Brinley Amicon Turns Guitar Dreams Into Reality

Posted on by joshwurz

Men have been picking up guitars for centuries to impress women. At least the ones who are honest about how and why they started playing. So, why shouldn’t turnabout be fair play and women have the same idea? 

Of course, in the male mind, the hoped-for result, the vast majority of time they start guitar, is getting laid. For women, or at least Brinley Amicon, when she started playing at fourteen, it was more in hopes of meeting a hero.

 “My best friend and I, at the time, desperately wanted to meet Aerosmith. And we thought, ‘What would be easier than getting a job, starting a band to meet them?’ We’re like, ‘Oh, we’ll surely make plenty of money, cross paths and that sort of thing.’ So, instead of getting a job at the local grocery store, we said let’s start a fucking band,” she says, laughing.

So, the obvious question: Did she ever meet the elusive Aerosmith? “Joe Perry, I’ve been trying to meet for years. He is the reason that I started playing guitar. And there are multiple occasions where I bought a meet-and-greet ticket for Joe Perry, but he got sick and had to cancel. Then I got tickets to their Vegas residency, but they canceled the day before. And then Aerosmith was supposed to do that grand finale tour, but they canceled that. But I did recently see him open for The Who, and he brought out Steven Tyler, and of course, Brad Whitford was up there as well. That was incredible, but I’ve not personally met them yet.”

Cred. Brinley Amicon

But as the cliché so often goes: “Everything happens for a reason.” Amicon might still not have met Perry, but more than a decade after she started guitar in hopes of meeting her favorite band, and became hooked on Aerosmith through Guitar Hero, she is well on her way to becoming a guitar hero of her own.

A dozen years after she and her best friend began their first band, she is endorsed by Gibson, Marshall amps UK, Ernie Ball, and more. Her YouTube covers of artists such as Slash, Billy Idol, Eric Clapton, Ozzy, and more always generate thousands of views per video, and she has played with and been mentored by the likes of Joe Bonamassa, Halestorm, and others.

“I’ve had the honor and pleasure of really getting to know Lizzie and Joe from Halestorm over the past few years. They’ve been great friends and have always been around to chat and offer their expertise and their thoughts on all these sorts of things. And listening to Lizzie speak is so incredibly inspiring and important. Her dedication to kicking down these stereotypes that come along with being a woman in rock specifically is important; it really is. Along with Lizzie, someone who really speaks to me is Joan Jett. I resonate with strong personalities that take no shit, are commanding the room, have this commanding presence and are resilient no matter what obstacles are thrown in their way.”

While Amicon has her female role models, she has just as many male guitar players who have become, as stated, friends and mentors.  “Adam Jones from Tool is one of the most genuine, kind-hearted people. The first time I met him, he invited me to his Fourth of July party with friends and family, and we were just chatting about guitars and music. Through that I’d go to some Tool shows, which are just one-of-a-kind insane stuff,” she says. “Then, of course, Joe is one of my closest friends probably, and he’s another one that has helped bridge worlds and kick down the doors. His name in the guitar world, along with Adam, holds quite a bit of weight, and the main thing with Joe is we’re just great friends; we have a lot of similar interests. If it’s The Simpsons, Mel’s Diner or the Sunset Marquis, we’re cut from the same cloth. Then with the guitar thing he’s always given me the opportunity to bring me into his world.”

Cred. Brinley Amicon

With all the support she has gotten, Amicon is ready to take the next step in her music and move from her highly successful social media covers to releasing original music in a band. She has done it before, but never at this level.

“I was in a band when I started playing guitar. The first band that I started was two months into playing. So, honestly, I’ve been writing and recording since I really started playing. There was certainly some music from that band out at the time, but I intentionally wiped it to start over because this new project is really what accurately represents me as a guitar player/songwriter/musician,” she says. 

It took some turmoil, which everybody who’s ever been in a band understands, but Amicon finally found the combination of musicians to bring out the music she can’t wait to share with the world.

“It’s certainly been an interesting journey, but I wouldn’t change it for anything. Like you said, a band is such a complex thing, but once all those pieces fit together, it’s such a joy. It takes time, you’re in a four-way relationship, essentially, you get to know every part of these people. And part of that is learning how they communicate, what is the best way to collaborate, and what is the best collaboration process? How do you make sure everybody’s voice is heard? And with this tug-of-war, push/pull effect, sometimes there’s one piece of the puzzle that may not work, and then you’ve got to swap it out. It’s an ongoing learning process, but it’s one of the most rewarding things to be a part of,” she says, “I’m super excited for the studio and what we’re going to be cooking up in there alongside Mike [Elizondo]. I feel probably the best I’ve ever felt about the project and this collection of work.” 

Now that Amicon has met so many of her heroes, when her record comes out, she may finally get the chance to thank Joe Perry in person for all the inspiration.

“It’s really Joe for me. I saw Aerosmith two weeks into my playing guitar. And after I saw that show and I saw Joe Perry, I was like, okay, ‘This is what I need to do for the rest of my life. He’s just so effortlessly cool and has so much style, attitude, and presence. And me at 14 years old, I was like, ‘Okay, that’s the one. That’s what I want to do.’ It would certainly be a dream-come-true moment to finally shake his hand and meet,” she says.

Alt-J’s Joe Newman on his Solo Debut: Portrait of the Artist as A Young Father 

Posted on by joshwurz

With Alt-J, frontman Joe Newman enjoyed commercial and critical success, including hit singles such as “Breezeblocks,” “Something Good” and “Left Hand Free,” as well as major festival appearances such as Glastonbury, Lollapalooza and Coachella three times. Yet, for his just-released solo debut, The Canyon, you will not see the name Joe Newman prominently displayed anywhere. Instead, it is credited to JJerome87. 

As Newman explained when we connected recently, the pseudonym allows the music to remain at the forefront.

“Ultimately, I think my dream has always been I want people to be familiar with the songs, not necessarily familiar with me. I like that I have my anonymity to a degree. That’s a little hard to do when you go solo, but I certainly have hidden slightly by using this moniker,” he says. 

Like so many artists before him, Newman likens going from the safe confines of a band, where you are with like-minded friends striving for similar goals, to being on your own as a solo act, to being akin to starting over. And in his case, it is especially true because the immediate success of Alt-J never gave him proper time to adjust to popularity.

“We went straight from university and then all of a sudden, we got management, we got a booking agent, we got played on the radio and then within eight months we were touring. Then, very quickly, we won a Mercury Award and an Ivor Novello; things then just blew up,” he says. “That was my experience of giving it a go in a band. You don’t realize how lucky you are because your success is all you know. So, I think now, doing this as a solo career and experiencing the consecutive release of albums, you find a place in the world of music. And if you’re lucky, you can write a record that guarantees the next record. That’s where we were. We found a place. Then, when I’m working on this solo album, in a way, I feel like a new artist again. So, it’s very easy for me to look back on the band and think, ‘Wow, that was really cool and lucky. We worked really hard, but that’s crazy rare for something like that to happen.’”

Cred. Zachary West

Though the instant fame was a difficult adjustment, Newman is grateful for it because that connection has given him the confidence to grow with his listeners on each subsequent album.

“I definitely feel validated to be more like myself with every album I write because people respect it or the fans respect it. They enjoy it, it means a lot to them. They process it through their own filters, and it means something different to them. And it’s a really important part of their life. And that connection is really important. In a sense, I have an audience where I can talk more like myself through prose and songs,” he says.

By that principle, The Canyon would be the most Joe Newman record made to this point. Or at least it is a natural extension, to him, of the bond he has built with fans of Alt-J. 

“There are so many things that connect to examples of my personality that I’ll see again through writing new music. And I think if people like what they hear, you lean into pleasing that audience, and you do so with the understanding that you like it too. It’s like a rapport with you and your audience, essentially, writing,” he says. “So, what you write in the future is a more detailed understanding of what they’ve liked leading up to that point because you’ve had more source material to draw from. You have more of an acute set of understandings towards how you write, who you’re writing for, what you like to write and what they like to hear.”

The concept he floats of new songs being a continuation of the already established dynamic between the artist and audience is similar to one that exists in literature, which suggests all writers are constantly rewriting the same theme, just trying to perfect it. While it is not quite that simple, Newman does see elements of that in his work.

“There is an element of all the songs are just siblings. Some look like each other, and some don’t; some are better looking, and some aren’t. Others are just different levels of different characteristics within, but they all share the same DNA. I don’t know which one’s an advancement of the canon but perhaps ‘Mr. Alligator’ is,” he says. “It’s got an interesting guitar riff; it’s cinematic; it’s where my voice likes to be; it’s where the rhythm of my voice is most safe in terms of feeling good. I’m utilizing field recordings. We’ve got the jump ropers in that song. We’ve got them enjoying the recording day while we get them to do the jump roping, we’ve got them enjoying that day on film and on mic, and we’ve peppered that around the album. We’ve given it so much life, and we’ve injected it with so much atmosphere and energy, I think it encapsulates everything that I wanted to achieve for this album, and I think it’s a build-up of things that have slowly been happening from the first Alt-J album to the most recent.”

Cred. Zachary Gray

At one point, the conversation turns to film when Newman mentions being a big fan of Martin Scorsese and the era of film he represents (his favorite Scorsese films: The King of Comedy and Goodfellas). Once the subject of movies emerges in the interview, it is easy to see his cinematic influences, especially in the album’s brilliant closer, “Pennine.”

Newman does see film and visuals, in general, as a big influence on his work. “I think, in the UK, you’re prescribed the American cinematic vision at an early age. And it means that you end up watching a lot of American cinema, and you fall for it, and it becomes a large part of your diet. It had a huge impact on someone like me who grew up being interested in fine art. Then I went to universities, art college to study art,” he says. “I always thought in pictures, so I’d have these fantastical visions of things that I like to put into the music. And I think that built this cinematic. atmosphere because when I wanted to reinforce the message, I would use field recordings as well, which would blur the lines between this play on the radio experience and a song. I like to marry those worlds, and then I think you incorporate other, less traditional accompaniments into the music using brass and strings. So, you’re building this mood, and you’re thinking it like you’re scoring a film.”

If The Canyon were a film, to him, it would be a documentary of a key time in his life.

“I think the through line is probably behind the scenes. It’ll be, for me, the feelings that I had at the time; my daughter being born and raising my child, spending time away from the band to do this. It will feel like a time capsule of a period as a young father.”

The Struts’ Luke Spiller: Rock Star Frontman and Introspective Singer/Songwriter 

Posted on by joshwurz

As the frontman for the popular UK rock band The Struts, Luke Spilller, is used to, well, strutting around on stage like a young Mick Jagger at times. A highly energetic, prancing showman with rock star energy, Spiller is known for that flair à la Jagger.

Of course, Jagger, who many consider the prototype of the rock frontman, is also credited as co-author on two of the most exquisite and tortured rock ballads of all time – the brilliant “Angie” and “Wild Horses.” So, why shouldn’t Spiller also be able to put away his dancing shoes from time to time?

He does exactly that on his recent solo single, “When I Die Will I Miss Living,” a profoundly tender ballad on mortality and appreciating life, he tells me, was at least partially inspired by the poetry of Billy Collins. 

 Don’t worry, though, Struts fans who crave the energetic and rocking Spiller. He says the new Struts album is nearly done, and he promises plenty more sex, drugs, and rock and roll. Right now, he is in his musical sweet spot, where he gets the best of both worlds – rock star frontman and introspective solo artist. And as he tells us, he is loving it.  

Hit Parader: How much fun is it to do those David Bowie-inspired shows with Mike Garson? Mike is just one of those people who’s got a million stories, but more than that, he absolutely loves music. So, for you, how inspiring is that to someone who’s been doing it this long, who still is that excited by it?

Cred. Joseph Lynn

Luke Spiller: Yeah, Mike’s story is not only really inspiring, but I think back to when I first started playing shows with him, probably about three to four years ago now. And I’ve just learned so much. I think by the time I did my first couple of shows with him, I saw myself as quite a well-rehearsed performer, to an extent, as a singer as well. It became quite apparent as soon as we started doing those first couple of shows that I still had a lot to learn. It was a very different type of performance, and Mike plays in a very specific way. It requires a completely different part of the brain from rock and roll music.

HP: It’s what allowed him to work so well with someone like Bowie, who could do everything. For you, what are your favorite Bowie songs to do? 

Spiller: I love doing “Changes.” That’s one of my favorite Bowie songs of all time. And I love the way that Mike and I do it. “Moon Age Daydream” is always great. Super fun. It depends as well on how we’re doing them. I’ve done a few shows where it’s literally just Mike and me playing for two hours. And then we’ve done performances where we have a big band around us. So, interpreting the songs can also lead to different favorites. I love doing “Life on Mars” with him as well. And we also do a whole array of Bowie-connected covers. Like we do “Perfect Day” (Lou Reed) from Transformer, which was produced by Bowie, and then we’ll dip our toes into other people that Bowie loved as well.

 HP: I was looking at your Instagram, and you said you were surprised by the response to “When I Die Will I Miss Living.” Why were you surprised?

Spiller: I was surprised because by the time I’d finished it, I’d been playing it on a little solo tour and, to be quite honest, I was kind of over it. I’d also heard some feedback, which I guess I’d kind of taken personally, regarding my solo stuff. It had come from a lot of immediate Struts fans, who were very much getting sick of me doing introspective slow ballads. And the solo record had already been alive and existing online and physically for about a year by the time “When I Die” came out. So, I was expecting people just to be like, “Fast forward, can you sing about some sex, drugs and rock and roll and make it fun and upbeat?” Yeah, I was really taken aback. I was given a lot of testimonies and stories that, to be quite frank, I’m not really even qualified to respond to, genuinely difficult moments in people’s lives that they wanted to share with me. Which again I found very touching, and which was attributed to hearing the song itself. So, I was quite surprised.

Cred. Joseph Lynn

HP: I’ve always found from talking with writers, the simpler and more vulnerable a song is, the more people connect with it.  So, when you think about it, does it become less surprising?

Spiller: After getting the initial feedback for the last three weeks, I do understand, after reading people’s messages and stories, how it resonates with people. Going back to my own personal experience, you hit the nail on the head where you said sometimes the more stripped back and personal a song is, the more universal it becomes. And I guess I was reflecting on the experience that I had with the 10 tracks from the solo album before this song. I had a couple of moments like this, and they weren’t received in the same way, maybe because they were album tracks. That probably also has something to do with it, they weren’t like focus songs. “When I Die” is a song unto itself, but I can see the appeal now after reading everything that I’ve read about the song.

HP: This feels like a song that came to you very quickly. Am I right? 

Spiller: Yeah, totally. I have these phases where I either spend the mornings at the piano or on a guitar, and I’m just really fishing, so to speak, for the first couple of hours of my day. And then sometimes I go through these phases where I flip that, and I don’t even touch an instrument, and I just sit, and I really have a newfound appreciation for just carving out a great lyric. This was one of those moments when I was back for the Christmas holidays in the United Kingdom. And of course, coming back, I had terrible jet lag for the first three to four days. So, I was up at about six a.m. in wintertime in the UK, and there was no sunlight. And I would spend about two or three hours watching the sun come up, essentially, and I’d just sit there with coffee. I was in one of my lyric phases, and I was reading a lot of Billy Collins, the American Poet Laureate. I feel like if anyone’s familiar with his work, you’ll see how that really inspired the subject matter and the lyrics. He has this way of making the mundane and the everyday into something not quite heroic, but more, he can turn it into a beautiful philosophical thought and feeling. I remember thinking of that phrase, and I thought, “Oh, gosh, that’s so Billy Collins. I can imagine him signing off a poem in that way.” I just ran with the idea, and I think I wrote about five different stanzas with that line being the cadence. Then I started hearing this very basic melody in my head as I was writing it out. And that’s why it happened so quickly. I picked up a guitar, and I thought, “It’s going to go here, and this is where it goes.” It all fell into place perfectly. I lived with the bare bones of it for a few months, came back to LA, and then took it to my producer, John Levine, and my friend, Nick Perry. We just jammed it out a bit, and then it was done super quickly.

HP: For you, did the song stand out right away?

Spiller: With the solo record, I gave myself the constraints of writing an entire album that was based on my own experience of love, sex, and heartbreak. And I worked within those constraints for a very long period of time; that’s all I was writing about. And “When I Die” was the first moment when I broke away from that. It was leading me somewhere else, where I thought, “Oh, this is a bigger idea than your typical love song,” even though by the third verse, I managed to make it into a love song essentially.

HP: I’ve talked to so many artists who enjoy the balance of the bigger thing and the more intimate thing for you. Are you looking forward to going back to the sex, drugs, and rock and roll for a moment just to balance it all out? 

Spiller: Yeah, I’ve literally just got back from Nashville a week or so ago, and we’ve completed The Struts’ fifth album. I’m actually in the process right now of typing out all the lyrics for the DSPs and of course the album booklets and stuff as it’s sort of like getting being it’s getting ready to be mixed properly and I can say for certain that none of those 10 tracks on the album go anywhere close in terms of asking the big questions that we tend to ask ourselves in more introspective moments. It’s a completely different hat that I put on when it comes to the band. I like that, I think it’s good. It helps me to apply these different skills I have in different ways. But yeah, The Struts stuff is more rock and roll poetry in the sense of my heroes, like Bon Scott, for instance. And the solo stuff is way more lyrically driven to a sense where I think you could sit and read the lyrics and they would read pretty well if you were to say them in a monologue.

Diaries Of An Almost Popstar: Pride, Allies, And What The Bible Really Says In Support Of The LGBTQ+ Community

Posted on by joshwurz

I’ve performed on stage at Pride Festivals across the country now for the past three years. As a pop singer-songwriter who is Christian, straight, has read the Bible twice and minored in world religions, here’s why I think standing with the LGBTQ+ community is important now more than ever. 

Looking out at the crowd, faces painted, massive smiles, adorned with gems, there is no doubt in my heart that each face in this crowd is a child of God. Pride isn’t just a festival; the money that it generates goes toward health programs, youth housing, and counseling services. Supporting and advocating for groups that are typically ostracized by the church is how Jesus built his ministry. Not only did he joyously welcome those who were deemed outcasts, He called out religious leaders who were living in hypocrisy. 

When I was first asked to perform at a Pride Festival back in 2024, I was extremely hesitant. I write music for the girlies and the gays, but I’m just a girlie, not the latter. Why would I take up space and a voice in the community? When I politely declined with that reason, Luis Cortes, one of the executives of Pride Sacramento in California, called me nearly immediately after and said: “No, we need vocal allies now more than ever.”

Cred. Sandra Jamaleddine

I believe there is irrefutable historical and scriptural evidence that being vocal for marginalized groups is inherently Christian and a Jesus Christ taught value, despite what modern Western Christians are doing. 

Growing up in a Baptist Church in the 2000s, I was taught that being gay was one of the biggest sins because it refuted the symbol of Christ’s relationship with the church as a bride and groom. A Christian conservative family is wildly uncommon in New York, but my very Bronx-y family, specifically my father, made our family views known on nearly every public outing. Although I had more grace in my delivery, I’m my father’s daughter and rarely keep my opinions to myself. 

It wasn’t until an upperclassman I sat near in choir asked me point blank but in a whisper, “Heather, you know I’m gay; do you really think I’m going to hell?” that I felt a crisis of conscience. “No,” I whispered back, “I’ve lied before, and I’m not going to hell because I lied. Jesus died for me, so I just have to put my faith in Him and ask for forgiveness.” That’s when he asked, “But Heather, is loving another man really sin?” 

One of my favorite Bible scholars and pastors, Martin Niemöller, once said: 

“First they came for the Communists 
And I did not speak out 
Because I was not a Communist 
Then they came for the Socialists 
And I did not speak out 
Because I was not a Socialist 
Then they came for the trade unionists 
And I did not speak out 
Because I was not a trade unionist 
Then they came for the Jews 
And I did not speak out 
Because I was not a Jew 
Then they came for me 
And there was no one left 
To speak out for me.”

Niemöller delivered those powerful lines back in 1946; it was in reference to the rise of Nazi Germany and how being silent in the face of fascism leads to your rights being taken away as well. Over the past few years, I’ve been seeing this quote resurrected not only applied to the current state of America but also to the rising “religious” right growing across the world. 1946, the same year when Niemöller delivered these words, was the same year the English translations of the Bible used the word “homosexual” for the first time. 

Cred. Sandra Jamaleddine

The word “arsenokoitai” shows up in two different verses in The Bible, Leviticus 18:22 and Timothy 1:10; but it was not translated to mean “homosexual” until 1946. Other languages and their versions of the Bible have adapted to using that word in much later interpretations. In German, before 1983, 1 Timothy 1:10 read, “Man shall not lie with young boys as he does with a woman, for it is an abomination.” Arsenokoitai from Ancient Greek to Latin is paedico and praedico, which is the base of our word pedophile. After further digging, Ed Oxford, a leading Bible scholar working on a more accurate translation of the Bible, discovered the American company Biblica, who owns the NIV version of The Bible, paid for this new 1983 German translation. At that time, Germany didn’t have enough of a Christian population to warrant the cost of a new Bible translation. Biblica funded the entire project and let their interpretation influence the decisions that were made in the word choices, resulting in “homosexual” entering the German Bible for the first time in history. 

For decades in Pop Music, we’ve had pop stars lean in and love on the queer community. Madonna, Britney, and even Paris Hilton have been musical voices advocating for legislation and safe spaces. But before that, in the framework of pop music, Diana Ross is celebrated widely as a gay icon. Her 1980 hit, “I’m Coming Out,” was one of the first songs to set the tone of Pride. She was also one of the first fundraisers to rally support at the start of the AIDS epidemic. The Diana Foundation is recognized as the oldest active LGBTQ+ organization in the nation. She often calls her philanthropic work with the community “her ministry” while talking about her devout faith and growing up in the Baptist church. Not to mention, she has the most brilliant rendition of “Amazing Grace.” If I’m to try to become a pop star who builds a legacy of great music, faith, and compassion, why not build off the framework of a legend like Diana? 

Throughout the New Testament, Jesus lives and speaks through the importance of community. Jesus built His community in radical contradiction to the ancient Hebrew religious ways. Rather than spending his social time positioning Himself in the religious hierarchy, across the synoptic gospels He chooses to spend time and eat with societal outcasts. The act of eating a meal with the community of others in the Middle East at this time was an act of fellowship, acceptance, and peace. By doing this, he rebelled against purity laws. This was a scandalous endorsement of their “immoral” lifestyles. Most rabbis of the time practiced a strict avoidance of anything they deemed unclean. Matthew, Jesus’ disciple who was a tax collector before following Jesus, full-time. The Roman Empire was occupying the region at the time, and tax collectors were deeply despised by the Jewish people for extorting their own people. Jesus kept the company of tax collectors, prostitutes, and other people ostracized by His culture and considered these individuals dear friends. Why should I do any different? 

Cred. Sandra Jamaleddine

When I’m performing at Pride, I feel genuine love radiating from the crowd. If they didn’t know me before the lineup announcement, I have no way of knowing that. I hear the bellowing chorus sing my own handwritten words back to me. Roses from my merch stand were being waved back and forth. Although I don’t identify as a queer woman, I’m fully loved and accepted for who I am here. 

Like any festival I’ve played, I enjoy also being in the crowd outside of my set, chatting with the attendees and learning more about the who and the why. There’s an infamous photo of me eating lasagna in the crowd during Pride 2024. I handed out forks like flyers because the craft team gave me a massive hot tray. We all laughed and danced, shoving spoonfuls of cheesy pasta into our faces. Music is all about expression and connection. I love knowing why my lyrics hit for some people. I love learning more about the people dancing with me. Audience members are individuals and come to shows with the vignettes of their whole lives. They could have grown up listening to your early tracks, or they could be someone who connected with your song in a certain season of their lives. But Pride has the biggest why of them all. Why, out of all of the festivals in the world, are these people here? 

“Pride is where our community gets to take a breath and remember its own heartbeat. It is a celebration, a protest, a homecoming, and a promise all at once. For so many LGBTQ+ people, Pride is the moment they realize they are not alone, that their story is connected to something bigger, braver, and more beautiful than the fear or isolation they may have been carrying. That is what makes Pride so powerful. It brings us back to each other. It turns grief into joy, visibility into strength, and community into something you can actually feel. Pride reminds us that even in difficult times, we know how to make light, and we know how to invite others into it.” Luis Cortez 

Past keeping “the church’s” social outcasts as friends, Jesus advocated for the ancient Mosaic Laws to be reconsidered. The first story that comes to my mind is when Jesus stopped the Pharisees, religious leaders, from killing the woman who was caught in adultery in John 8. The men of the church brought an unnamed woman to Jesus’ feet. They claim they caught her in the middle of the act and asked Jesus how to punish her. They then cite the Mosaic Law of the times. Laws that condemn her to death by stoning. Jesus pauses to write in the dirt as if He didn’t hear them. When He is done writing, Jesus turns to the Pharisees and famously says, “he who is without sin, cast the first stone.” Although it’s not recorded what He had written down, scholars believe that he etched into the dirt the sins of the men trying to condemn the woman. The Bible then goes to say that the men convicted by their own guilt disperse. And Jesus says, “I do not condemn thee.” This is not the only example of Jesus admonishing and going against the religious elite by defending His society’s pariah, but the one that sticks out most to me. 

I believe, as an educated Christian, it is important for us to truly study the text, not out of context but in its full context. It’s vital for us to embrace our God-given compassion and marry empathy with Bible scholars who teach about the historical significance and the people of the times to better understand the words and the choices made in the sermons we hear today. In fact, Jesus says nothing about homosexuality during the 33 years he was on earth. Our current Christian patriarchy will weaponize forgiveness and Jesus Christ laying down His life for others to condition followers to be meek in the face of injustice. While Jesus was very loud and direct about standing up for those whom the church had put down. 

If Christians are called to be people who are following in the ways of Christ, then we should listen to the words He directly says and follow in the actions He makes. My takeaway from reading the Bible and applying it to my life is to act like Christ in my every day-to-day. Through this lens, America is my modern-day Jerusalem. The Pharisees, deciding who is good enough to get into heaven, are my republican congressmen. Anyone ostracized by their religious elite that Jesus loved and advocated for is someone that I will love, show up for, and advocate for. Jesus is my Lord and Savior, commanding me to honor him by loving and accepting others, especially when the corporate church and the religious subculture are telling me to do otherwise. So, I will always put on my mascara and rhinestones, sing, dance, and march with Pride.

bbno$ on Virality and Vulnerability: An Interview

Posted on by joshwurz

There is a certain amount of luck that comes with a hit song that is hard to quantify unless you are bbno$, of course. The Canadian-born rapper has made going viral something of a matter of fact compared to a hope. His unique flows, willingness to explore new sounds, and one-of-a-kind personality allow for a draw that most couldn’t compare to. Not to mention his ability to make anyone of any ilk feel comfortable at his shows or in his community. Proving just how intertwined an internet persona and real life can become if working is all that you do. The question is not how authentic he is compared to the persona but how both are iterations of the same authenticity. He sat down with us right before his Bonnaroo show to discuss that as well as his scholarly ambitions post-music career. 

Hit Parader: How is your year going so far? 

bbno$: The year is going pretty well. I just got back on antidepressants four days ago. So I’m about to become a machine here very shortly. 

HP: As long as the side effects don’t get too crazy. 

bbno$:  Only side effect is you don’t really get hard or horny. But hey, man, when you live in a capitalistic society, it helps. 

HP:  When talking about your process for making music, you mention that you use analytics to think about what to experiment with for the next project. Whether it’s a certain bass or bpm. From the last project, were there any analytics that you noticed that you’re going to use for the next song or album? 

Cred. Taylor Regulski from Bonnaroo Music and Arts Festival

bbno$: Not really. I made this song called “it boy” in early 2024 and put it out in May. The house rap music wasn’t really popular as it is now in North America, specifically. I was very inspired by European Gabber and Jump style and stuff like that. I was like, “Okay, how do I have my own little taste of it?” “How do I show North America?” I just really doubled down on the house rap staff, and it really elevated my career. So, as far as what I have coming next, it’s probably a little bit more developed in that world. We are listening to a ton of funk this morning, and I was like, “Damn, I got to make a funk album.” I think that would be really, really fun. No one is really making proper funk these days in the semi-mainstream. I think it would be really interesting if I did my own little taste of it. Not disco or house, but pure funk. It would be really sick. 

HP: Your internet personality is very entwined with who you are as a person. As your career has progressed, have you found that balance of that intertwining? Do you try to separate it at all or just kind of leave it as is? 

bbno$: I don’t really work on anything other than work. So, it’s hard to differentiate between Alex and bbno$. What I was wearing prior to this (currently wearing a full suit made of snakeskin) was Lululemon Shorts and a white tank top because that’s what is comfortable to me. But I want to be extravagant, all over the place, and energetic. A showman, so I’ve always used my platform to be me times ten. So, do I blur the lines between them? Yeah, a little bit, but at the same time, I stand on the right side of history. My ethics and morals are on the correct side. I’m just advocating for people who may feel displaced and stuff like that. I have such a big following and platform now that I have to spread love and positivity. That’s what I originally wanted to do when I was growing up. I wanted to be a doctor and help people. I feel like I’ve helped more people than I ever could have. 

Cred. Taylor Regulski from Bonnaroo Music and Arts Festival

HP:  You’ve mentioned before how you make things as extravagant as possible, and that has opened up other people to feel more comfortable in the audience. 

bbno$: Yeah, I think that just comes across via the authenticity that I show via just being myself. If it offers them a safe place to smile and have a good time, Fuck yeah! Not enough people, specifically in this day and age, are spreading the love and positivity. There’s so much hatred out there right now, and I don’t want any part of that. 

HP:  In the Daniel Wall interview, I saw you talking about how there’s no research for what a hit song does to an artist. As someone who’s probably experienced that a couple of times. In your anecdotal experience, what would you think the results of that would be? 

bbno$: Interestingly enough, I’ve been talking about this for a while. I just realized that this is something I want to do after I’m finished with music. I want to spend money on a research study because the sample size is so small with people who have hits. People who do social media at the grandiose level. Why would you study that? It just seems like a waste of money for a school, right? So I want to fund a study and write a thesis on the emotions and the tumultuality that I have historically dealt with because of what I do. I don’t know when I’ll be able to do that because I’m doing this. It’s an unspoken pressure that no one really knows how to articulate. I was talking to a friend of mine who’s a twitch streamer, and I was like, “For all I know, you could be a psych ward patient; we could be psych ward patients.” With the scope and the level of the public eye that has been drawn historically. Let’s say the Beatles, it was just television or newspapers. People were not always in your everyday life. So I don’t necessarily know; I wish I had the answer, but I’m genuinely very interested in studying something like that. Releasing a study because there’s no research at all. 

Cred. Taylor Regulski from Bonnaroo Music and Arts Festival

HP: The idea on a much more micro scale than what you experience is what someone experiences if their whole high school likes their photo on IG. When they are used to 40 likes. That jump from “Low” attention to the feeling of all of these eyes on you. That feeling weighs on people. The research would do a lot of different things that we may experience, but don’t think to connect. 

bbno$: I think the variable would be at a large, mid, and low scale; it would be insane. I actually think I will probably do a big study on that. 

HP:  Any last message to fans, readers, or viewers? 

bbno$: Don’t be a dickhead; spread love and positivity.

Catch bbno$ on tour here.

Phoebe Bridgers Announces Third Album: Lost Weekend

Posted on by joshwurz

Phoebe Bridgers has announced her third studio album, Lost Weekend, releasing on August 14th via Dead Oceans. This news comes after her run of surprise pop-up shows across the US, leading up to her sold-out Madison Square Garden show, announced just days before the event. These were the first times she had been seen on stage since sharing it with Lucy Dacus and Julien Baker while collecting their GRAMMY Awards for boygenius’s the record. This will be her first album since her critically acclaimed 2020 sophomore album, Punisher, and will be supported by her newly announced North America and Europe tour, which also sold out within hours of going on sale. Anyone expecting Lost Weekend to simply pick up where Bridgers left off is mistaken: Bridgers sounds fully in command of her craft, and while refining certain motifs that made her work her own, the record is full of surprises.

Pre-order Lost Weekend

The Lost Tour Dates:

September

09.14.26 — Indianapolis, IN @ Gainbridge Fieldhouse* (SOLD OUT)
09.15.26 — Indianapolis, IN @ Gainbridge Fieldhouse* (SOLD OUT)
09.17.26 — St. Paul, MN @ Grand Casino Arena* (SOLD OUT)
09.18.26 — Chicago, IL @ United Center* (SOLD OUT)
09.19.26 — Chicago, IL @ United Center* (SOLD OUT)
09.22.26 — Columbus, OH @ Nationwide Arena* (SOLD OUT)
09.24.26 — Brooklyn, NY @ Barclays Center* (SOLD OUT)
09.25.26 — Brooklyn, NY @ Barclays Center* (SOLD OUT)
09.26.26 — Brooklyn, NY @ Barclays Center* (SOLD OUT)
09.28.26 — Philadelphia, PA @ Xfinity Mobile Arena* (SOLD OUT)
09.29.26 — Washington, DC @ Capital One Arena* (SOLD OUT)

October

10.01.26 — Toronto, ON @ Scotiabank Arena* (SOLD OUT)
10.02.26 — Toronto, ON @ Scotiabank Arena* (SOLD OUT)
10.03.26 — Detroit, MI @ Little Caesars Arena* (SOLD OUT)
10.06.26 — Boston, MA @ TD Garden* (SOLD OUT)
10.07.26 — Boston, MA @ TD Garden* (SOLD OUT)
10.09.26 — Charlotte, NC @ Spectrum Center* (SOLD OUT)
10.10.26 — Nashville, TN @ Bridgestone Arena* (SOLD OUT)
10.11.26 — Nashville, TN @ Bridgestone Arena* (SOLD OUT)
10.13.26 — Atlanta, GA @ State Farm Arena* (SOLD OUT)
10.16.26 — Austin, TX @ Moody Center* (SOLD OUT)
10.17.26 — Fort Worth, TX @ Dickies Arena* (SOLD OUT)
10.19.26 — Denver, CO @ Ball Arena* (SOLD OUT)
10.21.26 — Salt Lake City, UT @ Delta Center* (SOLD OUT)
10.23.26 — Seattle, WA @ Climate Pledge Arena* (SOLD OUT)
10.24.26 — Vancouver, BC @ Rogers Arena* (SOLD OUT)
10.27.26 — San Francisco, CA @ Chase Center* (SOLD OUT)
10.28.26 — San Francisco, CA @ Chase Center* (SOLD OUT)
10.30.26 — Los Angeles, CA @ Intuit Dome* (SOLD OUT)
10.31.26 — Los Angeles, CA @ Intuit Dome* (SOLD OUT)

November

11.01.26 — Los Angeles, CA @ Intuit Dome* (SOLD OUT)
11.23.26 — Dublin, Ireland @ 3Arena # (SOLD OUT)
11.24.26 — Dublin, Ireland @ 3Arena # (SOLD OUT)
11.26.26 — Manchester, United Kingdom @ Co-op Live # (SOLD OUT)
11.27.26 — Glasgow, United Kingdom @ OVO Hydro # (SOLD OUT)
11.28.26 — Birmingham, United Kingdom @ bp pulse LIVE # (SOLD OUT)

December

12.01.26 — London, United Kingdom @ The O2 # (SOLD OUT)
12.02.26 — London, United Kingdom @ The O2 # (SOLD OUT)
12.04.26 — Paris, France @ Adidas Arena # (SOLD OUT)
12.05.26 — Brussels, Belgium @ Forest National # (SOLD OUT)
12.07.26 — Amsterdam, Netherlands @ Ziggo Dome # (SOLD OUT)
12.08.26 — Düsseldorf, Germany @ PSD Bank Dome # (VENUE UPGRADE)
12.09.26 — Berlin, Germany @ Velodrom # (SOLD OUT)
12.11.26 — Copenhagen, Denmark @ Royal Arena #
12.12.26 — Stockholm, Sweden @ Avicii Arena #

(* with Alex G)

(# with Isaac Wood + Anaïs)

Bob Dylan Live: “Today and Tomorrow and Yesterday Too.”

Posted on by joshwurz

It just so happened that I found myself in Palm Desert to see Dylan on June 20th, 2026 – the day that also marks the 60th anniversary of his masterful seventh studio album, Blonde on Blonde, the home to my personal favorite “Just Like a Woman.” So, as you might imagine, I’m holding my breath, praying he’ll play it just for me.

However, I’m no stranger to Dylan’s style. I knew deep down he wouldn’t play a single song off that record, or any of the big cuts for that matter. Would I have loved to lose my entire goddamn mind hearing him mumble his way through “It’s All Over Now, Baby Blue,” “Like A Rolling Stone,” or the entire 10 minutes of “Desolation Row”? Absolutely.

Growing up I knew Dylan’s hits, but it wasn’t until 2020 that I decided to take a deep dive into his discography, and I immediately fell under his spell. At that particular time in my life, I had a bad case of the blues, and my head was rarely quiet. Those were the times when I’d reach for Dylan’s live records and be fully swept off my feet, away from my circumstances and into the crowd at Royal Albert Hall in 1966. Hearing Dylan play the essentials would have been profoundly healing for me to say the least.

But that’s what makes Dylan a very different rock ‘n’ roll legend. This tour, and every tour that came before, is by no means a victory lap or some sort of reach for ‘60s nostalgia. Word on the street (Twitter) is that he’s mostly playing songs from Rough and Rowdy Ways and cherry-picking deep cuts from the massive catalog. As a big fan myself, I was absolutely honored to see whatever it was Mr. Dylan wanted to do up there. It is his stage after all; we are all just guests.

Dylan’s longstanding “no photography” policy left for a refreshing darkness in a sold-out arena. He had the whole room in the palm of his hand despite being tucked away behind his piano, bundled up in a black zip with the hoodie all the way up. He approached his set with the air of an up-and coming singer/songwriter that nobody’s heard of but delivered classic cuts like “To Be Alone With You” and “All Along The Watchtower” like the Nobel Prize-winning folk legend that he is. Fleeting, simplified, understated, and with the grit everyone came to hear.

I am curious about the band’s re-approach to the electric bluesy shuffle of “Goodbye Jimmy Reed” and “False Prophet” that I was very much dying to hear live. I feel as though the band could be setting up Bob in a more dynamic way, something a little closer to the original pockets to give those songs more live legs. In a way that could maybe even inspire audiences who might be slightly unfamiliar with the deep cuts to leave the show with a new Dylan to dive into.

Much to my dismay, halfway into the show, I started to see attendees in my section walk out of their very expensive seats, shaking their heads, one by one, group by group. Many left long before Dylan had the crowd swooning with one of the show’s few harmonica solos during “Every Grain of Sand”. I suppose they were thinking they’d hear “Mr. Tambourine Man” or “Knocking on Heaven’s Door” and relive their glory days or something. But that’s what makes Dylan so dope. He’s put out 40 studio albums over the course of seven decades and has continued to tour as so much more than just a legacy act. He remains authentic to the artist he’s always been and never stopped. The glory days are not behind him. In his words, they’re “today and tomorrow and yesterday too.”

See Bob Dylan live here.

Chris Lake and Framework Deliver Back-to-Back Sold-Out Shows at LA Historic Park

Posted on by joshwurz

With over 20,000 people in attendance each on the evenings of June 20th and 21st to see Chris Lake headline LA Historic Park, people outside the EDM (electronic dance music) space keep asking, what is it that brings fans back over and over again? The scene has developed far beyond the underground raves of the 1970s and 80s, where it was once experimental music that brought together a unique community. The culture that prioritized acceptance and self-expression is the backbone of what made EDM so popular. It became a safe space for like-minded concert goers, and although it has been massively popularized, many true fans of the genre feel connected to its original meaning. 

Writer Danielle Halley, who attended Chris Lake’s sold-out show Saturday, on why she keeps going back to the EDM scene.

We can then look at how much it’s grown to see why production companies such as Framework are expanding the market, bringing some of the most popular names to festival-sized crowds at different, unique locations. With the elite promotion and production, strong collaboration and attention to detail between all parties involved were clear and intentional. With a unique stage layout, impressive visuals, and crisp sound across all parts of the venue, there was no bad spot in the house. Doors were at 5 pm, with the show running smoothly and having no delays. There were two opening acts, Club De Combat and Hot Since 82, both accomplished musicians in their own right. This made it worth it for several concert goers who wanted to see multiple artists in one evening. 

Finally, I can say, when the people asked, Chris Lake absolutely delivered on his headlining slot. With a two-hour set, from 9 – 11 pm, he started off with some of his most popular hits, including one of my personal new favorites, “Ease My Mind,” released in 2025. He held the crowd for the entire time. Even two hours later, while we were heading to the exit to grab our ride home, you could see everyone dancing and singing along to his closing song “Turn off the Lights,” as they walked to their destination. It was a truly unique experience, with so many people enjoying one moment together, you couldn’t help but smile and sing along. This is exactly what keeps people coming back. The euphoric feeling of being present in a period of time, where nothing else matters, but the music and the community around you.

Catch Chris Lake live here.

A Night of Nostalgia and Sunshine: Ariana Grande at the Forum

Posted on by joshwurz

I remember being at parties as a little kid, dancing to “7 Rings,” “Dangerous Woman,” and “One Last Time.” Those were simpler days when you could sing your heart out without a care in the world. I remember everyone in my class tried to recreate Ariana’s signature ponytail, so when it was finally my turn to see her in concert, I knew exactly what hairstyle I wanted to wear.

I already knew Ariana had incredible vocals from years of binge-watching her music videos and having dance parties to her songs, but this concert completely blew me away.

There was no opener, so the entire night was centered around Ariana Grande. The fans were just as devoted. People camped out for the “Eternal Sunshine Tour” pop-up store in hopes to get at least a shirt as a keepsake of this amazing tour. 

The love is definitely reciprocated; Ariana cherishes her fans just as much as they cherish her. Through the Brighter Days Ahead Foundation, she supports organizations that provide resources for vulnerable communities, with a focus on LGBTQ+ rights, mental health care, and crisis relief. You could feel that sense of togetherness and care throughout the concert. It felt like we were all her friends instead of just strangers. The timing of the concert during Pride Month made the night feel even more meaningful. The sense of acceptance and unity throughout the arena reflected the welcoming environment Ariana has created among her fans. Where fans are encouraged to be who they are without fear of being judged. 

Walking to my seat, I felt like I was in first grade again. Everywhere I looked, people were wearing Ariana merch and that signature ponytail. Once I found my seats and sat down, I noticed a countdown clock on the screens. Every time another minute passed, the crowd erupted into cheers. It was a fun way to build anticipation and helped everyone loosen up and forget whatever struggles and stresses they had faced that week.

Cred. Junian Dadouk

Ariana has always been outspoken about mental health, especially after experiencing the trauma of the 2017 Manchester Arena bombing. She was only 23 years old! In a world where young people are constantly searching for role models, it is inspiring to have someone like Ariana who has endured so much yet continues to choose kindness and positivity. It reminds us that kindness is always the right choice. 

The countdown finally reached zero.

 5… 4… 3… 2… 1…

A video appeared on the arena screens. At first, it seemed like a simple introduction showing Ariana in an ordinary setting getting ready, but then the pipes burst, and her house began to flood. It felt strange at first, but the more I thought about it, the more it stood out as a visual metaphor. The flooding represented overwhelming emotions and experiences that could no longer be contained. Her past was rushing back all at once, creating a need for a fresh start.

As Ariana sits in a memory-erasing chair to rid herself of past pain, the video captures a desire to start fresh. When the curtains open, she bursts into “yes, and?”—a defiant and confident performance that hints at the lingering struggles of living in the public eye

I have never heard an arena that loud. And that is saying a lot because I have been to techno concerts. At one point, I actually had to cover my ears. The energy was overwhelming in the best way possible.

It felt like everyone was bringing a little sunshine into themselves—hence the name of the tour (eternal sunshine). Everywhere I looked, people were dancing, smiling, and living in the moment. No one was focused on what happened last week or what might happen next week. Everyone was simply letting their inner child come out.

Cred. @katiatemkin

The stage itself featured a damaged house that began to bloom with flowers, symbolizing growth and healing. Rather than erasing her past, Ariana seemed to be showing how it is possible to live with it and grow from it and with it. 

One thing I especially appreciated and couldn’t help but notice was how inclusive the dancers were. Every shape, size, and color was represented. Everyone was welcome at this concert. In a world that constantly feels divided, it was nice to be united together for one night through music 

Before performing “eternal sunshine,” Ariana thanked the crowd for their energy and said she has the best fans but asked us to stay quiet for 90 seconds so that she could produce and loop her vocal tracks live onstage in front of the audience.  The request transformed the atmosphere. It created a focused and intimate moment. Additionally, it allowed us to catch our breath from screaming lyrics. The lighting for this song was unreal; it looked like a galaxy surrounding the arena.

That was not the only time the crowd fell silent. During “we can’t be friends (wait for your love),” there is a line that says, “Me and my truth, we sit in silence.” Social media has turned that moment into a challenge between the shows to see which one can be the quietest. We did a pretty good job. Save to say, everyone understood the assignment.

The mood shifted right back into celebration when Ariana performed “thank u, next.” Her outfits were incredible throughout the night, with six different costume changes!  During “7 Rings,” you could feel the confidence radiating from the crowd as everyone shouted the lyrics.

Cred. @katiatemkin

It was also a reminder of Ariana’s confidence and how she has proven herself over the years. Despite criticism that she could not perform songs like “7 Rings” live, because “she couldn’t rap”. She performed it at her very next tour completely live with zero backing tracks on the rap verses, executing the fast-paced delivery perfectly WHILE dancing. 

Then came the moment I had been waiting for all night… “Dangerous Woman.”

I cannot put into words how incredible her vocals were. Her voice kept climbing higher and higher. In that moment, I was immediately transported back to those childhood memories. I realized it was not just me singing along; it was the little girl inside me, too.

I think that is what everyone felt that night.

For a few hours, we were all kids again, waving our ponytails, singing at the top of our lungs, and forgetting about everything else.

The final song was “supernatural,” which felt like the perfect ending. The song captures the magical and overwhelming feeling of falling deeply in love, and it brought the night to a beautiful close.

Cred. @katiatemkin

That night felt truly magical.

More than anything, this concert allowed me to reconnect with my inner child, gain confidence, and leave my worries behind. It reminded me that no matter who you are, there is a place where you belong.

What began as thousands of strangers filing into their seats became something closer to a reunion. Not with each other, but with ourselves — the versions of us that danced without thinking, sang without embarrassment, and felt everything without needing a reason. For a few hours, the weight of the week lifted, and in its place was something quieter and more honest. Music does that. It doesn’t drag you back to the past — it proves the past never really left. 

KennyHoopla and Albert Hammond Jr. Strike with “NEW AMERICA//” 

Posted on by joshwurz

KennyHoopla isn’t hesitant to say what motivates him, and it’s clear in his new gritty, catchy single “NEW AMERICA//,” released today, as the catchy indie rock song offers a snapshot of a country that calls itself “new” yet still falls back into the same old cycles of inequality. He criticizes online political discourse, saying, “you and your friends fight the government on the internet,” as part of a broader view of people who know so much yet can do little to change it.

In the chorus, Kenny critiques the mask of real growth in society, saying that in a “New America,” progress is merely “a hit-and-run.” The issues of gentrification are also discussed, with lines such as “The profit’s good / well, there goes the neighborhood” poking fun at profit motives. At the end, the repeated, numbed-out outro mantra of “We had fun” makes it clear that Kenny’s goal was to make it less of a straightforward protest track and more of a portrait of a culture that knows it is stuck and that the only thing it can do is keep moving forward. The track closes by painting the younger generation as self-aware yet selectively blind, “sympathiz[ing] / with two hands covering [their] eyes”.

All of the seemingly pessimistic imagery discussed from start to finish does not take away from the fact that the song is an earworm, filled with tension in both the words and the sonics, with Albert Hammond Jr. of The Strokes’ guitar work heard throughout the track, which amplifies the anxiety and urgency found in the lyrics. The compressed, disco-esque drums, fuzzed-out bass, and pretty synths combine to create a track that can only be described as a Trojan horse, a highly catchy indie-rock soon-to-be anthem carrying a pointed, uncomfortable message straight to your head. 

Listen to “NEW AMERICA//” by KennyHoopla and Albert Hammond Jr., out now.