Katy Kirby • Mei Semones • Maximiano • DJ Kelly Aiglon

Thu 08/01/24
8:00PM
18+
music
$17 ADV // $20 DOS

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Show Lineup

Katy Kirby

(Nashville, TN)
Genre: Folk, Indie Rock

Katy Kirby is a songwriter and indie rock practitioner with an affinity for unspoken rules, misunderstanding, and boredom. She was born, raised, and homeschooled by two ex-cheerleaders in small-town Texas and started singing in church, amidst the pasteurized-pop choruses of evangelical worship, about which she shares acute perceptions.

Like many bible belt late-millennials, Katy grew up on a strict diet of this dependably uncool genre. She recalls, “In the mid-90s, the American evangelical church was making music of an extraordinarily digestible, almost unprecedentedly easy-listening kind, stylistically void and vaguely dubbed Christian Contemporary Music, or CCM. It was pop that wasn’t quite pop, determinedly hanging on to the openhearted melodies of a decade prior, straightforward so as to be easily memorable, and in a key that an average churchgoer could sing along to.”

Accordingly, Cool Dry Place finds her dismantling it. “I can hear myself negotiating with that worship-ish music, fighting that deeply internalized impulse to make things that are super pleasant or approachable.” She hasn’t fully overcome the itch to please, but to a listener’s benefit. Instead of eradicating the pop sensibilities of her past, she warps them, lacing sugary hooks with sneaky, virulent rage, twisting affectionate tones into matter-of-fact reproach, and planting seemingly serene melodies with sonic jabs. The fun is in the clash.

Take “Portals” for example, a song of country-traditional chords and gentle vocal delivery that might have easily materialized as a placid ballad. Rather, Katy drenched its soft core in metallic noise and oscillating string textures. You can imagine someone bussing glassware from a table nearby, while Katy sits you down at a booth and trusts you with notes on a pre-breakup, the first couple of minutes living in the last part of a relationship.

With the same masterful trickery, “Traffic!” juxtaposes sound and sentiment, a jittery combination of saturated pop and Rainforest Cafe’ faux-tropicalia projecting (arguably false) sympathy toward a character absorbed in his own self-inflicted misery. Though her chorus wails jubilant, Katy weaponizes its catchy gusts to criticize privilege: “Nobody has it better than you.”

Katy’s residual ties to church life are audial alone; spiritually, she has worked to detach. “Until a couple of years ago, I spent much of my time falling out of love with God. My life until then hadn’t just been participating in a church so much as completely, profoundly believing—youth group, sure, but also a few attempts to cast out demons. Learning how to think or see things outside of that very intense, clarified space was like rewiring my brain. I guess that if there’s one thing that unifies these songs, it’s that they’re figuring out what to do, or how to love, or who to rely on outside of that context.”

The nine tracks that make up Cool Dry Place are miscellaneous in subject (motherhood, late capitalism, disintegrating relationships,) but unified by the angle from which they’re told, from a person re-learning to process life with intense attention. Each song is a catalog of fragments, the number of segments in an orange or the cut of an obsessively-worn shirt, distilled into meditations on the bizarre and microscopic exchanges that make up modern life — a relationship splintering, an uncomfortable pause, an understanding finally found. These emotional dioramas are moderated by the angular storytelling that unites Gillian Welch and Phoebe Bridgers, a favor for the conventions of short fiction over confession.

Kirby readily admits that Cool Dry Place feels like a late-bloomer’s record. “These songs were written and recorded over an embarrassingly long period of time, by a few different versions of myself.” The album began in Nashville years ago. Kirby had moved there for college, changed majors five times, briefly dropped out, and finally graduated with a handful of songs, a circle of artistic allies, an amorphous collection of leftist beliefs, and an English degree. She flailed in the solo-artist archetype for a period of time before turning to friends capable of constructing a satisfying full length. Kirby, Alberto, Hunt, Logan, and Zook spent over a year carving out bits of spare time to record in bedroom studios, living rooms, and a now-demolished former residence of Keith Urban. Tracking was finally completed over Thanksgiving 2019 at Kirby’s childhood home outside of Austin.

As its title track flips the advisory on a package of Tylenol into a hymn to human need for protection and acceptance, Cool Dry Place asks a listener to embrace the precious and contradictory nature of being a person. Katy Kirby is an artist simultaneously tender and angry, vulnerable and protected, calculated and resigned.

Mei Semones

(NYC)
Genre: Alternative, Indie Rock, J-Pop
Mei Semones’ sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. “Blending everything that I like together and trying to make something new – that’s what feels most natural to me,” says the 23-year-old Brooklyn-based singer-songwriter and guitarist. “It’s what feels most true to who I am as an artist.”

On her newest EP and Bayonet Records debut Kabutomushi, Mei’s diverse sonic palette adds depth to her experiences of the complexities of love. Through the EP’s five songs, she chronicles infatuation, devotion, vulnerability, and saying goodbye in some of her closest relationships, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese.

Maximiano

(Milwaukee, WI)
Genre: Alternative, Americana, Folk

Maximiano’s music is rarely about just one emotion, moment, or person. Their debut album, “The Real Truth,” instead explores the way that experience flows through periods of growth and change. The songs shimmer, echo, and glide through tales of memory and identity that Piet Levy of The Milwaukee Journal Sentinel called “one of the most piercing and emotionally resonant collections of songs from a Milwaukee artist of the year… a towering achievement.”

The album, which Maximiano wrote, produced, arranged, recorded, and mixed, is adorned with a variety of sounds; piano, pedal steel, flute, clarinet, and more elevate the indie-folk core. With an all-star band of Milwaukee musicians (including members of Field Report, PHOX, Old Pup, and Ellie Jackson), the vulnerable americana-folk songs swell to cathartic, indie-rock peaks. Riding the waves of this folkestra, Maximiano sings tenderly but urgently about taking chances, missed opportunities, and reevaluating memories. The result is a flowing, expressive sound that, according to Erin Wolf, music director at 88.9 Radio Milwaukee, “captures the beauty that often comes from the newfound wisdom accrued in your stumbling, youngest years.”

“The Real Truth” is a lush, courageous, and ambitious first record from an artist poised to take up the lineage of earnest, folk-influenced singer-songwriters. Though their music will appeal to fans of Adrianne Lenker, Songs:Ohia, Sufjan Stevens, and Elliott Smith, the real truth is that there is no one quite like Maximiano.

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