Space Ballroom Weekly Round-Up: 7 shows announced
Space Ballroom announces The Cybertonic Spree, Taylor McCall, Pom Pom Squad, Tigers Jaw, Bendigo Fletcher, Foxing, and Apes of the State. Tickets go on sale on Friday.
The Cybertronic Spree
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
September 10, 2024
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The Cybertronic Spree
More than meets the eye, The Cybertronic Spree are here on Earth with one critical mission: To party like it’s 1986! This band of Transformers has been brought together by the power of rock ‘n’ roll and they can’t be stopped. Hotrod, Arcee, Rumble, Unicron, Soundwave, Shockwave, Bumblebee and a Quintesson prove they’ve got the power to light your darkest hour. Known across the galaxy for having cast aside their warring factions in the search for the ultimate party, these rockstars in disguise play music from The Transformers: The Movie, hit film and anime songs, video game covers and original tunes. They blend their love for the 80’s and 80’s metal into an energon-fueled, unforgettable live show.
Mega Ran
Random, aka Mega Ran, aka RandomBeats… Teacher, Rapper, Hero. DJ, Author…Guinness World Record Holder!
When LA Weekly said that Ran’s “fanbase and niche audiences are growing at a rate not seen since Tech N9ne,” they meant it. A former middle school teacher, Mega Ran (formerly Random) blends education, hip-hop and gaming in amazing new ways, penetrating the farthest reaches of the galaxy with his unique rhyme style and electric performances.
Ran cut his teeth in the city of Philadelphia as a moonlighting emcee and producer, performing, freestyle rapping, producing and later engineering at a studio. After relocating to Phoenix, competing in the Scribble Jam emcee battle championships and taking an early exit, Ran almost quit before he was even started, when a creative lightning bolt struck, and a fire was lit.
Video games, comic books and pop culture, all such huge factors in Ran’s upbringing, would begin to seep their way into his musical output, and the results were stunning.
Ran’s music and story have been shared on stages across the world, on television (ABC/NBC News, ESPN, Portlandia, Tosh.O, WWE Wrestling) and on Billboard, where four of his albums have placed on the Top 200 list. His musical resume boasts collaborations with legends like Del The Funky Homosapien, MURS, Kool Keith, and Young RJ of the group Slum Village.
Today, Mega Ran is no longer a teacher by title, but maintains a rigorous touring and recording schedule, traveling the world playing rap shows, DJing and striving to entertain and educate at the same time.
Taylor McCall
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
September 20, 2024
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Taylor McCall
When the decades-old gospel recording fades into static, from which rises the first guitar chord of Taylor McCall’s Mellow War, you feel like you’re walking out of one world and into another. Or perhaps, for a moment anyway, straddling two worlds.
Born in Greenville, South Carolina, McCall quickly found his true sanctuary in the woods and on the water, and for much of his early life, stepped between the outdoors and the Sunday service. “I was raised in the outdoors, my dad and I would go fishing in my free time. He raised me to go fly fishing and any chance we got, we were on the water or in the woods.” Experience, story and song were paramount in his upbringing—he was raised in a family steeped in feral mystery.
“My mystery is that most people see me as another southern guy or country musician and that’s not the whole being of my existence. Spirituality and world music to me is connecting with a greater force and that’s what my music is; it’s connecting with something beyond me.”
When he was 7 he discovered his grandfather’s guitar, an instrument he played ritually, with ritual secrecy, until he was nearly 18. After high school, he left South Carolina for and headed west toward the Rockies. Trading his jon boat for a drift-boat, McCall lived close to the bone on Montana’s rivers; studying the Yellowstone, the Madison, and the Missouri more diligently than any coursework. After a couple of years, though, he heard his true calling, sold his drifter and headed back south with his future bride on the mind; music, that is.
“To me Mellow War is paying homage to my late grandpa, but also in relation to where I’m at musically. My grandpa went to Vietnam. The image on the front is him in Vietnam. These are songs that are sort of letters to home that I imagined he might have sent. My grandpa was a life inspiration for me; it was bigger than just music. The songs are a tribute to everything he stood for and everything he taught me. It’s a way for me to share with him even when he’s in another dimension. This isn’t just about me or myself. This isn’t music about myself.”
It wasn’t long before the countless years of solo playing blossomed like a magnolia in a warm spring wind. He put out his Southern Heat EP in 2017 and signed a publishing deal with BMG in 2018 and by 2020 released Black Powder Soul, the single from which, “Highway Will,” Rolling Stone lauded as a “brooding, at times menacing, introduction to the South Carolina songwriter.” “With equal parts reverence for inherited musical traditions and a pioneering spirit,” wrote American Songwriter, “McCall created a uniquely Southern, yet transcendent soundscape.” By fall of 2023 he was touring Europe with Robert Plant.
“My job is to skydive with my emotions,” McCall says, clearly relishing the ride.
His influences are eccentric and arcane, ranging from old hip-hop to Bobby Charles, from Sister Rosetta Thorpe to TKTK. Johnny Cash. The Band. Spend the day on the river with McCall as Bluetooth speaker DJ and you’re likely to hear a sampling of JJ Cale, Taj Mahal, TKTK and a few of his contemporaries. Drop the anchor and give the young man a moment to roll a spliff. Light it. It’s early June on the Missouri, say, and the mayflies are pouring off like snow falling in reverse. Once he’s out of the boat and has forded the knee-deep riffle, watch him cover the water with his casts, methodically, threading the depths. He’s as at home here as he is in a song.
“Like fishing, you can never be sure in songwriting that the lightning’s gonna come, but you have to keep standing in the river.”
And at his music’s core, there’s a relentless searching, too, which begins with the initial notes of each song, the guitar playing the silence. Or better yet: the guitar in dialogue with the silence. The Silence, for that matter. McCall’s music is admittedly “spiritually based music,” its roots in his father and grandfather’s sermons. The pews creaking, the dusty hymn books cracking open. See that my grave is swept clean, a ghostly voice intones.
I will, sings McCall. Indeed, I will.
Pom Pom Squad
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
October 11, 2024
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Pom Pom Squad
When Pom Pom Squad’s Mia Berrin was 21 years old, she fell in love. Sure, she’d been in love before, but this time, something was different: “It just felt like a switch had flipped inside my head,” she says. “I realized I had been living a life that was not my own, watching myself from the outside.” As a kid who bounced from town to town growing up, and as a person of color in predominantly white spaces, Berrin had become accustomed to maintaining a constant awareness of how others perceived her—a “split-brain mentality” that she adopted as a necessary means of survival. But now, tumbling through her first queer romance—and her first queer heartbreak—some of that self-separateness began to mend: “Suddenly,” she says, “I was in a body that was mine.”
Of course, displacement can start to feel like a life sentence when even the pop culture you’re trying to escape into doesn’t feel like home. “As a teenager, I was always looking to see myself represented,” Berrin says, “but I never really saw a path drawn out for someone who looked like me.” So she held tight to the glimpses of herself she could catch—from Death Cab For Cutie to Sade; from the camp and synth-pop of Heathers to the pastels and gloomy mellotron of The Virgin Suicides; from John Waters’s take on suburbia to David Lynch’s. “I absorbed everything I could and tried to make a collage that could incorporate every piece of me,” she says—and in the process, she gained a particular appreciation for the heady mix of music and visuals, how a great song could become even greater when woven into an artist’s overall aesthetic. But it wasn’t until Berrin got into punk and grunge—artists like Courtney Love and Kathleen Hanna, who were both unapologetically outspoken and unapologetically femme—that she knew she had to start a band.
Enter Pom Pom Squad. Berrin first played under the moniker in 2015 after moving to New York to study acting at NYU—though she soon transferred to the Clive Davis Institute of Recorded Music—and it was at those early gigs that she linked up with Shelby Keller (drums), Mari Alé Figeman (bass), and Alex Mercuri (guitar). The group cut their teeth playing packed Brooklyn apartments, but they quickly graduated to packed Brooklyn venues alongside artists like Soccer Mommy, Adult Mom, and Pronoun. Following the release of their sophomore EP Ow, Pom Pom Squad was looking at a packed 2020, with shows at SXSW and opening for The Front Bottoms—but of course, plans changed.
Lost in the free-fall of isolation, Berrin found herself returning to classic, familiar sounds: jazz vocalists like Billie Holiday, the warm tones of MoTown. “It was comforting, listening to music that’s so evocative and cinematic,” she says. “It takes you out of the world for a minute.” At the same time, though, she was confronted daily with the world’s stark reality as protests erupted against police brutality and anti-black racism following the murder of George Floyd. “[The protests] brought to the surface these feelings I’d been stewing on for a long time,” she says, “thinking about the history of American popular music, the way that black artists are constantly erased from the music they pioneered. How rock was invented by a black queer woman—Sister Rosetta Tharpe—but I grew up feeling like I was odd for loving guitar-based music.”
The result of this stymying, galvanizing period—of escaping to come back—is Death of a Cheerleader. Produced Sarah Tudzin of Illuminati Hotties and co-produced by Berrin, the album moves through moods like a camera panning across an expertly collaged bedroom wall: a Ronettes drum beat here (“Head Cheerleader”), a Doris Day nod there (“This Couldn’t Happen”), the impossible romance of swelling strings (“Crying”) collapsing into guitar thrash (“Drunk Voicemail”). Here, too, are all the overlapping, contradictory tenets of 21st-century young womanhood—the carnality and the vulnerability, the sugar and the defiance. On “Head Cheerleader,” antsy and anthemic, Berrin promises us that “my worst decisions are the ones I like the best” before she heads under the bleachers, even as she acknowledges moments later that “my feelings always make a fucking fool of me”; on the breathless, punky “Lux” (named for the Virgin Suicides heroine, of course), she boasts feeling “naked without taking off any of my clothes,” and it’s as much a come-on as it is an admission of terrifying exposure, couched in Berrin’s dare-laden drawl.
This tension—between baring oneself and crafting delicious, tongue-in-cheek art—is what drives so much of the foundational queer media to which Death of a Cheerleader pays homage (not in the least its film namesake, But I’m a Cheerleader). On “Second That,” a tumbling acoustic waltz built around a Smokey Robinson quote, Berrin steps out for a moment from behind the elaborate curtain of references she’s constructed with an admission—“I’m sad, I’m just fucking sad,” her voice on the edge of breaking—but then, moments later, she’s back in the anti-bourgeoisie upswing of “Cake,” playfully demanding her fair share. It’s a reminder of the self-affirming power of artifice, of glam, lipstick drawn on in blood. With Death of a Cheerleader, Pom Pom Squad offer a fresh and decidedly queer take on picking up the pieces—from heartbreak, from injustice—and creating yourself anew.
Tigers Jaw
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
October 25, 2024
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Tigers Jaw
I Won’t Care How You Remember Me, by the Scranton, Pennsylvania-based band Tigers Jaw, is an ode to living in the present. As this hectic era of distraction whirrs, ticks, swipes, and scrolls by each of us at an alarming speed, the ability to maintain a sense of priority for the human elements in our lives as well as a reflective understanding of self, remains a lost art. But here, the group has seized upon it. Tigers Jaw’s sixth album—and first for new label home Hopeless Records—finds members Ben Walsh (vocals/guitar), Brianna Collins (vocals/keyboards), Teddy Roberts (drums), and Colin Gorman (bass) at the height of their powers, fusing their collective skills with the synchronicity and energy the band honed over several years of non-stop touring. The result is a back-to-the-basement approach elevated by the unmistakable production of their longtime friend and collaborator Will Yip. The band’s most sonically ambitious and lyrically affecting album to date, I Won’t Care How You Remember Me sees a newfound freshness and creative freedom crystalizing the lush and dynamic world of Tigers Jaw.
Opening with the urgent strums of Walsh’s striking title track—featuring Manchester Orchestra’s Andy Hull on backing vocals—“I Won’t Care How You Remember Me” is a super-charged and emotional ripper about the importance of being direct and truthful with the people in one’s life. While at first the song seemed to be an unapologetically defiant statement, it ended up carrying a greater significance for the band, who rallied around it as a sentiment of a shared personal renaissance that sets the tone for the album, as well as the band as a whole. “This album is a hopeful time capsule of a band who has been through a lot together. It’s about growth, self-reflection, and figuring out how to be present in the moment to really take stock of what’s important, without getting sidetracked by the opinions of others or things out of our control,” Walsh says. “Tigers Jaw can get through anything and be stronger because of it. We’ve endured lots of change over the last 15 years, but a lot of things have remained consistent. We make the music we want to make, we push each other to continue evolving and growing as musicians, and we are so proud of where we are now.”
One of the biggest steps of the band’s evolution has been in songwriting; while their 2017 album spin found Walsh and Collins splitting the writing duties, I Won’t Care marks the first time all four members shared input. “I’m newer to songwriting, but the encouragement and collaboration that happened between us as a band while writing this record built up my confidence and excitement in being a songwriter,” Collins says. “Collaborating together not only pushed me as a songwriter, but it also reinforced how good it feels to be in this band.”
Gathering together on the heels of a long, intense stretch of touring in early 2019 to work on new material, the foursome found that their dynamic as musicians and friends was firing on all cylinders. The band was tighter than ever before, and considered the writing process a chance to get back to the band’s roots with all members in a room together working collaboratively toward a common goal. “We were tearing apart demos and making these songs the best representation of this group of four people that we could,” Walsh recalls.
Where spin was a moving soundscape replete with several dense layers of instruments and vocals, I Won’t Care pushes the elements of liveliness and human connectivity forward. Minimal layers and takes were used. “After touring so extensively and developing a really strong musical chemistry together, recording in that style seemed like the best approach to capture our band’s truest self,” says Gorman.
“Cat’s Cradle,” a thrilling synth-led number written and sung by Collins, tells the saga of a flamed-out friendship in just over two-and-a-half throttling minutes. “This song is about the realization that no matter how much love, effort and consideration you put into a friendship, sometimes it just isn’t enough to make it work,” explains Collins. “The lyrics touch on how being passive aggressive and not communicating true feelings can just lead to tension, confusion, and frustration in any relationship. I have the tendency to suppress my own feelings and apologize first, so with this song I wanted to acknowledge my own thoughts and feelings while moving forward from that type of dynamic.”
The aptly-named “Hesitation” describes “those sinking feelings of sensing that the person you love is beginning to drift away,” says Walsh. Originally brought in to the group to record in early 2019, Walsh’s song was re-recorded and changed—sometimes drastically—nearly a half-dozen times before reaching its final status. “That song is a testament that we put the work in and were willing to try new things,” Roberts says. Elsewhere, the slinky, groovy “New Detroit” evokes the Americana-tinged alt-rock of Gin Blossoms (a personal favorite of Walsh’s). “This song was conceptualized while touring Australia after starting a new relationship. I was reflecting on the previous Australian tour years ago when my home life was in a rough place, and that took over the entire experience. I felt mentally split between the two places, unable to be in the moment.” The charged “Can’t Wait Forever” and “Body Language” pair in yearning with Collins’s fuzzed-out “Lemon Mouth” and “Commit,” the latter a showcase for the rhythm section’s formidable talents.
The album ends with “Anniversary,” an anthem of solidarity that fades out on the strains of Walsh’s refrain: “We all fall apart in the same way.” It’s a compelling notion that serves as a reminder of our collective similarities, as well as a signal of Tigers Jaw’s undeniable union. “There’s no question that we are all best friends, or even deeper—like family,” Collins says. “We love playing music together and it feels so good to be in this band and have this camaraderie. We made this record for ourselves, together. We know who we are as a band, and we’re gonna keep doing things the way we want to do them and keep learning from each other and growing.”
Bendigo Fletcher
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
October 25, 2024
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Bendigo Fletcher
Shapeshifting on an axis between folk, alternative, country, and soul, Bendigo Fletcher’s lofty melodies soar above earthy instrumentation on their 2022 Wingding EP [Elektra Records]. Charmed with psychedelic flourishes, yet tightly rooted in tried-and-true songcraft, the Louisville quintet—Ryan Anderson [lead vocals, guitar, banjo], Andrew Shupert [backing vocals, lead guitar], Evan Wagner [backing vocals, keys, guitar, percussion], Conner Powell [bass], and Chris Weis [drums]—continues to instantly transfix across the EP’s four tracks.
“More than a few times, I’ve explored the Wingding font universe as an entertaining break from more pressing tasks. I like the name ‘Wingding’ for a fictional creature, like the Mothman of West Virginia folklore. It’s also another word for party,” Anderson says. “This EP is a collection of distractions we built over the last few years when gatherings and adventures felt pretty unattainable.”
After crisscrossing paths in the Louisville scene and life in general (“Chris is my brother-in-law’s childhood best friend,” notes Anderson), Bendigo Fletcher initially formed in 2016. The group organically built an audience across their native Kentucky one gig at a time. During 2018, they made waves with the independent Consensual Wisdom EP highlighted by fan favorites “Wonderfully Bizarre” and “Soul Factory.”
Following a tireless grind, the band signed to Elektra Records and unveiled their debut album, Fits of Laughter in 2021. Beyond amassing millions of streams, the album earned widespread critical acclaim from Rolling Stone, American Songwriter, FLOOD Magazine, and more. Music Connection dubbed it, “Alt-rock, country-flecked folk-rock soaked in LSD,” while Atwood Magazine praised the collection as “a record of reverie, celebration, and true to its name, laughter: music made for good times and bad, that promises to leave us all a little more elated.” Along the way, Bendigo Fletcher captivated crowds on tour with the likes of Rainbow Kitten Surprise, Hiss Golden Messenger, Mt. Joy, Nathaniel Rateliff, Anderson East, Rayland Baxter, and Shakey Graves.
In 2022, Bendigo Fletcher returned to Nashville, TN’s Cartoon Moon Recording Studio to track their Wingding EP. Once again, the band teamed with Fits of Laughter producer and original Wilco/Uncle Tupelo drummer Ken Coomer in the studio. For the first time, the band enlisted Grizzly Bear bassist and producer, Chris Taylor, as a mixer.
“In addition to the brilliance of Ken’s ear as a song maker, I appreciate the environment he maintains,” notes Ryan. “All ideas are considered, and we try to just have fun trying new sounds. I think that mentality lends to a unique blend, keeping the band outside of any one box. And I’ve found constant inspiration in Chris’ work as a soundscaper since a friend introduced me to Veckatimest in high school. Having him on the project was really exciting, and I think his mixes present the band’s ethos in a beautifully natural way.”
The act of making the record opened a portal outside of the madness and mundanity of the last two years. Between holding down a job at a grocery store, Ryan picked up a pen and a guitar in his apartment and creatively departed this mortal coil.
“The songs were my way of coping with the idle uncertainty of the early pandemic months and escaping into a creative space to keep my spirit alive. They come from a more imaginative place where I feel a freedom to process and color some experiences in a productive light.”
The collection’s lead single “Pterodactyl” drifts into the arms of ethereal piano, woozy slide guitar, percussive handclaps, and wistful whistling. Meanwhile, Ryan ponders everything from budding love to “the witching hour for the higher power” via strangely saccharine melodies.
“It gradually bloomed with different instruments and textures in the studio,” he recalls. “The song kind of unfolds like a long-game relationship. It begins vulnerably and intimately, and evolves into deeper layers of musical support and mystery.”
The opener “Stranger Encounters” hinges on a delicate stomp and twangy guitars as a close encounter of a different kind happens…
“During the COVID lockdown, I found myself watching more sci-fi—X Files, Twin Peaks, the Alien movies— for entertainment and comfort,” he says. “This one’s about just getting out there and living, tasting, touching, experiencing through my own senses. We’re all part of an ecology of diverse preferences and individual truths, and this song is a celebration of that.”
Then, there’s “Juniper Moore.” Wrapped in a blanket of luminous guitar and piano, a hypnotic refrain pierces the sky with “a weird lasagna of feelings.”
“I’ve imagined a far-fetched romance or two that works out beautifully in another universe,” he states. “This song helped me to play a bit in that loneliness. I think a lot about the fine line within technology’s capabilities to either remedy or exacerbate that loneliness.”
Meanwhile, the bright acoustic guitar and lithe vocal delivery of “Broken Routine” fall back to earth with “some glimpses at a relationship that has worked out well.”
“We hope to provide a few moments of musical distractions for anyone who needs them,” he leaves off. “The EP dances between confession and fabrication for what feels like a cleanse of imagination. It’s a relief to share a few more stories from that place.”
Foxing
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
October 26, 2024
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Foxing
Beneath the audible progress of Foxing’s 13 year career – from the chamber emo of debut The Albatross to the art pop of 2021’s Draw Down The Moon – has been a gradual movement towards self-sufficiency. Appropriately, the quartet of vocalist Conor Murphy, guitarist Eric Hudson, drummer Jon Hellwig, and bassist Brett Torrence (who recently joined after years as a touring hired gun) chose to self-title their fifth LP simply, Foxing. The album was entirely produced by the band and mixed by Hudson. The cover art was created by Murphy and Torrence, and it is being released on the band’s own Grand Paradise label.
DIY requires doing, and Foxing was not an easy album to make. I share a studio space with the band and was an onlooker to the tedious two year process of its creation. I heard good songs emanating from their room at the bottom of the stairs, only to be abandoned and later reborn as incredible songs. I also witnessed some absolute garbage – a testament to the quartet’s willingness to entertain any idea and push it to its furthest conclusion before filling their iMac’s recycling bin. I was jarred by explosive cheering as the band turned the basement hallway into a makeshift putting green during breaks. I overheard arguments that were decibels shy of shouting matches. There were some moments when their creative stalemates seemed unresolvable and others where the enthusiasm of making a transcendently great album was intoxicating.
It is fitting that tension is at the core of Foxing, an album that balances hopefulness and nihilism, the pastoral with the tumultuous. Whether oscillating between visceral noise rock and intimate bedroom cassette experiments on opener “Secret History” or cruising at the edge of collapse on “Barking,” the dramatic dynamics that have long permeated Foxing’s music have never felt so extreme. Five albums into a discography defined by its own restlessness, Foxing is a document of a band finding comfort in their own chaos.
Apes of the State with Rent Strike and Myles Bullen
Space Ballroom • 295 Treadwell Street, Hamden, CT 06514
November 14, 2024
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Apes of the State
Apes of the State is an independent folk punk band from Lancaster, PA. As a band, they are driven by DIY ethics with a goal of helping as many people as possible with their music. Their upbeat, mandolin driven songs encompass the full range of human emotion and cover topics such as love, heartbreak, student loan debt, regret, and overcoming addiction. Their most recent release, “They Can’t Kill Us All (2023)” is a 7” split record with Washington band Sister Wife Sex Strike. It leaves no room for questioning the band’s political message and evolution in sound while still sticking to their acoustic roots.
Rent Strike
RENT STRIKE is a call to action! Fiercely independent and pushing up against all bounds, their music is a wild dream, a spreading fire, an explosion in every direction, and a challenge to our notion of our time and of our place. Their new record NOW is a sieve for the dread of the present day, confronting the widespread alienation and disillusionment of late capital head-on to sift out the pieces of hope, resistance, and joy from the experiences within, and the possibilities without.
RENT STRIKE has appeared in various forms throughout its decade-long existence. It is primarily a vehicle for the songwriting of John Warmb, who is supported by percussionist Nick LaForge in the studio and on the road.
Myles Bullen
Myles Bullen is a genre- fluid, art-poet, ukulele-playing punk rapper, from Portland, Maine. Myles has toured nearly every state in the US as well as many European countries performing packed shows at music venues, colleges, recovery centers, prisons, festivals, and libraries. As a person in long term recovery from addiction, Myles sings and screams songs about grief, mental health, addiction, navigating identity, relationships, and cartoon lore. They released their most recent album, timetokill, on indie record label, Fake Four Inc. They love doing shows and their dog Finn.
Don’t Miss
Fucked Up with Chastity – Friday July 19th
Broadway Wave – Saturday, July 20th
Small Black with Pictureplane – July 21st
School of Rock Allstars – July 23rd
The Crane Wives with Yasmin Williams – July 24th – Sold Out
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