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An Xperience Article: Mind Blown and GEM: Serving Two Giant Helpings Of Original Music in Glens Falls

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June 14, 2026

An Xperience Article: Mind Blown and GEM: Serving Two Giant Helpings Of Original Music in Glens Falls

Mind Blown and GEM: Serving Two Giant Helpings Of Original Music in Glens Falls
By Jason Irwin

Live original music continues to find momentum in the 12801, fueled by grassroots festivals, community gatherings, and a growing underground scene that’s bringing together musicians, artists, and fans of all ages. From the experimental energy of Mind Blown Festival to the established draw of GEM Fest and even the weekly creativity of the Shirt Factory’s Thursday Market, the city is more than ever becoming a hub for musicians looking to share new sounds—and for audiences eager to hear them.

Mind Blown Festival: Heavy Music for Mental Health
Mind Blown, an all-ages, free underground rock and art festival, returns to The Shirt Factory for its second year on Saturday, June 27, from 11 am to 9 pm, with two stages, 16 bands, and a mission to raise $20,000 for mental health support in the music community. This year’s festival will be one of the first major events to fully activate the former South Street farmers’ market pavilion, now relocated to The Shirt Factory with city support to boost tourism and public events. “Mind Blown is really off to the races,” said festival co-founder and executive producer Chuck Copenspire. “We’ve got a full lineup this year — 16 bands across two stages offering a full day of original music that spans multiple styles and generations of artists. — and we’re really excited about that.” While the music is central, Copenspire said the festival’s deeper purpose is about creating space for people to connect and feel comfortable being themselves. “Mental health is really the focus. Part of that is connecting with people and being able to express yourself fully.” That idea shapes the entire atmosphere of the event. Unlike many festivals, Mind Blown encourages attendees to embrace creativity not just on stage, but in how they show up. “We want people to come as their true selves,” Copenspire said. “Whether you show up as a wizard, a wrestler, a drag queen, or a clown — this is the one day a year where you can stop pretending to be normal and just be around other people having fun being themselves.” Headliner Bloodx3 will close out the night with a full production light show, led by Shane and Chris of Super Dark Collective. The bill also highlights heavy hitters Senior Living, along with local underground favorites Industry Standard and Roblox Tycoon, plus a deep roster of regional bands including GUTS, Anomalous, Don Joker, Black Tongue Reverend, Psychomanteum, The Spiral Continuum, Uncle Frank Says No, Vintri Hill, Pleasure Death, 6five6, God’s Not Buying a Horse Today, At Light’s Wake, and Sons of Eden. The event will also include vendors, food trucks, and interactive elements, including roaming performers and artists throughout the grounds. The festival is free to attend, thanks to sponsorship support. Organizers say that accessibility is key to the festival’s mission. “That’s part of why the event is free,” Copenspire explained. Proceeds from the festival support HeartSupport, a nonprofit organization that provides peer mental-health training within the community. Several mental health resource representatives will be on-site. Future editions of the festival may expand even further, possibly incorporating carnival-style elements or immersive art experiences. “Every year we want it to be a little more audacious,” Copenspire said. “Something that shows people what’s possible. Next year I want a Ferris wheel.” More info: mindblownfestival.com

GEM Fest: Where Music and Art Collide
Be sure to add Saturday, August 22, from 5-11 pm to your calendar, as GEM Fest is back! If Mind Blown represents the city’s underground edge, GEM Fest stands as its most established and wide-reaching celebration of original music and visual art in downtown Glens Falls. The Glens Falls Entertainment and Music Festival—better known as GEM Fest—has grown from small collaborative experiments into a full-scale, multi-venue takeover of the city. What began as intimate events pairing live bands with visual artists painting in real time has evolved into an experience that turns Glens Falls itself into part of the stage. Co-organized by Brian Michael of Heady Productions, the festival was built on a simple but ambitious idea: remove the barrier between music and visual art and let both unfold together, in real time, in front of an audience. “Where music and the arts collide,” Michael says when describing the festival, and that concept still drives everything it does. This year marks a major return to GEM Fest’s multi-venue format, expanding the footprint of the festival across three core locations in Glens Falls: Mean Max Brew Works, The Golden Monkey Lounge, and Downtown Social. Each venue brings its own personality to the festival. Mean Max is offering a more raw, energetic performance setting rooted in craft beer culture and close-up live sound. Golden Monkey Lounge will add a more intimate, late-night, club-style atmosphere where jam bands and groove-based acts tend to stretch out. Downtown Social will serve as a central hub for larger performances, social energy, and the after-hours flow of the festival crowd. Rather than isolating performances in one space, GEM Fest encourages movement—audiences are meant to circulate between venues, discovering new bands, stumbling into unexpected collaborations, and experiencing the city as a living festival map. That blending of disciplines gives the festival a distinct atmosphere compared to traditional music events. “It should feel less like a series of separate shows and more like a shared creative environment,” says Michael. Wristbands are $10 per venue or $20 for access to all three locations, making it easy for attendees to either focus on a single scene or fully explore everything the festival has to offer. Tickets go on sale June 6, and organizers are encouraging early purchase due to growing attendance each year. At the center of this year’s lineup is headliner Sophistafunk, known for their high-energy fusion of funk, hip-hop, and electronic grooves that regularly turn festival sets into full dance-floor experiences. They anchor a lineup that spans genres and generations. Also featured are Joe Mansman and the Midnight Revival Band, Grape Juice, Glass Pony, Capital Zen, The Bright Light Motion, The Hauntings, Immune Friction, Everblue, Arrow Through Me, Death Cult Pharmaceutical, and a number of additional acts still being finalized at the time of planning. “There are even more acts yet to be confirmed,” Brian Michael noted, “so people should keep an eye on the website for updates.” In addition to live music, GEM Fest continues its signature visual art component, with painters and visual artists working on-site during performances. This side of it is spearheaded by co-founder and award-winning illustrator and painter Anthony Richichi. The concept: Canvases evolve as the music unfolds, giving audiences a chance to watch art being created in real time—often influenced directly by the energy of the bands on stage. Later on, that energy will shift outward into Glens Falls’ nightlife scene, where the festival continues beyond the main sets.

The official after-party at Downtown Social features The House Syndicate, extending the experience into a more electronic, late-night atmosphere and keeping the city active well past the final stage set. Get all the info at facebook.com/GemFestAdirondack

And remember: I’m focusing on just these festivals here, obviously. All of this exists alongside the steady flow of live entertainment already happening throughout Glens Falls and beyond. There is a ton of other stuff going on. Check your local listings to see who’s playing where and when. As our local scene continues to grow, it’s becoming clear that something is taking shape here—something rooted in collaboration, accessibility, and a genuine love of music. Hometown, USA … I think we’re doing well.

Thanks For Asking: Artist: MTM Ghettyboii

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June 13, 2026

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Artist: MTM Ghettyboii

RRX: Every artist’s first song is a milestone. But so is the latest song. Describe the first song/album you
recorded, and also the latest song/album you recorded; what are the differences?

Ghetty: the first record I created I was just testing the waters to figure out my sound. The latest record I
recorded actually means alot and I’m talking about what I actually went through and the sacrifices I’ve
made to get to a certain point musically speaking.

RRX: Like songs, every artist has a unique feeling about their first show. What was your first show like?
Was it your best show? If not, what was your best show like?

Ghetty: My first show was an amazing experience. I actually ended up going viral off my first
performance and getting a whooping 10k plus views on Instagram when I posted it lol.

RRX: What was the very first reaction to your music, from the first person to ever hear so much as a
practice jam or the demo of your first song?

Ghetty: If I’m not mistaken the very first person who gave me a reaction to my music was my father lol
once he heard me get on that “Panda” instrumental by Desiigner he was like “yea you need to get in
contact wit ya uncle” that’s when my uncle put me in the studio.

RRX: What do you think is the most poorly understood thing about music, or the music you play?

Ghetty: I think the most poorly understood thing about music is the message the artists delivering to the
people. Some people perceive it differently than others.

RRX: Sex, drugs, and rock and roll. Or so they say. Whether you’re off the wagon, on it, or never been,
there’s something you got a thirst for. What are some of your basically harmless vices?

Ghetty: WEED! MONEY!…..AND MORE WEED!!!!

RRX: Playing out is tricky because you never know what’s going to happen when you get there.
Sometimes everything goes wrong. What was your worst show like?

Ghetty: performing towards the end of my set and people started to walk out lol…I think this was in
Vermont I believe.

RRX: Let’s talk about your next project, your next few. Just not the ones you’re working on now. The
ones you have your eyes on for the future. What’s coming to us?

Ghetty: Alot of club bangers! A lot of summer records to bop your heads to lol every project is going to be
fiyah!

RRX: How does practice go? Is the road practice enough, or do you have a practice shack? If so, how
does it look? What’s on the walls? What cool sh*t is in there?

Ghetty: HONESTLY….i don’t practice at all. When it’s lights camera action time, I’m like a switch I just
turn and go crazy!

Theater Review: Harbinger Theatre’s Ladies’ Day: Big Hats, Big Dreams, and One Hell of a Play

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June 12, 2026

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Theater Review: Harbinger Theatre’s Ladies’ Day: Big Hats, Big Dreams, and One Hell of a Play

-Joanna Palladino

Harbinger Theatre’s production of Amanda Whittington’s Ladies’ Day may be set around a trip to the races, but at its heart it is a story about friendship, self-discovery, and the unexpected moments that can change the course of an ordinary life. Inspired by the tradition of Britain’s famous Ladies’ Day races, the play follows four working-class women who leave behind the routine of fish factory life for a day of glamour, excitement, and possibility. What begins as a simple outing evolves into a journey of laughter, revelations, and renewed hope as each woman confronts her own dreams, disappointments, and desires.

Under Rachel Stewart’s assured direction, Harbinger Theatre delivers a production that embraces both the comedy and emotional depth of Whittington’s script. Stewart allows the humor to happen naturally while ensuring the play’s more poignant moments never feel forced. Stewart focuses on the relationship of the four women characters and the result is a production filled with warmth, authenticity, and heart.

At the center of the story are four fully realized women whose friendship feels entirely believable.

Robin Leary’s Pearl serves as the emotional anchor of the group. Leary brings warmth, wisdom, and quiet strength to the role, creating a woman who often places the needs of others before her own. Her performance provides much of the production’s emotional grounding and reminds us that even ordinary women desire passion, closeness, and connectedness. Leary’s performance is skillfully portrayed to prevent the audience from feeling judgement and instead evokes genuine empathy. The audience is fully invested in Pearl – in her story and her possibilities – and that is entirely due to the magnetic performance of Robin Leary.

Kitt LaPaix realistically portrays Jan, a woman that many will recognize instantly – a mother whose identify has been shaped by years of selflessness. Balancing humor with vulnerability, LaPaix captures a woman who continues to dream despite life’s setbacks, even if those dreams have been buried so deep to make room for her maternal sacrifices. Her performance radiates optimism while revealing the complexities beneath the surface. LaPaix is a joy to watch on stage.

Ashley Schuliger shines as Shelley, bringing boisterous charm and comic energy to the role. Schuliger skillfully reveals the humanity behind Shelly’s bravado, creating a character who is both entertaining and deeply relatable. Schuliger’s Shelley is a vivid reminder that even brightest personalities often cast the longest shadows. Schuliger marvelously reveals both Shelley’s exuberance and the quiet sadness she works so hard to conceal.

Tara Huhn delivers one of the evening’s most rewarding performances as Linda. Beginning as the most reserved member of the quartet, Linda’s journey toward greater confidence unfolds naturally and convincingly. Huhn handles every step of that transformation with endearing authenticity and incredible comedic delivery. Her ability to move effortlessly between laugh-out-loud moments and genuine emotional growth make Linda’s journey one of the most satisfying aspects of the production. She is simply a delight in every scene.

Tobias Martin demonstrates remarkable versatility in portraying multiple male characters throughout the production. Whether serving as comic relief or helping move the story forward, Martin creates a distinct personality for each role through changes in voice, posture, and energy. His work adds considerably to both the humor and momentum of the evening.

The entire crew should also be mentioned! Behind the scenes, an accomplished creative team helps bring the world of Ladies’ Day to life. Producer Patrick White oversees a production that clearly reflects a commitment to quality and collaboration. Stage Manager Jasmine Schatz keeps the evening running smoothly, ensuring seamless transitions and precise execution throughout the performance.

Jennifer Barr’s property design helps establish the play’s world with thoughtful details that support the storytelling without drawing attention away from it. Michael McDermott’s set design provides an effective and versatile playing space that allows the action to flow naturally while evoking the locations required by the story. John Meyers’ set construction helps McDermott’s set be fully realized. Barr, McDermott, and Meyers develop a convincing and perfectly saran wrapped fish factory that really helps to set the tone for the entire production. And the transformation to the racetrack at the Royal Ascot was functional and effective. Laura Darling’s lighting design supports the changing moods of the production.

What elevates this production is its remarkable relationship with music.

Sound Designer Shaya Reyes has crafted a musical experience that functions as an essential storytelling tool rather than mere background accompaniment. Long before the first scene begins, audiences are immersed in the world of the play through a carefully curated soundtrack that immediately establishes time, place, and emotional context.

The pre-show playlist features songs that many audience members will instantly recognize from the mid-2000s, including Gwen Stefani’s Hollaback Girl, The Black Eyed Peas’ Don’t Phunk With My Heart, and Weezer’s Beverly Hills. These songs do more than evoke a specific era; they summon memories of friendships, relationships, ambitions, and personal milestones, mirroring the experiences of the women on stage.

The musical journey continues through intermission with selections such as Refugees by The Tears, Lyla by Oasis, and Elvis Presley’s A Little Less Conversation. The choices feel deliberate, reflecting themes of longing, independence, reinvention, and possibility that run throughout the script.

Even the broader musical selections reveal a thoughtful approach, ranging from Tony Christie’s (Is This the Way to) Amarillo to works by Beethoven, Bach, Mozart, Vivaldi, Brahms, and Holst. The result is a rich sonic landscape that enhances the audience’s emotional connection to the story.

In reference to Tony Christie’s (Is This the Way to) Amarillo, most audience members may know the song only vaguely. Written by Neil Sedaka and Howard Greenfiled, the song occupies a unique place in British popular culture. Originally released in 1971, it enjoyed a remarkable revival in 2005, becoming one of the United Kingdom’s best-selling singles and a staple of celebrations, pubs, race-day gatherings, and communal singalongs. Just as Americans might associate Neil Diamond’s Sweet Caroline with ballparks and crowd participation, Britons often regard Amarillo as a shared cultural anthem. Christie himself is an especially fitting choice for Ladies’ Day. A Yorkshire-born performer whose career was built in the clubs and theaters of working-class Britain, he spent decades singing for the very communities represented in Whittington’s play. His music celebrates ordinary people and everyday experiences, making his presence in the soundtrack feel less like nostalgia and more like a tribute to the world these characters inhabit.

Music and memory are deeply connected, and Reyes understands this relationship beautifully. The songs become emotional touchstones that help illuminate the characters’ inner lives while simultaneously inviting audiences to reflect on their own. In a play about friendship, dreams, and second chances, the soundtrack serves as a powerful reminder that many of life’s most meaningful moments are remembered not only through images and conversations, but through the songs that accompanied them. Reye’s entire playlist includes:

Pre-Show

Hollaback Girl- Gwen Stefani
Switch- Will Smith
Don’t Phunk With My Heart- Black Eyed Peas
1, 2 Step – Ciara, Missy Elliott
One Word- Kelly Osbourne
1 Thing- Amerie
Beverly Hills – Weezer
Speed of Sound – Coldplay
Let Me Love You – Mario
Girl – Destiny’s Child
Lonely- Akron
I Like The Way- Bodyrockers

Intermission

Refugees- The Tears
A Little Less Conversation – Elvis Presley, Junkie XL
Lyla – Oasis
Owner of a Lonely Heart- Yes
In the Morning – The Coral
Shot You Down – Audio Bullys, Nancy Sinatra
Somewhere Else- Razorlight

Incidental Music – During the Show

(Is This The Way To) Amarillo – Tony Christie
Beethoven Piano Concerto No. 5, E Flat Major, Op. 73 – Julia Thorton and National Radio Orchestra of the Netherlands
Vivaldi Lute Concerto in D Major – Julia Thorton and National Radio Orchestra of the Netherlands
Karnival Kerfuffle – Kristofer Madigan
Bach Cello Suite No. 1 in G Major- Yo-Yo Ma
Vivaldi The Four Seasons Violin Concerto in E Major- Itzhak Perlman
Mozart Piano Concerto No. 12 in A Major- Saskia Giorgini
The Well-Tempered Clavier Book 2 Prelude No. 3- Bach, Anton Mejias
Brahams 3 Intermezzi Op. 117 No. 2 in B Flat Minor – Piotr Andrewszewski
The Planets Op. 32 IV The Bringer of Jollity – Gustav Holst, Berliner Philharmoniker

Harbinger Theatre’s Ladies’ Day succeeds because it recognizes the extraordinary within the ordinary. Through strong performances, thoughtful direction, excellent technical work, and a uniquely effective musical framework, this production celebrates friendship, resilience, and the possibility that it is never too late to take a chance on yourself. It is a thoroughly enjoyable evening of theater that leaves audiences smiling, reminiscing, and perhaps hearing a few familiar songs in their heads long after the final curtain call.

Grab your friends, put on a fancy hat for absolutely no reason at all, go and see Harbinger’s production of Ladies’ Day, and cheer these ladies on as they show you:

“A few times I’ve been around that track / So it’s not just gonna happen like that.”

– Gwen Stefani, Hollaback Girl

Show Details:

James Meader Little Theatre
65 1st Street
Troy, NY 12180

6/12-6/19
$15

Tickets may be purchased by clicking here

Images by Andrew Elder – Best Frame Forward

The Courage of Softness with Shannon Tehya – A Feature by BradQuan Copeland

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June 12, 2026

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The Courage of Softness

A Feature by BradQuan Copeland

Photo By: Nate Black

The ache of brooding bends through thought as my nerves succumb beneath the weight of haze.

Running on eight hours of sleep across the last forty-eight, I sit deeply folded into myself, my head slumped against the driver-side window as I scope the urban backdrop through elevated eyes.

But when balance becomes tested through the invasion of pressure, how does one realign themselves with the essence of their true nature? Sometimes the answer arrives not through revelation, but through art. For me, this came through two of the latest releases from rising star Shannon Tehya, who is slowly unraveling the vitality of her upcoming EP, The Space in Between.

Listening to her songs Human and Lovely makes me feel as though I’m inhaling the childlike aroma of wonder as they dance through a beauty so immense that it stuns one into willing submission, a place where peace is all-encompassing and angst is extinct.

Sitting down with her once again, she welcomed me into the soul of her upcoming project, where its philosophies pulse beneath the craftsmanship.

Interview with Shannon Tehya

BradQuan Copeland:
What part of yourself became visible through loving someone that you didn’t fully understand before?

Shannon Tehya:
I think my softer side.

I’ve spent a lot of my life being very hardened. I’ve worked in the strip club for seven years, and that made me pretty jaded toward men. For a long time I didn’t feel like I wanted to be with anyone. I was very protective of my heart and my time.

Loving someone in the way that Lovely describes is really a testament to what can happen if you find someone you trust enough to be your softest, most gentle self.

Lovely was actually written before I met Hunter. It was written back in 2019 during what was, at the time, the best relationship I had ever had.

I was with someone who showed me a tremendous amount of kindness when I was at one of the lowest points in my life, and I really felt like I didn’t deserve it.

I wrote the song for him because it felt like he deserved a love song.

I was with a transgender man, and that relationship became a very important staple in my queer identity because, up until then, I had only dated cisgender men and cisgender women. It was a relationship that helped me feel seen in a way I hadn’t before.

I think a lot of bisexual people struggle with feeling like they don’t fully belong. There’s this feeling that you’re only halfway in the door, that you’re not straight enough for one group or queer enough for another. That relationship helped me feel more secure in who I was and in the validity of my own identity.

To this day, I look back on that relationship with a great deal of love and fondness. It taught me a lot about who I was, and it shaped me into the person who could become the healthiest version of myself for my current partner.

What both relationships shared was a gentleness that helped me understand that softness isn’t weakness. It’s something worth protecting.

Shannon’s meditations on Human and Lovely reveal a truth often buried beneath the noise of modern dissonance: softness is far from weakness, but courage in raw form. Through love, identity, and the willingness to be seen, she discovered not only a deeper understanding of herself, but the strength that emerges when we allow ourselves to rest in unison with another. If The Space in Between continues to explore such depths, fans may find themselves confronting a familiar revelation: that wholeness often starts with self-embrace.

WHY GUNSHINE FEELS LIKE A BAND MEANT TO BE SEEN, NOT JUST HEARD

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June 12, 2026

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WHY GUNSHINE FEELS LIKE A BAND MEANT TO BE SEEN, NOT JUST HEARD

Writing the Ride: Inside Gunshine’s Grand Rising

By Lori Anne|I Am Lorelei!

Grand Rising was never made to sit quietly in the background. Not a chance. From the start, the album moves with too much intention, too much swagger, and too much life to settle to be half-heard. Guitarist and singer-songwriter Austin Ingerman and vocalist Jordan Benson shape these songs with a clear sense of when to hold back, when to hit hard, and when to blow the whole thing wide open. Grand Rising swings, breathes fire, and gives listeners a place to drop their real-world bullshit and give themselves over to the ride. This is not an album chasing heaviness just to look tough, and it is not afraid to lean into purpose. Beneath the hooks, the attitude, and the larger-than-life theatrics, there is a real pulse running through it – an album built to connect, to wake people up, and to make damn sure they feel alive.

That same sense of purpose runs through the sequencing. The flow matters. The turns matter. The way one mood crashes into the next gives Grand Rising its shape and force. One of the clearest examples is the shift from “Shark Lounge” into “Valentine.” “Shark Lounge” grew out of a story about the Shark Lounge, a once-notorious Daytona Beach strip club that has since closed due to prostitution, violence, and illegal drug sales. That backstory gives the song its brazen, sleazy, playful edge, and Michael Starr’s guest appearance pushes its theatrical swagger even further without knocking the album off balance. It is one of Grand Rising’s boldest flashes of spectacle and excess delivered with a smile.

Then the record takes a sharp turn into “Valentine,” a slower, softer and far more vulnerable song Jordan wrote when he was around 15, imagining the woman he would one day meet and love. That feeling comes through in the line, “I loved you long before I met you,” and it gives the song an unusually tender pull because of what’s around it. Jordan’s voice softens, the band eases back, and suddenly Grand Rising reveals another side of itself without losing its identity. That contrast is one of the album’s strengths. Gunshine does not get trapped inside one emotional register. They know when to have fun, when to hit hard, and when to strip things down.

Jordan also shared that he had pitched “Valentine” in Nashville, where it was passed over. Jordan did not seem bothered. Quite the opposite. “That’s alright, he said. ‘They have their writing formula and rock ‘n’ roll doesn’t. It all worked out.” He was right. The song found the right home on Grand Rising, where its sincerity lands hander because of everything surrounding it.

If sequencing gives Grand Rising its shape, the songwriting gives it its grin, and “Goth Girl” is one of the best examples. The band’s trip to Vancouver to record brought Brian Howes into the process, and that collaboration sharpened the melodies, strengthened the hooks, and opened up new ways to push what Gunshine already does well. Rather than pulling the band away from its identity, it pushed them further into it, giving “Goth Girl” even more humor, attitude, and that oversized personality.

The story behind “Goth Girl” only makes it clearer. It started with a friend’s Facebook post—a half-serious complaint about never finding his ideal big-titty goth girl. Then, during a Gunshine show in Albuquerque, Jordan spotted one in the front row. Dakota was not there that night to meet his goth girl, but the moment stuck. What could have remained a quick laugh turned into a song that fits the band perfectly: mischievous, exaggerated, self-aware, and fully committed to the bit. That kind of instinct runs all over Grand Rising. Gunshine understands how to turn humor, character, and attitude into something that still hits with real conviction.

Austin also made a point of highlighting Chris Collier’s role in giving Grand Rising its final impact. When I asked whether any one song took on new importance after mixing and mastering, the answer was not really about a single track. It was about the way Collier helped the album lock into focus. His work added muscle, clarity, and punch, but never at the expense of the band’s edge. Grand Rising still sounds dangerous. It still sounds alive. It just comes through sharper, bigger in its delivery, and more confident in its attack.

One song that seems to hold a particularly special place for Austin is “Table Dancing.” He repeatedly singled it out as a song he was proud to write and one he clearly enjoyed performing. It also stands out because it takes a risk. When I first heard the opening, I was not immediately pulled in. It does not come at the listener with that classic Gunshine sound, and for some people, that may make it more of a slower burn. Most listeners like knowing what to expect, and change is always a gamble. But that is also what makes the song matter. The attitude is still there, only now it comes through in a slower sway, brushing up against a Sinatra-like feel before folding back into rock ‘n’ roll. That choice expands the band’s range instead of watering it down, and I am glad they took it.

That range is part of what makes Grand Rising hit as hard as it does. Gunshine clearly cares about precision, pacing, and making a record that works as a full experience, but just as much of its power comes from chemistry, atmosphere, and release. When I asked what they love most about being in this band, the answer was simple: writing their own music and bringing it to their fans. That directness says a lot. For all the polish surrounding Grand Rising, its core is still about making something loud, alive, and impossible to ignore – then watching the crowd throw it right back at them. “It’s so cool to see people in the crowd singing every word of every song right back at us,” Jordan said. That is not just audience reaction. That is connection in real time, and Gunshine knows exactly what it has built.

Their performance at Montage Music Hall in Rochester, New York was a reminder of exactly why this band feels meant to be seen, not just heard. Gunshine tore through fan favorites like “Daylight,” “Swing Away,” “Bayou,” and “90 Proof,” while also giving the crowd a taste of newer material with “Goth Girl,” “Valentine,” “Single Looks Good On You,” and “Table Dancing.” Onstage, the songs hit with the same force, humor, and personality that define the record, but with even more immediacy. The attitude lands harder. The contrast lands harder. The spectacle lands harder. Gunshine already writes with movement, tension, and release in mind, and live, that design becomes impossible to miss.

In the end, Grand Rising sounds like a band that knows exactly what it is doing and has no patience for playing small. Gunshine loads the record with swagger, sex appeal, danger, melody, humor, and pure release, then delivers it with enough control to make every shift land and enough attitude to make it leave a mark. This is not an album built to fade into the wallpaper. It is built to grab you by the collar, shake the real world loose, and remind you what rock ‘n’ roll is supposed to feel like when it actually has blood in its veins. Grand Rising does not just make noise. It lives, it breathes, it struts, and leaves its fingerprints all over you.

Fans can find tour dates, merch, music, videos, and contact info all in one place at GunshineBand.com.

By Lori Anne|I Am Lorelei!

lorimckone66@gmail.com

Xperience Music Notes: The Mystery of EQ By: Peak Music and Dance

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June 12, 2026

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The Mystery of EQ

Last month, we talked about the voice and why singing is not some mystical gift reserved for “the chosen ones.” The voice is an instrument. It can be trained, strengthened, coordinated, and understood. This month, as summer arrives and the motorcycles begin swarming the streets like angry mosquitoes, we turn to another musical mystery: EQ.

EQ stands for equalization, which sounds like something a scientist says while adjusting a laser beam in a secret underground lab. In reality, EQ is much simpler than that. EQ is how we shape sound by frequency. It is how we make a sound feel deep, warm, bright, sharp, smooth, muddy, harsh, aggressive, or clear enough to make sense in a mix.

Every sound contains frequency. A conversation has frequency. A dog bark has frequency. A bass guitar has frequency. A screaming motorcycle flying past your house at midnight definitely has frequency. Here is where things start getting interesting: the note itself is only part of the sound.

When a bass player hits an open E string, the fundamental pitch is around 41 Hz. (Hz or Hertz is simply a measurement of frequency that tells us how many times a sound wave vibrates per second.) 41 Hz is extremely low. You do not just hear it; you feel it. It moves through floors and walls. But if all we heard was that one low frequency, the note would sound huge and blurry. You might feel the room shake without clearly hearing the musical note itself.

That is why harmonics matter. The harmonics above the fundamental give the bass definition, growl, attack, and clarity. A standard 4-string bass mostly lives in the sub-bass, bass, and low-mid ranges, but much of its personality comes from frequencies far above the actual note: finger noise, pick attack, string vibration, amplifier tone.

Guitar works the same way. A standard 24-fret guitar ranges from roughly 82 Hz on the low E string to about 1318 Hz on the highest note of the high E string. Even the highest normal guitar notes still live in the midrange. So why can electric guitar sound bright, sharp, aggressive, or cutting?

Because the real sound of the guitar extends far beyond the fundamental pitch. Distortion, harmonics, pick attack, string scrape, speaker coloration, and amplifier tone all push upward into the upper mids and presence range. That is where the guitar starts to bite. That is where the pick begins to speak. That is where your peaceful, clean tone suddenly decides it wants to fight somebody in a parking lot.

The same principle applies to singing. Many singers are technically singing the correct pitch, but the voice still sounds dull, swallowed, strained, or lifeless. Hitting the note is only part of the job. The singer must also shape vowels, resonance, harmonics, airflow, and tone above the pitch itself. This is why two people can sing the exact same note and sound completely different. One voice rings while another sounds trapped. One feels effortless while another sounds squeezed to death. Same pitch. Completely different harmonic structure. EQ matters to musicians because it teaches us to hear the layers inside sound.

Sub-bass, roughly 20–60 Hz, is the world of rumble and physical weight. The lowest notes of the bass guitar live here. Think thunder in the distance or the kind of movie soundtrack that makes the theater seats vibrate.

Bass frequencies, about 60–250 Hz, provide warmth and foundation. This is where bass guitar fills out the track and where lower guitar notes begin to develop body. A deep speaking voice, a floor tom, or an overenthusiastic car stereo all live in this territory.

Low mids, around 250–500 Hz, add thickness and size. This range can make a guitar sound powerful, but too much creates mud very quickly. Low mids are like salt: a little helps everything. Too much ruins dinner.

The midrange, around 500 Hz–2 kHz, is where much of musical identity lives. This is one of the most important ranges for guitar and vocals because it helps us recognize notes clearly inside a mix. Guitarists often scoop out mids in their bedroom tone because it sounds huge alone. Then they get to rehearsal and disappear the second the drummer starts playing.

Upper mids, roughly 2–5 kHz, control attack, bite, edge, consonants, and intensity. This is where guitars become aggressive and vocals cut through a band. Too little and everything sounds buried. Too much and the music becomes the audio equivalent of stepping barefoot on a Lego.

Motorcycles are a perfect example. The reason they feel painfully loud is not just the low engine rumble. It is the upper-mid and presence frequencies screaming directly into your nervous system while the rider apparently conducts important research on how many neighborhoods can hear one exhaust pipe simultaneously.

Presence frequencies, around 5–8 kHz, add brightness, sparkle, detail, pick scrape, and vocal clarity. Presence helps sound feel alive and immediate, but too much creates harshness and listener fatigue very quickly.

So EQ is much more than “bass, mids, and treble.” EQ is really the study of how sound exists in layers. A bass guitar is not simply low frequencies. A guitar is not just mids. A voice is not only pitch.

Every sound contains a fundamental frequency and a whole family of harmonics above it. The fundamental tells us the note, while the harmonics tell us the character. Low frequencies communicate size and weight. Midrange tells us what we are hearing. Upper mids and presence determine clarity, attack, and intelligibility. Understanding this changes the way musicians listen.

If a guitar sounds muddy, the issue may not be the notes being played. It may be excessive low-mid buildup. If a singer sounds dull, the problem may not be pitch accuracy at all. It may be weak resonance or missing harmonic energy. If a bass line disappears in the mix, more volume is often not the answer. The bass may have plenty of low end but not enough definition in the mids.

And if your guitar solo physically injures small woodland animals, there is a good chance you have too much upper-mid or presence energy happening. Passion is good, but treble violence is not.

At Peak Music and Dance, we are not interested in students simply memorizing songs. We want musicians to understand what they are hearing and why sound behaves the way it does. We want bass players to understand why the instrument shakes the room yet still needs articulation. We want guitarists to recognize why pick attack lives far above the actual note being played. We want singers to understand that pitch is only the starting point of vocal sound.

Most importantly, we want students to hear music as something alive, layered, and trainable. The mystery of EQ stops being mysterious once we start listening carefully. A bass note becomes more than a note. A guitar tone becomes more than distortion. A voice becomes more than pitch. A bark, a whisper, a rumble, a scream, or a motorcycle flying down the street at irresponsible speeds all become frequency, color, energy, and texture.

That is EQ. And like the voice, it is not magic. It is something we can learn.

This Month in Music History — June

June 1, 1967 – The Beatles release ”Sgt. Pepper’s Lonely Hearts Club Band.”
June 1, 1972 – The Eagles release their debut album.

The Beatles and the Eagles are two great controversies – geniuses or over-hyped? You decide.

June 3, 1982 – Graceland opens to the public.
June 6, 1971 – ”The Ed Sullivan Show” airs its final broadcast.

Elvis and Ed Sullivan are two icons from a bygone era.

June 7, 1977 – The Sex Pistols create chaos on the Thames during Queen Elizabeth II’s Silver Jubilee.
June 16, 1967 – The Monterey Pop Festival begins.

When that ‘new’ music really became offensive to the WWII generation.

Interview: Jim Kaufman, New Owner of Last Vestige Record Shop

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June 11, 2026

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Interview: Jim Kaufman, New Owner of Last Vestige Record Shop

Interview with Jim Kaufman, new owner of Last Vestige Record Shop

Interview by Chad Koenig

On June 1st, countless people throughout the region collectively gasped, felt their heart skip, or had a brief bout of anxiety as they scrolled through social media posts regarding Albany’s treasured Last Vestige Record Store. Whether you were reading from the official page of the store, or through those who shared it- those first words posted of: “WELL… 13,353 days ago, I opened LAST VESTIGE”, automatically gave you a lump in your throat.

In the world we live in, it’s sad that we fear the worst while reading the first words of headlines, especially about small businesses because, most of the time, it IS for the worst. But as those who didn’t stop and actually read on, you saw that the store did not close, but that Jim Furlong, who has owned this mecca of vinyl treasure, was retiring after a storied career, which, earlier in 2026, saw him win the prestigious Eddie Award at the Capital Region Thomas Edison Music Awards and welcomed Jim into their Hall of Fame, alongside local stalwarts Ernie Williams, Eddie Angel, the Founders of the Van Dyke, Lee Shaw, Dominick Campana, and the Heavenly Echoes Gospel Band.

And although his retirement was bittersweet, the story did not end there. The announcement was made that Mr. Furlong sold the company to his beloved long time on again-off again employee Jim Kaufman, who has expressed his loyalty to the store since his employment began on Memorial Day of 1999.

No worries, folks- the beloved shop, which has been located at 173 Quail St. since moving from their original location across the street from there in 1994, isn’t going anywhere. It just changed hands, and I’m happy to say- the RIGHT hands.

I always loved this shop- and it’s former sister store in Saratoga, which I frequented more often as a native of Ballston Spa. So after hearing the news, I ventured to the iconic pink storefront to interview Jim Kaufman, the man who will be responsible for carrying the brand into the future. And after the interview I was confident that the Capital Region and beyond will be enjoying Last Vestige for generations to come.

RRX– Congratulations on the acquisition of Last Vestige. You have inherited a local institution. When you started working here when you were younger, did you ever think that someday this would be all yours?

JK- I wished it. I know it sounds cheesy, but the first time I walked in here felt it. I was so into owning music at that point, and the prices were great for a 14 year old (in 1994) with no money. I could walk out of here with 4 or 5 CDs and an armful of records. And the more I came in here, the more I thought “this is what I want to do”. And I got hired on Memorial Day of 1999 and said “well, lets see how this goes”!

RRX- You stated in your Facebook post when you announced the purchase of the store that you bought a KISS record here in 1994. As a collector, what are your favorite bands or styles to collect?

JK- Collectors can say “I collect everything”, which is true. But my favorite bands were Black Sabbath and Pink Floyd, and if I saw something I didn’t have I grabbed it. I went through a huge KISS phase, but those guys are just too hard to collect, you know? They have everything. Besides the physical media, they have all of their merchandising down pat so I couldn’t collect all of that.

I like a lot of hard rock and psychedelic rock. I like heavy metal but really love classic Metal from the late 70s and 80’s. Judas Priest and that kind of stuff. I also love, what you call “stoner metal”. The real sludgy stuff. About 20 years ago I got into collecting a lot of real underground metal, but for the past 10 years or so, I’ve really done a 180 and started collecting jazz. I went down that rabbit hole and my jazz collection alone is now in the 1000s.

RRX- I’m not surprised that as a Black Sabbath fan that you would be into jazz. Bill Ward is 100% a Jazz drummer. Those jazz drums are really the foundation for heavy metal.

JK- Ginger Baker, too. Ginger Baker had a drum-off with Buddy Rich. Art Blakey too, I think. That’s a type of jazz drumming that I can’t even comprehend.

RRX- Have you ever watched the drum clips of “The Velvet Fog” Mel Tormé? He had drum-offs with Gene Krupa. Who would have thought? He was a great drummer. And Karen Carpenter as well.

JK- Ya! She was an INCREDIBLE drummer! She’s amazing.

RRX- What is your holy grail vinyl in your collection- maybe both personally or value-wise?

JK- I’ve got a first pressing mono Velvet Underground album with the banana cover, but without the banana unfortunately. But its in pretty decent shape. I’ve got some metal albums and jazz albums as well that have some value. There really is no “holy grail” because when you find it, you are always on to the next one. A lot of them are just out of my price range.

RRX- Speaking of the price point, is there a record that has eluded you that you’re hoping to find someday or maybe come through these doors?

JK- There are. And, and believe it or not, the ones that I’m holding out for aren’t really valuable. It’s more just that I want to get them here. The fact that I don’t have a is the butcher cover (referring to The Beatles controversial cover to 1966’s “Yesterday and Today”) gets to me. Both of my employees have one. One of them came in last year and one of the guys bought that, and a couple years ago one came in that was in a little rougher shape that my other guy bought. I mean, I can just go online and buy one, but I want to get it here.

RRX- Ya, I get it. That’s something generations past us never really got to experience- “the joy of the hunt”.

JK- You can go on eBay and buy whatever you want, but when you wait for them to come in it means more that way. I can go and get on eBay in 10 minutes, but I don’t want to, I want to wait for it to come in here or find it at somebody’s house when I buy their collection. So yeah, “the butcher cover” is probably my top record just because of what it is.

RRX- What do those fetch these days?

JK- The last one we sold for 500. And the one before that was around 250 or 300, but we’ve seen some in the four digit range. It depends on the condition of the jacket and the peel job, if it even is peeled.

RRX- That’s our generation. We remember what it was like for us to wait all day for a music video to come on MTV, or to record a song that we waited to come on the radio. Immediacy is great, but when you wait for something to come to you, or just find it one day, it means more when you finally get it and can truly appreciate it.

JK- And I’m not a patient person. So when it’s something I really want and I have to wait for it, it’s agony. Right?

RRX- You are also a local musician and the drummer for Hot Cousin. When did you start working with that band?

JK- Charlie, who also works here, started a band with a couple of his friends around 2003. I joined a couple of years later and left to do other things. His wife Nicole started singing in the band around 2011 and then I joined them again around that time. I’ve been on and off with them for about 20 years. We gig a little bit. We have four or five gigs this summer. It’s getting harder when everyone has jobs and families.

RRX- Obviously Jim Furlong had faith in you to pass the torch to you. Do you remember the moment where he knew you’d be the best person to take over?

JK- Yeah, actually, literally standing right here in the middle of the store while I was filing stuff away. He just walked up to me. He said “Hey, listen, do you have X amount of money”? And I’m like, “Nope, but I can get it!”. But we actually talked about it with ALL of the employees about three years ago. He said that his wife was going to retire soon and wanted to spend time with her. He asked “Would you guys want to carry on? Because I don’t want to let it go. This is my baby”. I was like, yeah, hell yeah, I’ll do it. And everyone else was on board, too, but I may have been the most enthusiastic one about purchasing it.

Then it kind of went by the wayside. We didn’t really talk about it again. We had a couple of our employees had some personal issues they had to work through. One of our employees was in a car accident. So we tried to shuffle around employees. We really dropped the prospect of that for a couple of years. And then one day, like I said, I was sitting here filing records. And he said, “I think I’m done- do you want to do it? I’m like, “Yeah, hell yeah, I want to do it!”

I wish I had a little bit more preparation and time to move my finances around and save some money but it worked out.

RRX- As Jim Furlong grew up in the boom days of vinyl, getting Beatles albums in real time, and starting the company in the heydays of cassettes and CDs, what perspectives of somebody who obviously loves vinyl, but young enough to have experienced the digital and streaming platforms, might you bring to your vision of the store?

JK- Right now, I don’t have any prospects of changing anything. But, I mean, I’ve always loved vinyl as the medium for me. You know, the size, the artwork is always better. And we can talk about fidelity all night long. My thought was if it’s made to sound better on vinyl, then it’s going to sound better on vinyl. If it’s made to sound better on a CD, it’s going to sound better on CD. But vinyl- I just think it’s a cooler format.

I’d like to maybe investigate ordering new vinyl, because we don’t really do that, as we’re strictly used. And, but we’ve dabbled in the past and were very successful, but it’s a much different overhead and markup. So that’s something that’s going to probably happen in the fall, after I get on my feet a little bit.

I’m going to look to order X amount for when the students come back, or X amount for record Store Day. Even though we’re not going to participate in Record Store Day, I want to have something to show the customers.

RRX- Will you be adding more of an online presence, maybe host podcasts, etc.?

JK- Yes, 100%. My relaxation routine is sitting on YouTube and TikTok and watching people go through the records. I mean, it’s as nerdy as you can get.

There’s a lot of really good YouTube channels out there of people who own shops, people who review records. They just grab a stack of vinyl and start going through it. And a thousand people are watching them do it. I’m one of them. I think that’s great. So I definitely want to do that.

I want to have more of a social media presence for sure. More of an online presence as far as, like you said, podcasts. I’d love to get a podcast going. We actually have somebody that I know who might be lending a hand when it comes to that. And she not only has that attachment to the youth that we don’t have here, because we’re all in our 40s and 50s, but she also knows her way around social media and podcasting and running a radio show. So I think in the next couple of weeks, I’m gonna meet with her and see what she can do for us. So I would expect to see a significant change in that kind of thing.

RRX- I see we have this lovely cat here watching the interview. There’s always been cats here in the store. Who is this cat?

JK- They are always here. And Jim has an amazing heart for animals. And Clem, who’s the black and white one, is probably upstairs stuffing his face. He was here first. Jim found him outside when lived on Lark Street. He was in Jim’s neighborhood and brought him in the shop and got him all fixed up and everything and got his shots. And he’s been here for about 12 years, maybe 14 at this point. People come here just for him, which is insane.

I’m not big on Reddit. It’s the one social media platform I really haven’t gotten into. But there’s a Reddit page for him. And people are like, “oh, if you want to see a cat at a shop, come to Last Vestige. Clem’s there”. They’ll walk in and they’ll sit at the counter and pet him and give him treats and stuff like that, and he just, he eats it all up. He loves it.

And this cat, Jolene came along with a similar story. My co-worker Kim found her on Lark Street. They couldn’t find a home for her so I said “bring her in” and within two hours she was ours. She was jumping up on the counter at the register. She will sit at the chair and hit buttons on the computer and access pages that I don’t even know how she got to. I think she may be a spy. She was on the country records just hanging out for hours and we decided to name her either Roxanne or Jolene so being she was sitting there we went with Jolene.

RRX- When buying used products, what are you going to be looking for? Are there types of music you are really pushing to acquire and is there stuff you aren’t interested in buying?

JK- Classical used to be a big one. I love classical music. But it hasn’t been selling. In the past couple of years, people have been asking for it, so I keep some around, but generally we don’t pay for it because it’s so abundant and doesn’t really sell. Anything pre-1950 doesn’t really sell. Sinatra sells so we keep that, but musicals and showtunes rarely sell apart from “West Side Story” and “Fiddler on the Roof”.

We have music from all around the world. I’m interested in everything if I can sell it, but has to be in very good shape to buy it. Especially for CDs. People think CDs are indestructible, but I’ve seen CDs come in and say “what did you do to this this thing?”. I mean, they had to go out of their way to do this!

RRX- The Last Vestige eBay store has successfully sold over 40,000 items in its years of operation. Will you maintain the same way or do you plan on making any changes on that or selling additional merchandise?

JK- eBay’s a little tough. Discogs is more up our alley. It’s more geared towards music lovers. You can find just about anything on Discogs. eBay’s good for the rare things like autographed items. Or if you get something that’s a promo that I can’t find on Discogs. But eBay has a great audience, and has a great market. But their fees are a little bit too much. And it’s oversaturated.

I’m going to keep eBay up, for sure, but I’m going to be a little bit more selective on what goes up there. Discogs is much better for us, and Kim is meticulous with what we sell. No scratch gets past her. She runs our mail order and Discogs page. She’s why our ratings are through the roof. Plus, we have a great return policy.

If I can avoid putting it online and have somebody see it in the store, I’d rather do that. But some things are just, you know, “who’s going to buy this here, but somebody in Montana will want it”.

RRX- The vinyl boom is back in a big way, with artists releasing collectible box sets, reissues, colored vinyl and all that cool stuff. Much of them carrying a heftier price tag. What will influence you on what new product you decide to bring into the store?

JK- The way we went about it last time is that we wanted to bring in popular titles that we can’t keep on the shelves. For example, “Back in Black” by AC/DC- we never see that because its so popular, but it’s hard to make a profit when the distributor is selling it for $15, but you can get it on Amazon for $20.

I would definitely buy more new copies of heavy metal records because we can’t keep that in stock. When we advertise metal records coming in, they sell immediately. Another one is “Pet Sounds” by the Beach Boys. We can’t keep that in stock, so something like that we will look into. As for the specialized editions and colored vinyl- it depends on what we can get it for, since we are competing with online retailers.

RRX- Every April, artists and fans around the world celebrate Record Store Day- when independent record stores can acquire releases only available starting that day. We are about a year out from the next one, but do you plan on participating in them going forward and selling those exclusive items?

JK- It’s difficult for us to do those exclusives, again, because of the markup. Also, the space. We don’t have the space. There is so much stuff that comes out on Record Store Day and we don’t have the space for everything. And a lot of the times, people will buy the items just to sell them on eBay and that’s not what we want to represent. I once spent 5 hours waiting in line for an exclusive that we were told only 1000 copies were made, and they eventually officially released it a few months later.

But, my plan on Record Store Day is that we will will have a big sale on items that people want. We have two sales a year- one in the fall to celebrate the anniversary, and then one in the spring. I think the spring one will be on Record Store Day so we will definitely have something special on that weekend.

RRX- Are there any changes within the store that you are looking into making, or considering selling any different merchandise that was sold here before?

JK- No, not really, but one thing that we got in recently that I was skeptical about first but have been selling VERY well. And that’s Pokémon cards. We had a Pokémon rep come in and said they were looking for alternative outlets to sell Pokemon cards in so we hooked up with them, and they have been flying off the shelves. I want to let people know that we have them, and we are open to stuff like that going forward.

We do have some used stereo equipment but we can’t sell speakers due to space, but I might look into retooling our basement in the future, so maybe we can sell speakers here because we get asked about them often.

RRX- Is there anything that you would like to say to the readers of Radio Radio X, and the community at large, and maybe let them know what to expect with the future of Last Vestige?

JK- Definitely pay attention to our social media pages. Especially Facebook. I’m still working on Instagram (@lastvestigemusic). I’ve turned my Tik Tok page to the company Tik Tok page so check that out (@jims.vinyl.collect.). Keep your eyes out for our podcasts and any big news will be on our Facebook page. So keep checking that. And thanks for the support. Without the community, there would be no Last Vestige. It’s incredible the customers that we have here. Kids, teens, people of all ages and backgrounds, and a lot of women of all ages buying vinyl. When I was working here at 19 there were little or no women buying vinyl so its great! So tell your friends!

RRX- I worked for a decade in a major record store chain. I loved it but hated the corporate aspects of every single thing in the store. I always tried to make customers feel like they were coming into a store like this, and I got that from coming in to Last Vestige over the years. On behalf of all music enthusiasts like myself, we wish you the best of luck, and thank you for keeping this shop alive, and if Radio Radio X can ever be of help, please let us know!

JJ’s Cycle Bike Night in Photos 6/9/2026

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June 11, 2026

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JJ’s Cycle Bike Night in Photos 6/9/2026

It was a picture perfect night for Bike Night at JJ’s Cycle in Watervliet! This year’s community gathering featured live music, food, vendors, rows of custom bikes, and a motorcycle raffle benefiting Hospice.

Photos By: Sara Busone

The Vindys Move Into New Territory

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June 11, 2026

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The Vindys Move Into New Territory

Photo By: Brian Herman

Sara Busone chats with Jackie Popovec from The Vindys to discuss the evolving sound in their new album, “Trap Door”, the new tour, getting their music video screened at Tribeca and more

RRX: So before we get started, I am a huge fan. I saw you guys open for Fantastic Cat a couple of years ago in downstate New York on the beach. That was so fun! Thank you for taking the time to interview with me.

JP: Oh yeah! Thank you! This is really cool. I’m glad that our travels up to New York have been for something! I’ve met a lot of cool people up at the beach house there.

RRX: Oh, that’s awesome! So the new album… congratulations! I know it just came out in April. I read in a recent interview that you were more “inbox” focused with this album. So you’re kind of focusing on not just perfecting songs in public but rather, trying to recreate the magic of your live sound in the studio. I was wondering if you could expand a little bit.

JP: Yeah, it’s something that we’ve always been told by our fan bases. “Hey I love your music when I hear it… but you guys live is a whole other level.” So I have always been chasing what we can do in the studio to elevate the sound and make it an experience where people want to come and listen to our stuff not just in a live setting, but also they want to replay the one or two songs over and over and over again. And to me that was something that was important when we started in the studio. Me and my producer Mike Estock from Court Street Recording Studios, who is literally two blocks from my house, sat down and we really tore apart each of these songs and discussed what we wanted sonically out of each of these songs. So what you’re gonna hear on the production of the album is going to be a little bit different than what you’re gonna hear in a live space and we’re OK with that.

RRX: Yeah, I definitely would attest to that. I just think that’s a really cool angle that you’re going with. So you had that big Pat Benatar tour, 2024 and 2025, I believe. It was like a two-year schedule. And you said that you guys have more freedom now to go to new places that that tour took you on. So, the tour kicked off in May. What are some of the places you’re excited to revisit?

JP: Yeah, so, some of the cities that we will be revisiting from the couple of tours that we have been we are very excited about visiting… but doing it in our own capacity is going to be sort of an experiment to see how many of those audience members that we gained a following from are going to come out to the shows. So this is kind of new territory for me, in some capacities, but in others it’s kind of just building off of the momentum that we have already built for the last 10 years. This band, and everything that we have done has just been building that fan base, one person at a time. I feel like everything’s gonna happen at once. I’m very much excited to get these rolled out and, and also a little anxious because I really need to get my logistics in order.

RRX: Sure, that makes sense. It’s all very, very exciting. One thing that I remember hearing was, I think you, there was a recording of you playing live. The song “Bugs”… the video got a nod, an entry at the 2023 Tribeca Film Festival, which I thought was so cool. Was getting one of your videos a Tribeca nod on your bucket list?

JP: Absolutely not, but it was definitely probably on the bucket list of our director, Peter John Campbell! Because he had not told me that he applied, and when he called me he was like, “Are you sitting down?” I’m like, “what happened?” He goes, “I applied for Tribeca. And we weirdly got it. I wasn’t gonna tell you, but we got it”. And, it was pretty insane to be one of only 8 music videos that were chosen. I think this was like the first year in 2023 that they decided to involve music videos and so this is among, a couple of nationals like Lizzo and the Black Keys… and then some international ones and for us, you know, this band who’s been doing it the way that we’ve been doing it on a low budget… to have our tiny little music video make it to the big one of the biggest stages of film is just unheard of, and immediately I said, “what am I gonna wear on the red carpet?”

RRX: That’s what I would wonder too!

JP: What am I gonna wear and what if and if I’m going to meet Robert De Niro!

RRX: And you have a song that became an ESPN commercial too, correct? “Are You Ready”?

JP: Yes! So being from Youngstown, we sit right between Cleveland and Pittsburgh, so we’re in a little bit of a cross hairs between Steelers and Browns fans. However, I will take whoever is wanting to work with us, especially in the baseball realm. The Pittsburgh Pirates called and said, “well, they have this thing called Friday Night Rocks where they profile a local regional band, and they have only done this a few times”, but they tapped us to potentially do a song and they wanted to recreate (and) change the lyrics of a song that I had already put out and I go, “wait, I think I have something in my voice memos that is perfect for this sports anthemic thing that they’re trying to go for”. And that was “Are You Ready”. That became the song that they used and not only did they use it… it just started to grow legs! The Pittsburgh Penguins started to use it for their commercials. The Pittsburgh Steelers, during their training season, used it in their commercial. And then I got the call from ESPN saying, “hey, we love this song. Can we put it in for ACC Network for softball?” And that was just like what I had in my head for this song…and I was like, “this is amazing!”

RRX: That is awesome. What a great opportunity. I love that story. So, what are some upcoming dates nearby on this tour?

JP: A couple of dates that are coming up for New York that would be Buffalo, which is on Thursday, June 11th. The opening act is Jessie Elizabeth from Syracuse. Oh, OK. And then we have Pleasantville Music Fest. We’re opening up for OK Go and The Fixx.

RRX: Cool. And that’s July 11th, I think

JP: Yeah. The 11th!

RRX: The last question for you is… I’ve heard your music described in so many different ways. I was just curious. This is something I like to ask musicians. Do you agree with the way people have described your sound? Do you feel like people get it? Do you feel like they’re close, or not even close?

JP: This is, it’s something still that I grapple with, and I can’t lie, I have so many different genres that I’ve always grown up with, so I kind of lean in many directions. I hear a lot of people comparing my vocals to like an Amy Winehouse, I feel like that’s too high of a bar that they have set and that’s a great compliment. I can go into any supper club venue and be like, OK, I know what kind of set list I wanna do tonight. I can go into a Pat Benatar show and say, “you know what? we’re gonna go a little bit more rock forward on our tunes.” So it really depends on my mood. But, however, I take it all, I really appreciate all the things that I hear from people vocally. I have always leaned more, into the power pops and just (the) big sounds ever since I was little. I mean, there were huge voices on the radio like Mariah Carey, Whitney Houston, Celine Dion. And then, going into more melodic things. For me it was going into jazz, but maybe Nelly Furtado, Norah Jones, so playing with the inflections of, of the vocals were, were really something that I became interested in. And I do like to punctuate with my drummer – we have to be tight on that stage and everything else will fall into place, I feel. So it depends on the mood, but yeah… I welcome it all! Whatever people want to put us in, I’m OK with that.