Something For Everyone: JAWNY’s Debut Album

Courtesy of Adrian Nieto

JAWNY, the self-described “sad boy” singer-songwriter, is continuing the narrative as
he is gearing up to release his long-awaited debut album, which is set to arrive on
March 3rd of this year. The 27-year-old sensation, who rose to fame in 2019 with his hit
single “Honeypie” has been teasing fans with snippets of his new music for months.

Now, with the announcement of his upcoming album, it’s never fair, always true, fans
are eagerly awaiting the release of the full project. The album is said to reveal a mix of
different sides to JAWNY’s songwriting capabilities, he shares with us his motivation
behind the process, explaining that he wanted to make the “dream record” he wished he
could have created when he was younger, and do it in a way that “start[s] super happy,
super tongue and cheek, super indie, super fun, and then somehow by the last song
you’ve somehow gotten to the saddest place you could ever possibly get to as a human
and it all makes sense.” Additionally, JAWNY wanted to ensure the album was a
“cohesive body of work that all had a through story line and [didn’t] just sound like a

bunch of songs thrown together and called an album.” After taking a long time to
complete, he is proud of the final product and excited for the world to hear it.

JAWNY has already released two singles from the album, “true” and “strawberry
chainsaw,” and both have been met with critical acclaim. The tracks are noted to be
upbeat and full of emotion. The album will also feature a collaboration with artist Beck,
who has supported JAWNY in his music journey.

Image from IT’S NEVER FAIR, IT’S ALWAYS TRUE artwork

In a recent press release, JAWNY shared with our outlet that he hopes the album will
“have a song for whatever mood someone is in that day or whatever someone is going
through. JAWNY’s aim for his discography is to provide music for all kinds of emotions
and experiences that can be shared by many. He wants to craft stories that can apply to
multiple people, irrespective of their backgrounds and feelings.

JAWNY’s approach to songwriting is highly unique. He prefers to “fake a song into
existence” rather than take influence from what is currently trending in the music industry. He puts a lot of effort into his lyrics and often tells stories in his songs. He also
makes sure that the music he creates is authentic to him, rather than trying to copy
other artists. The result of JAWNY’s hard work is his debut album, it’s never fair,
always true. It is a collection of songs that range in sound and have something for

JAWNY’s upcoming album is sure to be a hit and will surely cement his status as one of
the most exciting new artists of the year. Fans can look forward to hearing more from
JAWNY in the coming months and an opportunity to see him perform live as he takes
the stage on March 3rd in San Diego to kick off his North American Tour.

Party in the Peach Pit

On December 6th, Peach Pit sold out SOMA in San Diego for an unforgettable performance. Opening for them: Sunflower Bean, an exceptional band that carried high energy and awoke a vast crowd. The New York based trio had a stellar opening, which quickly captured the audience’s attention, gaining many new fans and creating an unforgettable night for the day-one supporters.

An aspect many audience members find essential to setting the mood of the concert is the pre-show playlist. Peach Pit took that to their advantage. The last song of the pre-show playlist before Peach Pit took the stage was “Get Low” by T-pain, in which the laughter and cheers quickly transitioned into excited screams as the houselights grew dark. Chills covered the crowd as the band entered the stage preparing to start the show off with a bang.

Peach Pit started the concert off strong with an instrumental cover of “Raining Blood,” by Slayer where lead singer Neil Smith brought the energy with him on the stage, as his band members played, he approached them all, butting heads with them…literally. Not even a minute into their first song, Neil was already surfing in the crowd.

The band proceeded to play many songs from their newest album: “From 2 to 3,” which provided a more chill and melancholic vibe. The crowd swayed and couples slowly danced to the calming, perfect sing-along music. Following the consistent performance of slow songs about struggling with addiction, Neil Smith shouts a chaotic energetic statement: “San Diego I just realized something man, it’s frickin Saturday frickin night, okay? And we’re playing these sad-boy f***cking yawn-factory bulls*** songs for you guys, I think it’s time we went back to the Rock and Roll.This kicked off a string of exciting songs, including “Drop the Guillotine” and “Black Licorice.” Mosh pits could be seen occurring from a variety of different sections of SOMA just as the beat drops. 

After their ‘last song,’ which was “Tommy’s Party,” the crowd sang every word they demanded an encore. The venue was filled with screams and chants, refusing to allow for the show to end quite yet. “One more song” and “Peach Pit” the crowd screams in unison. Peach Pit fulfills their desires and returns to the stage with a memorable encore. The band then followed up the excitement with “Psychedelics in LA” and “Shampoo Bottles.”

Groovin’ and Movin’ with Ginger Root

The almighty algorithm often feeds us with an endless stream of familiar content that is only differentiated by slight variation. But once in a blue moon, we are suggested a true artist trying to break through the mold of normality. Ginger Root is one of these few artists who is well deserving of their time in the spotlight. The music video for their breakthrough single “Loretta” was heavily favored by the YouTube algorithm and pushed it into the feeds of thousands (including myself) who took notice of the unique blend of city pop, soul, funk, and elevator music. 

Ginger Root, the brainchild of Cameron Lew, has had a meteoric rise in the indie circuit. A mere seven months before their headlining show on November 17th at Observatory North Park, they were at the same venue opening for Hippo Campus in April. Ginger Root did not waste their opportunity as they put on a show to remember.

Ginger Root performing “Karaoke”

Every detail about their show seemed meticulously planned out by Lew. The stage setup, for example, added to the pseudo-VHS nostalgia evoked by their discography’s chunky synths and syncopated basslines. Two clear rear-projection televisions on both sides of the band created a stereo image with a small projection screen looming over the band in the middle. These screens were occupied by a live-feed from a cameraman who pranced around for the duration of the set. Ginger Root’s live band consisted of a trio with Lew singing and playing multiple keyboards at a time while accompanied by a drummer and bassist. Occupied by covering so much sonic ground through figuring out complex arrangements, the cameraman served as a strong foil (alike to those found in hip-hop live settings) to the band by dancing and keeping the energy flowing.

The concert opened with a news report from the fictional JOSN before the band launched into “City Slicker”. The most striking part of the curtain reveal was Lew’s decision to use two microphones; one being a red telephone and the other a conventional studio microphone. It served the music well however, as the limited frequency of the telephone allowed the verses to build tension while the regular microphone opened up the chorus. It was another example of Lew being conscious of the trio’s limited sonic abilities and compensating for it through simple solutions. 

As the night continued on, Ginger Root grew more comfortable and laid back deeper into the pocket. Tracks from earlier albums such as “Le Château” and “Karaoke” showcased the band’s versatility in style and groove. After the first batch of songs, the stage went dark and a commercial from the Ginger Root cinematic universe played as the band tuned. While the storyline was not as clear for the casual fan, it was still entertaining to watch and experience. The band was truly focused on creating an entire show experience for the concertgoer rather than simply playing for an hour and collecting their check. 

The highlight of the show was a medley of anime covers bookended by “Juban District”. The mashup was most likely prompted by Ginger Root’s covers of the Sailor Moon and Neon Genesis Evangelion themes which both went viral on TikTok. Immediately upon the transition from the second chorus of “Juban District” into “Tank!” (The Cowboy Bebop opening), the energy from the crowd surged and everyone began dancing. Bass player Dylan Hovis utilized every inch of his instrument as he played both basslines and guitar leads for this portion of the set; blistering solos mixed with head-bobbing grooves was a true spectacle to enjoy. Smooth, sudden transitions between songs kept the audience guessing which opening would be coming next. 

As the night came to a close, Ginger Root played a soft rendition of “Fly Too” followed by “Nisemo”. Lew, continuing with the motif of vintage advertisements, quieted down the crowd for a brief bit of banter where he wanted to thank the two sponsors of the show– the YouTube algorithm and fans in attendance. Lew then counted off the band and went into an energetic performance of “Loretta” and “Weather”. 

Ginger Root then went on to perform a special rendition of “Mahjong Room” for their encore. A lone spotlight shone on Lew as began the song using one of his synths as a drum machine and softly singing the verse. When the chorus came around, the other two members of his band strolled on stage before creating a grand instrumental entrance as the song transitioned back into the verse. The grooves were tight and the basslines were even funkier as the band beefed up the arrangement for the live setting. It seemed as if everyone in the crowd was bobbing their heads in sync, as if the band put them in a trance. 

Ginger Root’s set at Observatory North Park was truly one for the books. The attention to detail in every aspect of the show made the audience feel truly acknowledged and cared about; it went beyond the normal platitudes spoken by bands trying to fill empty space in between songs. After two successful EPs and a well-deserved headlining tour, the future is bright for Ginger Root.

Concert Review by Adam Remmers

The Wrecks Concert Review

On November 17, American Pop Rock Band The Wrecks came to San Diego’s House of Blues on Thursday to perform one of their last remaining shows for their long awaited tour, “Back and Better Than Ever”. With Indie Pop band Arlie opening with an amazing set, featuring hit songs, “didya think” and “big fat mouth,” the crowd was immersed and ready to hear more from the energetic band. Arlie frontman Nathaniel Banks delivered incredible vocals while his bandmates danced and elevated the crowd with their contagious energy.

There were groups of dedicated Arlie fans scattered in the crowd screaming along to the lyrics of their songs. Those who didn’t quite know the songs were still bobbing their heads along to the music. Banks even brought out a saxophone in which he performed a chilling yet immersive solo throughout the song “crashing down”. I had never heard Arlie before the show and my favorite song from their set ended up being “water damage” off of their EP “Wait”. I was thoroughly impressed with everything about this band and their attitudes. They are definitely worth a listen. 

Carrying the same attitudes to amp up the crowd, The Wrecks opened their set right off the bat with “Out Of Style”. While drummer Billy Nally electrified the crowd smashing on the drums, singer Nick Anderson jumped around stage while giving his all with his voice. Everyone was smiling and having a good time, band and audience.

Immediately starting off the set with their popular and earliest songs, “Panic Vertigo” and “James Dean,” it allowed the crowd to quickly connect with the band as everyone knew the words. Performing songs off of their most recent album “Sonder,” The Wrecks brought their pop roots to life.

Although the songs on their new album are a little bit softer than the ones off of their debut album “Infinitely Ordinary”, the music doesn’t fall far behind their staple rock sound. At one point, the band grabbed props and costume decor from voluntary fans and performed while looking festive, and what a sight it was to see. Nick Anderson interacts with the crowd so well and it is easy to tell that the band appreciates their fans. I loved the show and hope to see them again in the future with new music.

Concert Review by Anastasia Balmaceda