, first ever experience. Tickets are still available, but don’t sleep on it! 


Incredibly Special ACLU benefit compilation: Music For Everyone curated by John Nolan

Non-profit Sub City has teamed up with Collective Confusion Records, Hopeless Records and John Nolan of Taking Back Sunday to give us something incredibly special: Music For Everyone. This American Civil Liberties Union benefiting compilation features artists such as Taking Back Sunday, Allison Weiss, Kevin Devine, Frank Iero, Dave House, Anthony Green (of Circa Survive/Saosin) and so much more in the 27 featured rare and/or unreleased tracks. 

For information and testimonials on the importance of why artists wanted to be involved, please check out the official website: www.musicforeveryone.us 

Why did John Nolan feel the need to recruit this amazingly diverse group of artist from every end of the spectrum? A quote taken directly from the website reads: “I also wanted to give artists an opportunity to express something about what’s gone on in this country over the past year and what’s coming in the next ones. I needed that for myself and wanted to connect with other people who needed it. And I wanted to take that need for self-expression and channel it into something bigger than all of us.”

Nolan also explains that in these next four years, there is so much potential for the rise of policies that will discriminate against persons of all sorts of backgrounds: people of color, the Muslim community, women, the LGBT community. It is important for us as a nation to come together and fight against this hatred that is terrifyingly becoming acceptable. The ACLU has a long history of fighting against unconstitutional and discriminatory policies, and what better way than to unite people in favor of support for this fight than with a community as passionate as musicians and music lovers alike. 

The songs featured on this compilation are just as strong as the message it is meant to stand for. The record starts off with a previously unreleased demo from Anti-Flag titled “Buried The Shame” that sets an obvious tone that is carried throughout the other indie, punk, rock, emo, alternative artists that follow. Although that’s not all this compilation has to offer: Music For Everyone really does stand up to its name with its offer of a very special hip-hop track featuring Taking Back Sunday on instrumental by Gift Of Gab titled “When Justice Comes,” as well as a folk/alt-country feature titled “I’m Paranoid” by Brett Newski. The pop genre is represented by “Break My Heart” by Miss Allison Weiss, this twangy powerful song standing out from the rest but sharing the same protesting, we-wont-stand-for-this theme. 

Compilations have been a huge thing for several years (how many ‘Now that’s what I call…’ volumes are we at?) — they’re a fantastic way to discover new artists, but why not give a listen to one that also supports an amazing cause? Of course, you can stream the compilation below, but we highly encourage you to purchase a copy to allow the proceeds to benefit the cause. 

Please visit the Music For Everyone’s official site to read up about this amazing, unique collection of songs. And be sure to check out the official ACLU website to get involved! 


https://open.spotify.com/embed/album/4H10o1lLRvwWLPYbMQcaN4

ACLU: MUSIC FOR EVERYONE TRACKLISTING:

1. Anti-Flag – Buried The Shame (DEMO) 01:47
2. Chris Farren – Always 01:58
3. Taking Back Sunday – Just A Man 03:36
4. Potty Mouth – Twisted 02:56
5. Travis Hayes – Honest Man (Live At Nu-Tone) 03:44
6. Gift Of Gab (ft. Taking Back Sunday) – When Justice Comes 02:37
7. Kevin Devine – Both Ways (Acoustic) 02:58
8. Dave Hause – Season’s Greetings From Ferguson 03:14
9. Allison Weiss – Break My Heart 02:41
10. Brett Newski – I’m Paranoid 02:43
11. Brendan Kelly And The Wandering Birds – Boardin’ USA 02:10
12. Anthony Green – Spanish Moss 03:30
13. James Dewees & John Nolan – Believe In Me 03:28
14. Frank Iero – Getting Into Heaven Can Be Hell 02:04
15. Modern Chemistry – The OverThinker 03:24
16. Baggage – Half Full 04:05
17. Secret Space – Point Of Change 02:57
18. Jared Hart – Heads Or Tails 04:02
19. Cameron Boucher – sinn 02:09
20. Dead Heavens – Straight Outta Blindness 03:36
21. The Republic Of Wolves – Birdless Cage 05:32
22. Answering Machine – City Of Glass 02:38
23. Cassino – Corvette 05:14
24. Rationale – Space Angela 02:58
25. Gravel Kings – American Skies 03:50
26. Sleep On It – Memorial Day 04:32
27. Lolo – The Day After Tomorrow 05:27

Twin Forks brings Americana Folk on Folsom Tour

It’s unnecessary all the same, as Twin Forks doesn’t need to ride on the coattails of any former acts. Their American roots music vibe are perfect for singing along and dancing and as much fun as the crowd is having tonight, Twin Forks is having double that amount on stage. “I don’t remember where we’re from…” Chris jokes with his bandmates before addressing the crowd, “I’ve had a strange day… should we discuss it? Later?” He muses as Kelsie stands jokingly impatient with her mandolin to encourage Chris to just ‘start the song!’ 

Twin Forks make their way through San Francisco mid-May with support from The Social Animals and songwriter/artist Dan Layus (of Augustana) for the First Annual Folsom Tour. 

CHECK OUT OUR FULL PHOTO GALLERY FROM THE SHOW HERE

The Independent began filling up even before the openers, The Social Animals took the stage. For kids who are still someone new at the game (and they proudly show it — taking carefree moments between songs to joke with the crowd, “This is what we call a transition between songs. It separates the good from the great…”) there is no question why they’re rounding out this Folsom tour, whose aim was to bring like-minded musicians with a passion for playing for like-minded fans.

The Social Animals show their comfort on stage as they tackle a cover song so few would dare to attempt: “When Doves Cry” by the late Prince. Lead vocalist Dedric Clark stays cool and collected as he powers through their rendition of the song, and it’s absolutely beautiful. There are murmurs of laughter as Clark thanks “whoever” it is lighting up the stage — who decked out the number in Prince’s deep signature purples. 

Their debut EP, “Formative Years” was released just a few months ago — but familiar fans sing and dance along, even screaming for an encore once the band has wrapped things up. Even if you weren’t familiar with The Social Animals prior to the night’s events or if you’re reading this and still haven’t a clue — stream/download/purchase their EP. You won’t regret it. 

After a short intermission, Dan Layus takes the stage. This Augustana frontman is welcomed with a wave of home-town-admiration as fans crowd their way towards the stage to say their hello’s, shake his hand, and offer drinks after his performance. Layus’ face lights up every time a familiar friend or fan presents themselves, and it’s a sentiment that doesn’t fade away once his performance begins. Even as Dan performs his songs off of his late 2016 release, Dangerous Things, he ends each song with a grateful bow and a smile from ear-to-ear, thanking the fans for coming out and lending our ears. 

Layus’ voice echoes through The Independent, his songs spilling with emotion as he sits behind his piano. He plays a collection of songs, released and brand new. Beginning the night with “Enough For You” to title track “Dangerous Things,” “Four Rings” and “You Can Have Mine” as he makes his way through his catalog of songs. 

A quick silent drapes over like a blanket as Layus shares that he’s from Salinas area with family in San Diego. He jokes that he feels very comfortable here, very comfortable playing a new song he’s written about raising a voice to the ‘union in the south.’ He jokes that the next song, while partly satire…is also partly terrifying, as it was written as he climbed inside what he imagines to be our current President’s state of mind. He laughs, his eyes glimmering, “I knew you’d quiet down.” He jokes, at the suddenly hushed voices and ended conversations. “That’s good. Your priorities are in check.” The new song takes way, with lyrics along the lines of a man thinking he’s God’s greatest gift to mankind, that everybody seems so entertained even when you haven’t a clue what you’re doing and even threatening to be the one to lock people away and eat up the key. The song ends with the line that people aren’t laughing anymore and Layus falls dramatically on the keys, a loud crescendo of crashing notes to end the song that took us all by surprise. 

He ends his set with a song that fans were literally shouting for since the beginning: “Nightbird.” And the beautiful performance leaves us wishing there was time for more, as Dan thanks the crowd sincerely and shares love to each and every bright-eyed face looking up from the crowd. 

 

There isn’t too much of a wait for Twin Forks to take the stage. This folk/roots/Americana collective may have been founded by Dashboard Confessional’s own Chris Carrabba, but other than a familiar face, one would never know he was in both bands. While Dashboard may be the more seasoned and recognized of the two, Carrabba’s presence within Twin Forks is only as loud as his band members: Jonathan Clark, Kelsie Baranoski, Sara Most and Shawn Zorn. There is never a mention directly to Dashboard or Carrabba’s success in other acts (only a short nod to the most ‘emo’ days back with Further Seems Forever), a gesture that seems respectful, yet surprising. The venue itself advertised the night as “Dashboard Confessional’s Chris Carrabba,” but his respect for the artist he shares the stage on tonight is an obvious one as he refuses to belittle or overshadow them with his claim to fame under different names. 

It’s unnecessary all the same, as Twin Forks doesn’t need to ride on the coattails of any former acts. Their American roots music vibe are perfect for singing along and dancing and as much fun as the crowd is having tonight, Twin Forks is having double that amount on stage. “I don’t remember where we’re from…” Chris jokes with his bandmates before addressing the crowd, “I’ve had a strange day… should we discuss it? Later?” He muses as Kelsie stands jokingly impatient with her mandolin to encourage Chris to just ‘start the song!’ 

They begin their set with the less predictable “Good and Slow” as Carraba jokes, “Hey! I like that band a little, I hope they play that one song I definitely don’t know first!” as he looks to the crowd, and continues the playful nature as he turns to his bandmates, laughing all the while as he questions, “What are the first words? How does it go? Oh yeah…” before finally kicking off the night in what is one of the best ways we’ve ever seen.

The lighthearted, joking nature is carried throughout the entire show. Chris shares with us that his cousin is on stage, drummer Shawn Zorn, and as he mocks frustration, he jokes that every night he kicks Shawn out of the band for revenge… and then Shawn’s mother calls. “Christopher!” he yells in a high-pitched voice, mimicking his aunt with a wagging finger that means only one thing: you better behave.

The band decides to play a cover song, Ed Sheeran’s Galway Girl, which they all take turns laughing as they explain they have an entire EP you can have emailed to you… “How do they get it?” the band asks, and both girls joke back and forth, pretending to haven’t a clue how the internet works as one yells out “Maybe a carrier pigeon?” The entire night is fun and games such as these as Kelsie laughs, trying to count how many songs they have now… is it 31? And as they let the number sink in for a second, the band is bursting into waves of laughter of their own inside jokes, calling themselves the “Baskin Robins” of cover songs, in every free sample flavor. 

The night never seems to have a dull moment, between the beautiful performance Twin Forks delivers and their happy-natured personalities. At one point, Chris notices his jean jacket has appeared to have ripped severely in both elbows and whines out that they’ve been “lost” before later returning to joke that not everyone has ‘most’ of a jean jacket. “It’s a whole other world out there,” he teases, in regards to his partial jacket, as he recalls back to the days of shitty jobs and bosses daughters and trying to impress the girls who you’re completely enamored by. Chris shades that he had tried to fool this particular girl to make her believe he knew a lot of shit, but she saw the world from a whole different point of view. When he tried to recollect to write a song about it, he just couldn’t find the song in the room…so he thought, maybe the song is on the other side of the wall. So he went and sat on the other side and there, he found it. Waiting for him. The song, “The Other Side,” simply spilled out. 

As “Get Ready Marie” is played, Carrabba gives the story of how so many of his friends are recently married and at a handful of the ceremonies, he’s asked to perform a song. So, instead of picking a conventional love song, he performs “Get Ready Marie,” when asked to play something pretty, he shrugs it off and says they got ‘this instead.’ 

“If you’re waiting for the next band… we’re it. So, we’re just going to keep playing songs. We won’t go behind the curtain and wait for you guys to cheer… because I don’t think you will,” Chris comments as the crowd’s quiet focus seems almost a bit too intense. It is short-lived, though, as they power into “Kiss Me Darling,” which wakes up the crowd as girls begin to dance around, using up as much space as possible to this known song. 

The remainder of the night is filled with more insights, more jokes, more stories of back home and recollection to all the places you can fall in love in life (which include rollerskating, according to Chris). The band play an amazingly energetic cover of the Violent Femmes’ “Blister In The Sun,” which is followed by closing their set with their two most recognizable hits: “Scraping Up The Pieces,” and “Back To You.”  

The night was an unforgettable one, with too many laughs and just as many amazing performances. Thanks, Soda Pop (a childhood nickname of Chris’, you’re welcome) for making us feel like more than fans, and instead like family. We can’t wait for next time. 

 

TWIN FORKS’ SETLIST

Good And Slow

Cross My Mind

Galway Girl (Ed Sheeran Cover) 

The Other Side

Plans

General Specific

Fall Comes

Get Ready Marie

Kiss Me Darling

Tall Green Grass

Something We Just Know

Can’t Be Broken 

Blister (Violent Femmes Cover)

Scraping Up The Pieces

Back To You

Harry Styles Takes New Direction in Solo Debut

The album leaves little left to be desired, the closing track “From The Dining Table,” starts off with a soft-spoken Styles, who again manages to make it sound as though he could be singing this while side-by-side in bed with you and you alone. The very much talked about lyrics paint a picture of a horny and lonely 23-year old, who has a wank before getting wasted and passing out. “I’ve never felt less cool,” he admits through personal lyrics, leaving us to believe this song is less for attention and complaints but more of a confession, right from the heart. The song puts an end to the album the same soft way you’d lay down a lover – on a note of promising possibilities for a sophomore release.

Throughout history, all good ‘boy bands’ had to come to an end to give us something even sweeter… solo careers. From The Beatles to *Nsync, former One Direction star Harry Styles has finally joined the likes of those whose initial claim to fame might have been in a group, but sought after finding their own unique sound. Seems to us, Styles had little problem finding his own niche while in the beautiful Caribbean. He isn’t the first artist to shed their former image (or sound) that once defined them… though Styles does join the ranks of those who have had such a dramatic and unpredictable change. Is it a success? We definitely think so. He has ventured far from the path set by those in the past (Justin Timberlake to Harry’s own former bandmate Zayn Malik are only some of the few who turned to embrace hip-hop and r&b in their solo careers) and instead has made one thing clear: he is setting out to be a rock star. And not just any rock star. One that can hold a match to those your mother and father grew up adoring… hell, maybe even one worthy of your grandfather’s praise, too!

Promotion leading up to Styles’ debut release may have seemed a little lackluster, without the fanfare you’d expect from such an already successful and established musician. It is as though Styles’ team knew an almost silent release would work out more in his favor, in presenting a new persona for the boyband refugee. The strategy proved itself a success, with nothing short of overwhelming in regards to how his solo music has been received by fans. His world tour – Harry Styles Live – sold out globally within minutes across the 32 cities he’ll be performing in. Just earlier this week, Styles performed on the Today morning show, looking awfully sharp in his pink suit (where he surprised the fans with One Direction’s own “Stockholm Syndrome” – a song that the band never had the chance to perform, a special treat for both fans and Styles alike) as he premiered another new track titled “Carolina,” a southern rock sounding love-song about trying to find the perfect way to tell a girl she’s all you think about. 

With the three pre-released tracks, one would assume Styles had plenty of inspiration from his belles for the album, which he recorded over the span of a year, including a stint of time where he seemingly dropped off the face of the planet after filming for Christopher Nolan’s Dunkirk but was actually soaking up the Caribbean sun in a luxurious Jamaican studio. Styles joked in a recent French Quotidien interview that the album as a whole is more about himself than any other particular person – lovers or not. This sentiment definitely fooled us – when you listen to the album, it’s impossible not to pick up the influences from any possible muse and past real-life relationships. With genius producer/writer Jeff Bhasker (who has worked in the past with Kanye West, Bruno Mars, Taylor Swift and The Rolling Stones just to name a few) and collaborations including Bhasker associate, Tyler Johnson who was part of the team behind P!nk’s “Just Give Me a Reason” and fun.’s Some Nights as well as helping engineer songs for The All-American Rejects, Ed Sheeran and Miley Cyrus. Also included was Snow Patrol’s own Johnny McDaid, who had said Harry’s solo music would “surprise” everyone… we cannot think of a better way to sum up our initial listen. 

From the opening track titled, “Meet Me In the Hallway,” Styles’ self-titled solo debut begins with Styles’ counting down, giving an immediate intimate feel. If you chose to close your eyes, his vocals come in soft and almost haunting with a slight echo that makes it all too easy to envision you’re sitting in on a studio session as he performs his tunes versus simply listening to the .mp3 version. From the first track alone, you can tell Styles’ aim is to not be defined by the tracks he was once known for. “Meet Me In The Hallway” begins with chords sounding as though they’re plucked with loose strings, bass lines on a stand-up bass as Styles’ voice echoes in through the first verses until his strength is shown in the chorus. This vintage/folk sound only compliment Styles’ unique, hollowing vocals, showing his talents beyond today’s norm and certainly what any of his former bandmates have – or will – release. 

“Carolina” starts off bass heavy too, with a fun beat, clapping and chants that take us back to some of our most beloved classic rock hits. How can you not listen to this track and not envision a girl in bell bottom corduroys, dancing around to this on her 45? This song may be 50 years out of place, but we absolutely love it! There’s nothing lacking from this 3-minute hit: from the maraca shaker, the ‘oh yeah’s, the acoustics leading up to percussion, a symphony of beautiful strings shining through the second verse, the la-la-la’s… and is that a cowbell we hear? Definitely makes us want to scream and shout it out.

“Two Ghosts” is a soft and slow anti-love ballad, unlike the ballads you’re more familiar with. There is no animosity in the lyrics about two souls who have loved and lost. Instead, Harry relates the feeling as ghosts trying to remember the feel of a beating heart accompanied by a slide guitar that could be compared to something you’d expect from Ryan Adams. It is followed directly by the tender “Sweet Creature” which is still slow, but a much stronger ballad that seems as Styles’ own stab at something “Blackbird”-esque while dripping with love and affection, the song revolving around the notion that once you’ve fallen in love, home is wherever you two are together.

Things pick up with “Only Angel,” which gives the feel of a band closing out a rowdy show at some overly-packed bar. Styles’ vocals are heard a bit louder, with a bit more of a grunge-punch and the return of a cowbell! The album grows from an exhausted and exasperated-sounded Styles to symbols of naughty debauchery – “Only Angel,” “From The Dining Table,” and even “Kiwi” which lyrics seem sleazy in an almost amusingly-unconvincing nature. We can forgive the aforementioned because it is followed by a convincing alt-country troubadour “Ever Since New York,” which ranks as one of our top favorites from the entire album.

The album leaves little left to be desired, the closing track “From The Dining Table,” starts off with a soft-spoken Styles, who again manages to make it sound as though he could be singing this while side-by-side in bed with you and you alone. The very much talked about lyrics paint a picture of a horny and lonely 23-year old, who has a wank before getting wasted and passing out. “I’ve never felt less cool,” he admits through personal lyrics, leaving us to believe this song is less for attention and complaints but more of a confession, right from the heart. The song puts an end to the album the same soft way you’d lay down a lover – on a note of promising possibilities for a sophomore release.

The entire record sounds as though it came into this world a couple eras too late, but at the exact time we needed it. In a world with overly-saturated pop beats and music relied upon by Garageband noise, Styles’ self-titled debut is a breath of fresh air, resisting the norm of the current contemporary pop aesthetic. Instead of using samples music from decades ago, Harry seems to have gained inspiration from back when music was undoubtedly great. Making songs that can proudly be displayed alongside the rock and blues from a time close to being lost. With all the debates of Harry trying too hard to mimic icons and legends such as David Bowie, Prince, The Beatles and more… you’d be surprised to find the songs relating more closely to the works of Don Henley, specifically The Eagles, Wolfmother, Arctic Monkeys and even a little Elton John. There is no debating that these collections of songs are ones we’re certain anyone would be proud to hear they helped inspire in one way or another. This isn’t to say the album is flawless – as you’d expect with anyone’s solo debut, there are awkward moments (did we mention the unconvincing lines about one-night stands and masturbation?), and it is obvious Styles is an artist trying to find his footing… but these mishaps hardly distract from the ambitious and admirable debut. There are few bells and whistles, which would have no place beside Styles’ talents in his honest songwriting alongside the beautifully simplistic twang of his (mostly acoustic) guitars.

Whether you were a fan of One Direction or never heard a single one of their hits, whether you’re 15 or 50 – we’re willing to guarantee you’ll find a track or two you fall in love with on Styles’ debut solo album. There is just enough diversity in the 10 tracks to really have something to appeal to everyone, without losing a solid cohesion for the entirety of the record. You can hear traces of intimate singer/songwriter aspects known and loved from the 1960s and ‘70s and even hints of flamboyant dramatics (dare we say hair bands?) from the 1980s. The tracks aren’t what you’d expect (or are they exactly what you expected from Harry Styles himself?) after the music put out by the former boyband, though we’re happy to see and hear the musical freedom Harry has with both the sound and lyrics of his new endeavors. You’ll find hints and traces of love, loss, sex, drugs and of course rock ‘n’ roll. It’s an exploration of an artist out there trying to find himself and we cannot wait for what is still to come. 

Our favorite picks: “Ever Since New York,” “Sweet Creature” and “From The Dining Table.” 

After Laughter just may be Paramore’s biggest rebellion yet

After Laughter is an album with a message, in the simplest terms – when the going gets tough, the tough get going – to encourage us all to smile in times of absolute despair, the fight-back kicking and screaming sentiment being a reoccurring one for some time with Paramore.

Change may sometimes be hard to swallow – for fans of Paramore who have followed the band since their earliest days (as far back as 2005 when their debut, All We Know is Falling was released) up to their previous self-titled release in 2013… it is no surprise that with four years to experiment, Paramore’s sound has graduated and moved on to something unexpected. Fans of Riot!Brand New Eyes and even the previously mentioned Paramore may find themselves a bit disappointed when they’ve realized Paramore has shed their outer skin and has taken a step back from those ‘harder’ rock days. “Misery Business” is arguably the band’s best known, as a fast-paced, hard-hitting, head-banging anthem with a similar theme for the surrounding tracks on their 2007 album. The once emo and yet rebellious band has grown up, as most of us have these days (perfect pun placement: some of us have to grow up sometimes, and so, if I have to I’m gonna leave you behind). Although, for those who learned to love Paramore – which was considered a bit of a stretch from their original sound with its funky beats, playful guitar licks, pianos and synths (such with songs like “Fast In My Car,” “Ain’t It Fun” and “Anklebiters”) – the album was a shock after the departure of two founding members and a new shift in sound, despite the rock aspect the band was known for still there, somewhere faintly heard beneath the sound and rumble of the new experimental sound. It seems as though all caution has been thrown to the wind, making After Laughter a refreshing, brand new kind of Paramore, which in our opinion may be the most genuine and sincere collection of songs in terms of sound and lyrics… and yes, we’re counting the brutal, painful honesty that so many Brand New Eyes tracks revolved around. Some fans may be quick to label them as sell-outs, but we’re interpreting this pop-gold as something deeper. Could this change be Paramore’s biggest rebellion yet? We’re almost certain it is, and with that, we dare to say, After Laughter just may be the band’s biggest success thus far too.

After Laughter is the band’s first release with original drummer Zac Farro since his departure from the band in late 2010. If this doesn’t excite you in the least bit… we’re sorry. There have always been accusations surrounding Paramore (the painful ‘break-up letter’ written by guitarist Josh Farro upon his departure, the legal battle that came when bassist Jeremy Davis left in 2016) that once painted the group as ‘Hayley Williams and some other lesser-important dudes’ though After Laughter proves and puts to shame the naysayers. The incredible talent surrounding the percussion alone on this album would never have been possible without Farro’s return alongside guitarist/instrumentalist Taylor York (although we’re sure Hayley and a number of other friends outstretched a helping hand). Paramore has followed in a direction many artists have flirted with towards the beloved and playful ‘80s pop. Though, so few artists have pulled off the resurrected sound as well as Paramore has in their newest release.

Despite the obvious lack of that in-your-face rockstar energy, there is a new energy bubbling from After Laughter that draws in the listener from the album’s first track and single, “Hard Times.” Frontwoman Hayley William’s voice has always been incomparably strong. Her voice can be pushed to the limit, hitting high notes most others can only squeak out and back down to the baritones, bass, and contralto without losing any of its clarity and strength. After Laughter will take you through a journey – we can only imagine some of the band’s influences towards the lyrics in a few of the tracks, with yet again another publicized lineup change – while most songs sound upbeat and happy, the darker lyrics (see the chorus in “Rose-Colored Boy,” “Idle Worship,” and “Forgiveness”) tease with a reoccurring theme of wanting to stay sad if you want to, ignoring the pressure of a happier lifestyle, growing up and ultimately deciding for yourself the person you want to be.

Another obvious change is the aesthetic shift leaning towards the ‘80s pop and the popular new wave electronica that can be heard in nearly each track, fitting in place with pieces and memories of a younger, adored version of Paramore. Even the bright colors have returned – who remembers back to the early Riot!days whenParamore played Warped Tour in matching red pants? We’re talking 10 years ago.  As previously mentioned, After Laughter is not the first time Paramore have dipped their toes in a new current. “Ain’t It Fun” was the perfect blend between the ‘original’ Paramore in their recognizable identity while floating towards a new direction in sound. How exactly do you follow up the Grammy-awarded track? Paramore seems to know exactly how. The self-titled album seems to have been a bridge between the old and new, though the sugary-sweet hooks and bouncy, playful synths can’t fool us into believing all of Paramore’s worries are behind them. At a glance and superficial, inattentive listen, the album seems all sunshine, rainbows, and puppy dogs. Though there is an unmistakable seriousness to the lyrics in the album, although we’re almost certain it is meant to be brushed off a shoulder and forgiven if the real message blows over your head due to being swept up in just how much fun the album is to sing and dance along to. There is almost a sense of inspirational emotional release in Williams’ bold and honest frustrations, the futile optimism, anxiety and all-around unforgiving angst yet defiantly happy theme that has been such a success for Paramore throughout the years. It is an album with a message, in the simplest terms – when the going gets tough, the tough get going – to encourage us all to smile in times of absolute despair, the fight-back kicking and screaming sentiment being a reoccurring one for some time with Paramore.

Since the release, the band has taken to social media to express that with After Laughter comes a sense of pride they have yet to reach as a band. We can only imagine the conversations leading up to the return of original drummer Zac Farro and relocating the dynamic that made you so desperate to be a band in the first place. Track-by-track from the very beginning “Hard Times” is an immediate attention-grabber with its retro tropical club vibes and it’s paired neon/pastel colored music video with doodles and overlays that take us back to the “Saved By The Bell” opening credits. Whether you interpret Williams’ chant as “And I got to get to rock bottom” or the argued “Not gonna get to rock bottom” — the message stays the same in proving that even through hard times, somehow against all odds, you’ll still survive. 

“Rose-Colored Boy” is our personal favorite off the album. Why? From the opening cheerleader-like chants in the beginning to the infectious chorus with lyrics “Just let me cry a little bit longer / I ain’t gon’ smile if I don’t want to / Hey man, we all can’t be like you / I wish we were all rose-colored too…” we dare you to not get this upbeat hit stuck in your head. Our guess? When Paramore’s self-titled was released, Williams eventually admitted the heartfelt “Hate To See Your Heart Break” was written for none other than guitarist Taylor York – if we had to give our expert opinion, we’d place a bet on Hayley admitting in the future that this track is also about the optimistic Taylor York who has always been seen shedding light on even the darkest Paramore days. 

“Told You So” was released as the band’s second single before the album was fully released — featuring a music video with the trio in matching red getups and a car ride full of “what the heck is going on?” moments. The song itself begins with the hard-hitting lyrics “For all I know / The best is over and the worst is yet to come” which tip-toes to the previously mentioned hardships Paramore has publicly faced with the change in band members over the years. The song then leds into a repeated chant-like “Throw me into the fire / Throw me in, pull me out again” which we hope was an intentional reference to a phoenix-esque new beginning, meaning even if Paramore are burned and thrown into a fire, they’ll be pulled out whole and anew and better than ever before as shown with After Laughter

It’s hard to speculate who exactly “Forgiveness” could be about even with the loss in band members. The song itself is a bit softer than the previous on the record, and while the song talks about being unable to forgive someone just yet, there is a heartbreaking lyrics that begins the second verse, “There’s still a thread that runs from your body to mine / you can’t break what you don’t see, an invisible line” giving a love-song type feel to this emotional track that leaves it haunting and resonates even after you’ve gone on and listened to the rest of the album. 

“Fake Happy” is the anthem our generation was waiting for. The track begins with a washed-out sounding Hayley Williams and an acoustic, slow, toe-tapping washroom recording that sounds similar to the interludes included in the band’s prior release. The song is just as you’d imagine, about making everyone believe you’re as happy as you seem even though you’re just pretending. The playful lyrics include a line we can all relate to: “And if I go out tonight, dress up my fears / You think I’ll look alright with these mascara tears?” which gives a nod back to Paramore’s emo days but in all reality, they hit the nail on the head with this one and everyone’s facade of being blissfully happy. 

“26” may be the softest track on the record, but the meaning is anything but. The emotional lyrics repeat the lines “Hold onto hope if you got it / Don’t let it go for nobody / They say that dreaming is free / I wouldn’t care what it costs me” – it is a perfectly placed track amidst all the higher-tempo bubbly numbers, though the uniqueness shines through, reminding us of the unforgettable tracks on previous released, “Last Hope” and “When It Rains.” 

It wouldn’t quite be a Paramore album without a skillfully written love song in disguise. “Pool” plays the part with ease, the entire song embodying that feeling of being underwater and just seconds away from drowning… the overwhelmingness that comes hand-in-hand with falling in love… and despite feeling like you might die, if you survive, you willingly dive back in. “I’m underwater with no air in my lungs / My eyes are open, I’m done giving up / You are the wave I could never tame / If I survive, I’ll dive back in.” 

“Grudges” appears to follow in the footsteps of earlier angst tracks such as “Playing God” or “Brick By Boring Brick” with a happier ending as Hayley sings the questions of if her faults are being recounted and who in the party has changed. The final verse begins “And if you wanna call me up or come over / Come on we’ll laugh til we cry / Like we did when we were kids” does this hint we’ll see original lead guitarist Josh Farro return alongside brother and band mates? Possibly. Or it could be about any number of fall-outs the band has faced, including Zac’s own return. 

“Caught In The Middle” is a slower tempo, yet just as enthusiastic number that mimics the theme of day dreaming and facing reality and being stuck in some place between. The hook “No I don’t need no help / I can sabotage me by myself / Don’t need no one else / I can sabotage me by myself” is guaranteed fun as it begs to be screamed along to… and I’m sure fans will agree that we can’t wait for the chance once Paramore hits the road. 

“Idle Worship” has already been catching a lot of praise from Paramore fans who were quick to check this number off as their favorite. Hayley’s voice comes off rushed and playful as she sings “Don’t hold your breath, I never said I’d save you, honey” and urges the listenter to put their faith in something more. This track is dripping with remnants from Brand New Eyes as the lyrics point out flaws and inevitable falls from pedestals in such a personal way, it’s hard not to fall in love even with such pushing-away lyrics.

“No Friend” continues the theme of hating to let someone down. The song itself begins with several minutes of a repeated riff with spoken words from Aaron Weiss that are begged to be read as we struggle to hear him over the hypnotic instrumental. What can be heard clearly? “I’m no savior of yours / You’re no friend of mine.” The track almost seems unfitting with the rest of the album, but we’re hoping the energetic speech gets used as a new intro/outro on tour. 

“Tell Me How” closes out the album with a piano and a raw, less-touched up version of Hayley’s chilling vocals. The song picks up pace with the chorus “Tell me how to feel about you now / Oh, let me know / Do I suffocate or let go?” It is the perfect end to an album with such a powerful message of new beginnings, the end of friendships, forgiveness and rekindling relationships. The final words are a spoken verse in a washed-out far-away echo where Hayley says “You don’t have to tell me / I can still believe” – leaving hope for us all. 

Overall, we may have been surprised with Paramore’s change in sound, but it was a pleasant one. We’ve given the album several listen-throughs and with each, we find more details to love. Is it safe to say we give it a 10/10? What about you guys? Love it or hate it? Let us know. 

Only ONE WEEK until KROQ’s 2017 Weenie Roast… what to expect?

KROQ’s 2017 Weenie Roast y Fiesta is just one week away! With a massive line-up, including Weenie veterans in Incubus, Cage The Elephant, 311 and Paramore… alongside newcomers Andrew McMahon, Lorde and Lana Del Rey… this year’s sold out festival is expected to be the best yet! We’ve mapped out some of the essentials for next weekend, so you can avoid those WURST-case scenarios. 

We’re just ONE WEEK AWAY from this year’s world famous KROQ Weenie Roast y Fiesta! Taking place this year in Carson at the Stubhub Center! This year’s SOLD OUT festival includes acts from Lorde, Incubus, Imagine Dragons, Paramore, Cage The Elephant, 311, Lana Del Rey, Dreamcar, Andrew McMahon in the Wilderness, Judah & The Lion, New Politics and The Revivalists – what a massive line-up! 

KROQ’s Weenie Roast was founded all the way back in 1993 and has since been held annually in June. This is the first year the StubHub Center will be hosting the event, which took place every year (all twenty-three previous Weenie Roasts, except 2000 which was held at the Edison International Field) at the late and great iconic Irvine Meadows Amphitheatre (which closed it’s doors in October of last year but lives on in all of our hearts). 

What can you expect from the Weenie Roast y Fiesta? Complimentary sombreros for one,  it’s not called ‘y Fiesta’ for nothing.. But that’s not all! In 2015 the festival held their first annual “Pan Toss” — and no, we don’t mean skillets. During DJ Jeremiah Red’s party set, the KROQ team blasted fans with tasty baked goods (Mexican pan, those delicious pastries) and those on the dance floor LITERALLY ate it up! 

Previous line-ups have included some of the most influential artists to this day — Gin Blossoms, Stone Temple Pilots, The Violent Femmes, Green Day, The Ramones, Rancid, Red Hot Chili Peppers, Foo Fighters, Third Eye Blind, Blink 182, Metallica, My Chemical Romance, Motley Crue, Panic! At The Disco, Fall Out Boy… you get the idea. 

This year Incubus returns for the fifth year (their first appearance was back in 2000), Paramore returns for their first time since 2010, Cage The Elephant played back-to-back (to-back) in 2009-2011 and returns this year alongside newcomers such as Lorde, Andrew McMahon and Lana Del Rey. 

At a glance, it can seem overwhelming, we know! Set-times have yet to be released (we’re still one week away), but we assure you there will be a way to pack everything in your day, don’t worry! 

So, what do you prepare? We’ve compiled some quick tips to help while we count the hours to this exciting festival: 

If the rules follow in suite to the previous years: pack your swimsuit! Wearing your swimmies as part of your ensemble is a great way to beat the heat! Also, fans are allowed one gallon of food in a clear plastic bag (cut up fruit is a GREAT way to stay hydrated and refreshed). 

Unlike previous years – there will be no lawn section, so there’s no need for lawn chairs, beach towels, blankets, coolers… keep the picnicking items to a minimum! 

California weather can be a bit tricky, be sure to wear layers of clothing that can be taken on and off and be packed away easily! 

Wear comfortable shoes – duh! No need to elaborate here. As much as we all secretly love the comfort of Crocs, try to avoid them (they were included on the prohbited list of Irvine Meadows and may not be the best idea to try and wear inside StubHub’s center). 

Withdrawal cash in advance – but not too much! Nothing is worse than losing a ton of money (or valuables) at an event. Similarly, no one wants to wait in long lines at the ATM (or bathrooms, or concessions), so to try and eliminate that, prepare ahead!

GRAB SUNSCREEN! It seems like a no-brainer, but trust us. You’ll want to pack the SPF 80 and lots of it! Take it from a regular-festival-goer. We attended the iHeartradio Daytime Village in Vegas last year, continuously applied sunscreen and STILL headed home with massive burns across our arms, legs AND back! It was the exact opposite of fun. So be sure to pack sunscreen (in lotion form, since many venues prohibit the spray-on kind) and remember to keep applying! 

Baby wipes – you’ll thank us. In addition to a small container of hand sanitizer, we love packing a few baby wipes in a zip-lock bag… because festivals can be messy. Be ready to tackle anything. 

Phone charger – not a necessity, but they’re nice to have. Don’t have one? Don’t worry! StubHub center has charging lockers – but we’re willing to bet that’ll be an added line you’ll have to wait in to juice up. 

Stay hydrated – especially if you’re planning to drink alcohol! Nothing sucks more than being in the California sun and feeling feeble and dehydrated. And no one wants to spend their Weenie Roast in the First Aide center, missing out on all the fun! 

 

Most importantly? Be prepared to have fun. We know it sounds silly, and even a bit cliche, but KROQ’s Weenie Roast y Fiesta is one of the year’s first Summer Festival… and what better way to kick off the festival season than this unforgettable line-up in Los Angeles? 

MIXTAPE MONDAYS: It’s Gonna Be May

You knew we had to feature a blast from the past with all your favorite boy band hits when May hit on a Monday this year! Don’t be embarrassed when you hit play on this list – it’s okay to admit we all loved *Nsync and Spice Girls a little bit too much. Or maybe you were more into Xtina and Hanson? B2K? NKOTB? We got you. Let that nostalgia wash over you – we know you still know all the words to O-Town’s “Liquid Dreams.” 

You knew we had to feature a blast from the past with all your favorite boy band hits when May hit on a Monday this year! Don’t be embarrassed when you hit play on this list – it’s okay to admit we all loved *Nsync and Spice Girls a little bit too much. Or maybe you were more into Xtina and Hanson? B2K? NKOTB? We got you. Let that nostalgia wash over you – we know you still know all the words to O-Town’s “Liquid Dreams.” 

Did we forget any ’90s or early ’00s classic? Let us know which tracks you were rushing to record for your walkman or if you’re super old-school, your tape decks and 8tracks. 

And let’s be honest: it was incredibly difficult to just pick ONE *Nsync or BSB hit… and don’t judge, we just HAD to include two from the original queens: the Spice Girls.