Recorded at Electric Lady Studios, Keery expertly incorporates the punchy, eclectic, and theatrical sound of 1970s prog rock into his already experimental, synth-driven style. He and co-producer Adam Thein introduce choral arrangements, saxophone, trumpet, and innovative song structures that push the boundaries of alt-pop, adding another layer of depth to Djo’s sound.

Leading the album’s rollout, “Basic Being Basic” has already captured fans’ attention. With expressive vocals, Keery delivers a tongue-in-cheek commentary on straddling the line of authenticity and fabrication. Using imagery and slang relatable to young people (especially those online), he brings to light how our digital personas are often an intersection of portrayal and over-curation. Infectious synths and a groovy bassline guide this lighthearted denouncement of the impact this has on our real-world personalities, opinions, and decisions.

At the heart of Keery’s music lies catharsis, and The Crux’s opening track, “Lonesome Is A State of Mind,” showcases his gift for transforming real, raw emotions into infectious pop anthems. This song has the potential to become the next “End of Beginning”—a track slightly left of the Top 40 while still hitting listeners’ sweet spot. Lyrically, it tackles the concept of solitude without loneliness and embraces the idea of being comfortable in your own company. As the album unfolds, Keery continues to share his life lessons, with some tracks taking on an acoustic, reflective tone like “Fly,” while others, like “Basic Being Basic,” offer a more reactionary, energetic look at the journey of self-discovery.

Working as an actor and traveling frequently, Keery wrote The Crux over a period of two years. He strings together personal experiences of young adulthood, focusing on the crossroads that arise from this period of life. The relatability of Djo’s lyrics make his songs both addicting and comforting, while his musical experimentation offers a pleasantly surprising twist for listeners. Themes of moving to new places, leaving the old behind, falling in love, heartbreak, loneliness, and the importance of community surface throughout the album’s toe-tapping (and occasionally melancholic) melodies. The Crux arrives on April 4th, offering a musical journey that’s both familiar and fresh, grounded in finding authenticity and laughter during life’s ups and downs.

Cover photo by Neil Krug

Upcoming tour dates:

*All North American, UK and EU tour dates w/ Post Animal

April 05 – Portland, OR – Revolution Hall **SOLD OUT
April 07 – Vancouver, BC – PNE Forum *LOW TICKET WARNING
April 08 – Seattle, WA – Paramount Theatre **SOLD OUT
April 10 – Oakland, CA – Fox Theater **SOLD OUT
April 11 – Indio, CA – Coachella
April 15 – Pomona, CA – Fox Theater Pomona **SOLD OUT
April 16 – Del Mar, CA – The Sound at Del Mar **SOLD OUT
April 18 – Indio, CA – Coachella
April 19 – Phoenix, AZ – The Van Buren **SOLD OUT
April 21 – Salt Lake City, UT – Rockwell at the Complex **SOLD OUT
April 23 – Denver, CO – The Mission Ballroom **SOLD OUT
April 25 – Madison, WI – The Sylvee **SOLD OUT
April 26 – Saint Paul, MN – Palace Theatre **SOLD OUT
April 28 – Detroit, MI – Masonic Temple Theatre  **SOLD OUT
April 29 – Toronto, ON – History **SOLD OUT
May 01 – Washington, DC – The Anthem **SOLD OUT
May 02 – Boston, MA – Roadrunner **SOLD OUT
May 03 – Philadelphia, PA – Franklin Music Hall **SOLD OUT
May 05 – Brooklyn, NY – Brooklyn Steel **SOLD OUT
May 06 – Brooklyn, NY – Brooklyn Steel **SOLD OUT
May 07 – Brooklyn, NY – Brooklyn Steel **SOLD OUT
June 01 – Dublin, Ireland – 3Olympia **SOLD OUT
June 02 – Glasgow, UK – O2 Academy **SOLD OUT
June 03 – Manchester, UK – O2 Victoria Warehouse **SOLD OUT
June 05 – London, UK – O2 Forum Kentish Town **SOLD OUT
June 06 – London, UK – O2 Forum Kentish Town **SOLD OUT
June 07 – London, UK – O2 Forum Kentish Town **SOLD OUT
June 10 – Copenhagen, Denmark – Poolen **LOW TICKET WARNING
June 11 – Oslo, Norway – Sentrum Scene **LOW TICKET WARNING
June 13 – Stockholm, Sweden – Annexet **LOW TICKET WARNING
June 15 – Hilvarenbeek, Netherlands – Best Kept Secret Festival
June 16 – Cologne, Germany – E-Werk ***SOLD OUT
June 17 – Berlin, Germany – Huxleys **SOLD OUT
June 18 – Warsaw, Poland – Progresja **LOW TICKET WARNING
June 20 – Scheebel, Germany – Hurricane Festival
June 21 – Tuttlingen, Germany – Southside Festival
June 23 – Paris, France –  Élysée Montmartre **SOLD OUT
June 24 – Amsterdam, Netherlands – Paradiso **SOLD OUT
June 25 – Amsterdam, Netherlands – Paradiso **SOLD OUT
June 27 – Cardiff, Wales – Blackweir Fields (w/ Noah Kahan)
June 29 – Pilton, UK – Glastonbury Festival
July 01 – Dublin, IE – Marlay Park (w/ Noah Kahan)
August 01 – Chicago, IL – Lollapalooza Festival

The post Djo’s new album is at “The Crux” of success appeared first on Quip Magazine.

The set opened with “ghost,” a popular track that began with the tap of a space bar on a laptop, accompanied by pre-recorded instrumental tracks. This minimalist setup, featuring Spirit and her bassist, evoked an intimate, almost DIY atmosphere, as though the duo were playing for a group of friends. A clear highlight of this pared-down setup was the laser focus on Spirit’s voice—breathy, emotive, and a touch of rasp that drew the audience in. After her first song, Spirit warmly greeted the older-skewing crowd, and her humble yet confident stage presence was evident throughout the entire performance.

Raised as a member of the Otoe-Missouria tribe and the Keetoowah Band of Cherokees, Spirit’s lyrics and music reflect her Oklahoma roots. In the following track, “better wild,” slide guitar and banjo introduce a rootsy texture to her sound as she sang about the internal struggle of leaving home in pursuit of freedom, self-discovery, and a bolder version of herself.

Though Spirit’s reflective and vulnerable lyrics carried deep emotional weight, her vocal strength never wavered. A standout moment came when she took on a daring cover of Radiohead’s “Creep,” proving her versatility and impressive vocal range. She then introduced “American Pie,” a song she had released earlier that day, blending twang with indie rock to highlight her sonic crossroads.

Spirit certainly left us wanting more as the grand Beacon Theatre felt hollow without a few more instrumentalists to accompany her performance. But this is only the beginning for Sierra Spirit. Her introspective songwriting, humble character and casually cool wardrobe may evoke comparisons to other indie performers, but Spirit’s show-stopping vocals & youthful and authentic twang set her apart from the rest.

All images courtesy of the artist

The post Sierra Spirit brings authentic twang (and Radiohead) to New York City appeared first on Quip Magazine.

Yokley, known for his highly sought-after talent as a percussionist, took a seat at a bright red drum kit while BIGYUKI stood behind an impressive synthesizer/keyboard setup. The entire evening was a big jam session. Riffs that the two were making up on the spot wove into songs from the album featuring Yokley’s sparse, deep vocals. After the first song, Yokley introduced the pair and shared the genesis of his debut project; you guessed it, heartbreak. It was very special to hear first-hand how this “breakup album” manifested sonically for Yokley. The lyrics are not meant to be deeply poetic or complex; they more so act as a guide through the jazzy and experimental sounds of the album. The uniqueness of Sometimes, Late at Night, especially hearing it live, lies in Jharis Yokley’s ability to be simultaneously novice and expert.

Singing into a microphone while drumming was a novel experience for almost everyone in the crowd as much as it was for Yokley. But his ability to drum and BUGYUKI’s ability to play the synth proved to be an expert right away. One didn’t know where to turn their head as the duo would play song after song. Eventually, they would wind down and share that they had never played that before. The audience truly felt like they were standing in someone’s garage or basement while the two “vibed.” Although the pair don’t love to use that word to describe their rehearsals, it is fitting to describe how the album was crafted and is shared with audiences. The evening felt like a jazz performance, and it essentially was.

A favorite track of mine was when Yokley started singing the outro of Tyler, The Creator’s “GONE, GONE / THANK YOU” and put his own flare on the instrumentals with BIGYUKI. Another sample used during the performance was “Things I Do” by Andy Shauf which is a tender song featuring simple, soft, slightly jazzy instrumentals. Yokley was fusing his skills with theirs; utilizing the vulnerable lyrics of other artists to further his message, his feelings, and their combined ability to hear a beat and weave it into a set.

The evening was incredibly special, and I can only imagine that no upcoming performance will be the same as the next. If you’re looking for a truly unique concert, Jharis Yokley and BIGYUKI are a shoo-in.

The post Jharis Yokley & BIGYUKI delight NYC with a truly unique debut set appeared first on Quip Magazine.

Kicking off the night with “Crimson to Chrome,” one could immediately feel that more than half of the crowd was there for Friko. A staple of the new generation of indie rock bands to come out of Chicago, Niko and Bailey clearly have a cult following that extends beyond the Midwest. Young and old faces alike were fixed on the trio as they sang along to uniquely infectious songs like “Get Numb To It!” and “Where We’ve Been”. The band has successfully carved out a deeply passionate subset of music lovers who find solace in Niko’s lyrics. To help bring these words to life, Bailey has upheld the duo throughout their introduction into the North American music scene as an especially talented and supportive drummer.

While seeing a Friko show includes plenty of impressive and energetic guitar and bass strumming. That night alone, Niko went through three different guitars. The night is also sprinkled with slower, ballad-like tunes. Niko turned to the keyboard to showcase his vocals and lyrical talent during “For Ella”. Another showstopper was “Cardinal,” featuring a catchy yet melancholic guitar melody and unique vocal stylings.

This is one of the best things about Friko’s following: they are here for it all. The crowd is not your typical group of young music fanatics craving a chance to mosh. The head-bangers swayed along to these intimate ballads, revealing how Friko’s emotive lyrics translate across multiple genres.

Halfway through the set, my friend turned to me and asked if Friko was the headliner. Not a crazy question as their presence at Brooklyn Made was unlike any other opening act I have seen. Those there for WILLIS were delightfully surprised by the raw energy brought to the room, and those there for Friko were ecstatic to see one of their cult favorites grace a New York stage.

Friko is going on to support Water from Your Eyes and Mind’s Eye on their North American tours this spring before launching into festival season. Notably, being a part of the 2024 Lollapalooza Chicago lineup for an (I’m sure) unforgettable hometown performance.

Cover photo by Pooneh Ghana, courtesy of the artist

The post Friko captivates fans and newcomers at the Brooklyn concert appeared first on Quip Magazine.

King Isis has carved a unique sound out for themself, the siren-like vocals of an acoustic singer-songwriter paired with heavy drums and electric guitar are impressive. The result is head-banging songs accented by introspective lyrics and beautiful vocals. Released in anticipation of shed, “MONKI” is a perfect example of this. Hear from King Isis below about the inspiration surrounding shed, how their upbringing influences their music, and past and upcoming performances.

Sofia Chaudruc: Your EP shed is coming out March 21^st and it is coming from a place of deep introspection and rebirth as an individual. Do you feel as if this is your first project predominantly driven by self-inquiry or has it been a build-up over the course of your music career?

King Isis: I feel like this is something that has been building throughout the releases – writing has always been a safe space for me – a way to (re)discover myself. I feel like shed definitely explores these themes in the most in-depth way – it’s the most dissonant project.

SC: Your undergraduate studies at Barnard College in New York led you to Gloria E. Anzaldúa’s seminal text Borderlands/La Frontera. This was a big inspiration on the shed EP, can you elaborate on how the two are linked?

KI: What spoke the most to me in Borderlands was this concept Anzaldua introduces of the Coatlicue State and entering the serpent. Anzaldua describes these as moments of transformation, acceptance, of becoming, and release. Anzaldua signifies the serpent as the subversive, the divergent, and as a symbol of a deviant, sexually-healed femininity, which in a world governed by masculine fragility, is one of its most feared forms. Throughout Anzaldua’s text, she urges readers to succumb to the temptation, to “let the wound caused by the serpent be cured by the serpent.”

In shed, I let the serpent sink its teeth in and transform the pain into power. I explore places that I’ve rejected, that I’ve made small, that I’ve silenced. Shame I’ve experienced in my queerness, shame in my Blackness growing up surrounded by an idealized whiteness, and shame in processing the trauma of an abusive relationship. Instead of hiding behind my shame + silencing myself for the comfort of others, I enter the serpent. Throughout this EP, I’m processing a lot of pain and shame – and in creating this music – transforming and releasing – repurposing this pain into power.

SC: So you attended Barnard and currently live in New York, but you are originally from Oakland. How has living in New York City as a young adult shaped your musical career and personal growth?

KI: I think living in NYC in those formative years definitely allowed me the freedom to explore my identity and creativity in ways that I couldn’t do in the confines of my hometown. I’ve recently moved to LA to be closer to my collaborators but there’s a love and sense of community I feel in NYC that I don’t really experience as much in LA.

SC: At your recent performance in February in Brooklyn, you decided to do a solo acoustic set. What was the driving force behind this decision? 

KI: The main driving force behind this decision was the cost, touring is expensive AF. Once you add up transportation, daily stipend, places to stay, etc. you’re looking at thousands of dollars. But also this is my first tour ever and performing solo acoustic felt like the most honest introduction of me as an artist.

SC: It certainly was a great set. Do you prefer acoustic sets or playing with a full band?

KI: It can definitely be a bit more daunting playing acoustically mainly because the attention is fully directed on you – like I’m more conscious of how I present. However, the acoustic set is the closest to how I write the songs – an acoustic guitar and a notebook – so it feels more personal and less like a ‘performance’ if that makes sense. With the band, I feel less like a perfectionist and more in sync with my bandmates. I think something that’s a bit more of a challenge with the full band is having to step out of my shell and into the King Isis character. As someone who is naturally more introverted, it’s a challenge, but ultimately, playing with the band is a lot of fun and I think the full sound translates the best that way.

SC: Going bigger picture, who are some of your musical inspirations, general artistic inspirations, and/or personal ones?

KI: Some of my musical inspirations are Sevdaliza, King Krule, Erykah Badu, and Yves Tumor. Some other people that really inspire me are Assata Shakur, Angela Davis, and Gloria Anzaldua. But generally speaking, I’m inspired by the relationships and conversations I have with people.

SC: Lastly, we cannot wait for shed to come out on March 21^st, but what can we anticipate from King Isis next – do you plan on going to any festivals this summer, performing your new EP locally, or maybe hunkering down and writing? 

KI: I’ve been working on some new music that I’m really excited about and hoping to set aside some writing weeks to fully cultivate the next project – maybe a debut album? I’m also playing festivals in Europe this summer, and have some shows in the bay I’m really excited about in June (can’t say quite yet!).

I’m finishing up this US tour with Mehro for the rest of March but would love to be out on the road again a bunch this year. Also – I’ve written this short film that kinda ties up the worlds of the EPs and introduces the new project and would love to get that out to the world sometime this year. But at the very least you can expect even more new music from me this year, I’ve been working on a lot of stuff and I can’t wait to share it <3

Photos by Eric Mura for QuipMag.com

The post Rising alt-popstar King Isis shares excitement of upcoming EP “shed” appeared first on Quip Magazine.

Short and sweet (like its name), Honey features six songs, beginning with “Quite Like You”. Immediately you can hear the influence of Lee’s classical violin training on Peach Luffe’s sound. The chorus possesses the grandeur of an orchestral climax as violin, guitar, and drums compound to drive the message home that “there’s no one quite like you.” Lee’s lyrics are simple and resonant, crafting an EP perfect for anyone in a new romantic relationship, a long term one, or celebrating friend love.

Jong Lee writes and records all his vocals while showcasing skillful use of violin, keyboard, bass, and guitar.  Released as a single before the EP, ”Honeybee” has an indie rock, almost psychedelic sound that opts for a moodier feel to continue Lee’s love letter. The heavy use of guitar reverb emphasizes the yearning in Lee’s vocals, creating elongated melodies that are artfully accented by the twang of the same guitar. Lush soundscapes are characteristic of Peach Luffe’s musical projects, and we cannot wait to hear the pleasurable sonic spaces that he creates next.

Drawing on the South Korean musical style of K-ballads, Lee fuses with personal experiences and sounds of Toronto’s music scene to carefully craft his own modern ballads. As spring approaches, the dreamy, transportive tracks on Honey are the perfect way to pass time before summer takes over and we can all feel as honey-drenched as Peach Luffe.

All images by Alex Lam, courtesy of the artist

The post Waiting for summer with Peach Luffe’s new EP “Honey” appeared first on Quip Magazine.

Mackampa wears his heart on his sleeve from start to finish while listeners are anchored by catchy choruses and danceable rhythms. “PLAYGROUND” opens the album, looking back at the simplicity of being a kid through rose-tinted glasses. The next track, “PROUD OF YOU,” is introspective and looks beyond the rose-tint by vocalizing Mackampa’s revelations after examining his difficult upbringing. Featuring a rich use of keys, drums, and brass to back up his smooth vocals, Mackampa has us belting out heartfelt lyrics alongside him.

The production value of this album is incredibly high, matching Mackampa’s skills as a vocalist. Funk rhythms, full brass sections, and bold drums are present throughout. He dabbles heavily with soul, blues, and R&B while incorporating orchestral elements and UK rap as well. A personal favorite, “GIRLS ON FILM” showcases a catchy chorus accompanied by orchestral strings and haunting backup vocals while slightly downtempo drums guide us through. Mackampa is not a one-trick pony and clearly thrives in the musical space when patching together any genres and sounds he desires so long as he is being true to himself.

Featured on COLORSxSTUDIOS, Mackampa’s performance of “MARY” slows it down, highlighting his talent as a gospel singer and captivating performer. The complexity of the album’s sound grows as Mackampa raps on “FRIENDS YOU’VE MADE” in his British accent, showcasing his ability to shape-shift throughout a performance. You can envision him giving a show-stopping performance in a sweaty concert hall, a small jazz club, or a church on Sunday morning.

Characteristics of the musical styles that he is influenced by, church, and God are active themes throughout Mackampa’s project. Attending church is referenced lyrically but his preaching vocals further speak to his upbringing. On the album cover, there is a subtle cross in the glass door that Mackampa is stepping into, showing how he thrives in the details of his work. The reinforcement of this theme makes the album feel whole, intentional, and mature. You can feel and hear the tireless investment that Mackampa put into this polished project.

WELCOME HOME, KID! highlights Jordan Mackampa’s confidence that one would think has come naturally to him his whole life. Every song on the album is vulnerable and raw; touching on childhood nostalgia, reflecting on your past although difficult, believing in yourself 1000%, dropping friends who don’t stick their necks out for you, romantic struggles, and more. The project is truly a lesson in confidence being unlocked by honesty, vulnerability, and authenticity.

* * *

See complete tour dates here.

Photo credit: Aidan Harmitt-Williams

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