This Tuesday, May 16, Gabriel Garzon-Montano is performing at The Crocodile in Belltown. Gabriel Garzon-Montano’s Jardin, released early this year, intricately melds together notes of soul, pop, hip-hop, and funk, ultimately creating a vibrant sound owned solely by him. Hailing originally from Brooklyn, Garzon-Montano’s interest in music was sparked in childhood by his mother, a musician in the Philip Glass Ensemble during the ‘90s. Though most commonly recognized as the creator of the sample featured in Drake’s Jungle (check out his original Six Eight), Garzon-Montano is so much more than that. Weaving together bright funk notes and unlikely time signatures, Garzon-Montano’s Jardin is a powerful collection of music that insights both introspection and pure dancing fun and will undoubtedly be a memorable experience live.
Every movement has its own distinct sound. Music helps capture the time and people of a movement. It reveals who they are, what they believe in and expresses what’s on their minds.
Folk songs and rock became platforms for anti-war sentiments during the Vietnam war, Hip-Hop and rap were born from the inner cities of New York City highlighting social issues over beats to get down to, punk and grunge were generations of young teens resisting societal norms expressing their fears of a bleak future.
Today we are in the middle of yet another time of great change. A new movement born out of the political and social climate is being created. It is my intent to share and discuss some of the music that is being made and that is helping to define this movement’s sound, the people’s sound.
The first song I want to highlight is the cover of the folk classic “This Land is Your Land”. It’s a simple, timeless tune that grade school kids learn when they talk about inclusiveness. Woody Guthrie wrote the song 77 years ago on February 23rd in 1940 according to this NPR article. It was written in response to “God Bless America” which was a jukebox favorite in the 40s. As a frequent hitchhiker, Guthrie developed a unique view on what was going on in the country and it differed from the America portrayed in “God Bless America” leading him to write the tune.
Countless musicians have covered this alternative national anthem but one of the latest bands to do so I think does one of the best versions. Chicano Batman debuted their cover of “This Land is Your Land” at the end of January for a Johnnie Walker commercial. The Los Angeles band puts a slightly psychedelic/rock spin on the classic tune. It’s got a synthesizer going on giving it an element of funk and with a chorus in the background a hint of soul. If you didn’t know what you were listening to you might have thought it was a new hit on the Alternative charts.
What makes Chicano Batman’s cover especially important is what it represents. A Latino band from East L.A. takes a classic American folk tune and puts their own spin on it. The lyrics are sung in English but they slip into Spanish by the end singing “Esta tierra es para ti y para mi,” the famous line “this land is made for you and me.” It’s as much of a statement of resistance as it is about hope.
When our head of state has declared their intention of creating barriers for people wanting to make a better life for themselves and their families, this song becomes undeniably relevant. The members of Chicano Batman come from both L.A. and countries in Latin America. Without their different backgrounds their sound wouldn’t be the same. When cultures collide it results in better art, new perspectives and new ideas.
Guthrie wrote “This Land is Your Land” as he witnessed a side of America that was struggling during the Great Depression, that didn’t have the blessing of God on their side. Today, we aren’t going through a Great Depression but we are going through a time of great division. “This Land is Your Land” sung by Chicano Batman reminds us with the words of Guthrie that all people of America that they belong too.
There was nothing like soul-infused Tuesday night when Jacob Bankshit the stage at Barboza. Watching flashes his fans a stunning white smile, while shyly saying “Hi, I’m from London,” we felt nothing but warmth for the soulful artist as he sang a cover of Corinne Bailey Rae’s infamous “Put Your Records On.”
Originally from Birmingham, England, the British singer-songwriter first became active in 2012, when he was the first unsigned act to ever appear on BBC Radio 1 Live Lounge. Influenced by a multitude of soul, R&B, and hip-hop, Banks first recorded his debut EP The Monologue, released in 2013, with his top hit “Worthy,” a popular play on various stations. A tall, brooding man with a bright smile, Banks reminds us of a combination of Benjamin Clementine, Seal, and Jack Garratt. Soft smooth vocals always seemingly complemented by melodic piano, Jacob Banks is crossing genres often acoustic singer-songwriter ballads, like tracks “Homecoming” and “Hostage” on his EP The Monologue. Yet, the man has range, both vocally and emotionally, demonstrated in “Something Beautiful,” also seen on his EP The Monologue. On his newest EP The Paradox, Banks delves more into soul and R&B, experimenting with melodies in his vocal range, seen in “Home,” and “All Mine.” Playing fan favorites from his newer EP, Banks succeeded at demonstrating a mix of softer vocals and instrumentals in “Unknown,” while demonstrating a hard, grittier audible aesthetic in “Sink or Swim.” Highlighting the soul aspects of his set list, the British artist catalyzed a complete feeling of union and communal love, as the audience swayed in unison to “Home,” a song similar in feeling to any calmer Stevie Wonder track— a nice complement to the upbeat and diverse sounding track “Monster.”
Finally ending his set with new single “Unholy War,” the audience vibe completely shifted as we all came together and empathized together with the emotion in Banks’ vocals as he glided on the stage and crooned chorus “Let love lead you home, oh no/ Let redemption keep you warm.” And just as Banks climaxes as he reaches as the height at the bridge taper off, the audience in parallel also drops. We stop, we sway, we close our eyes, and we dance as the rest of the chorus plays out. Jacob Banks has reached a new level of soul, and it’s dipping into funk—and we’re sort of hoping he continue only to reach new heights with his artistic creativity.
A new year means another year of new music and breakout artists. Last year was a monumental year for music, bringing both major album releases and newcomers to the forefront. That being said, here are five artists that are sure to impress this year.
The St. Louis, Missouri native has already gained a following with the release of two EPs and as an opening act on Mick Jenkins’ recent tour. Now Smino is prepared to enter the spotlight with the release of his debut album blkswn early this year. Though a release date hasn’t been announced yet, Smino has been teasing its release with snippets of new songs on his snapchat as well as a new single, taking the same name as the album. Expect the album to be packed full of bars and smooth production, both staples of Smino’s craft. Listen to “blkswn.”
Ravyn Lanae has slowly made her mark through features with notable rappers, including Mick Jenkins, Noname, and Saba. Her debut EP, Moon Shoes, established her as a strong solo act, making effective use of her angelic voice and versatility to create songs that can be both groovy or moody. Her busy year has already begun, opening for Noname on tour (in Seattle February 15) and hard at work on her debut album, which is set to drop sometime this year. Be on the lookout for Lanae to drop new music soon and possibly perform in a city near you. Go hit up Moon Shoes.
Hailing from Portland, Oregon, Aminéhas already made a name for himself with the smash hit “Caroline”. His performance last year on Late Night with Jimmy Fallon further elevated him status when he added an additional verse to the song, addressing the recent presidential election and his disapproval of its unfortunate results. His unique style and upbeat flow are a joy to listen and dance to, even though his library of work is relatively small (he has two singles on Spotify and one album on Soundcloud). Although he has yet to announce an album release this year, more new music is expected to come from the young star, so make sure to stay alert. Watch Aminé’s performance on Late Night with Jimmy Fallon.
Florida has recently become one of the hottest spots for new artists, introducing the likes of Denzel Curry, Kodak Black, Twelve’len, and Marcellus Juvann. Kaiydois another one to add to the group. His typically bouncy songs have caught fire in the hip-hop community. My personal favorite, “Arcade”, has an incredibly bangin’ beat paired with a catchy hook. Kaiydo’s library only includes a few singles, but he told the music blog Pigeons and Planes that his debut mixtape Kartoons is on the way. Hopefully his mixtape includes the same catchy songs that he has released so far. Be sure to listen to “Arcade.”
Khalid uniquely fuses electronic and R&B to create a genre all his own. His breakout single “Location” has already amassed over 30 million plays on Spotify, and his performance at ComplexCon has helped him gain national attention. He recently kicked off a tour to promote his debut album, releasing March 3. Khalid manages to create diverse music, as is evident on the song “Coaster”, a piano-driven ballad, and “Hopeless”, a song that sounds like an ode to 80s electronic music. Make sure to give Khalid’s album a listen when it releases, as it is sure to blow up in the weeks following its release. Definitely check out “Location.”
We’re not going to lie, when we were told BANKShad just
released a new album, we didn’t know what to expect. Jillian Rose Banks,
28-year old American artist, stylized as BANKS is still a relatively new artist on the radar on
music—and so far, known mainly for her opening act with The Weeknd.
Yet listening to her latest album The Altar changed
mindsets for the better. This 13-track album starts off similar to the aesthetic of electropop contemporaries Tove Lo and MØ. BANKS’ starts her album off
shaky, with the vibe switching every which way. Her tendency to overlay with
her own vocals with additional vocals occurs consistently throughout the album,
in tracks like “This is Not About You,” “Love Sick,” and “Mind Games.” It’s BROODS and it’s Ellie Goulding but she’s not quite sure which yet. Her decision
to start the track with “Gemini” was a good one, and it’s the one of the solid
hit on her record, and introduces her vocal range quite nicely. The next solid
hit on the album hit on the album is “Mind Games,” for its simplicity in instrumental
and synth overlay on her vocals.
It gets rough in the middle of the album with some remnants
almost a bit too reminiscent of Britney Spears in her bad music days—too upbeat
in tempo, too shrill in vocals, and too busy in overall production.
But then we breathe a final sigh of relief because BANKS
remembers her roots. A former opener on
the infamous artist The Weeknd, and a young artist who still cites Fiona Apple
and Lauren Hill as massive influences on her music, Jillian Banks knows her way
around R&B. She slows down the pop and pulls it in. In the eight track,
we finally hear the gravelly substance in BANKS’ voice—not quite pain or any
sort of emotion of passion, but rather the multitude of different experiences. BANKS
takes the synth off in “Mother Earth,” and truly takes the song raw, with a
violin, a guitar, and her vocals guttural and low—finally in the style of Fiona
Apple. As she continues with slower, simpler, and a lot more soulful tracks
like “Judas” and “To the Hilt,” the R&B influence comes out. The favorites
off the track remind us most of her time with The Weeknd, on tracks “Judas” and
Poltergeist” due to the stream of fluid vocals and Weeknd-esque background
It’s no doubt these artists have had an influence on BANKS
and it shows—but with her own spin. Although BANKS is similar to this menagerie
of artists, she maintains her own signature trademark: her gravelly and
almost nasally vocal range. She uses it to her advantage. And maybe on this
album, she tried to use her range a bit too far in terms of genre, switching
from blue to indie to electropop to R&B, but the one thing we can say is
that the girl’s got guts.
We’re excited to see her tour and take those vocals out for
a spin. Grab a listen at her album The
We’ve been huge fans of electro-soul artist Jack Garratt
since 2014, with the dawn of his EP Remnants.
Now a couple years in, with a full studio album, Phase, released and his biggest world
tour ongoing, Garatt is coming into his own as an artist. Getting a chance to
chat with him was an opportunity we couldn’t pass up.
Growing up in Buckinghamshire, England, Garratt is from no
big city. Yet, it wasn’t the town that influenced that his music, he says, but
“I’ve never had to be coerced into making music. I was
really lucky and had parents that never pushed any sort of music preference on
me. They would see I would be interested in learning something or in music and
they let me be free in that. Teaching
and music were always permanently intertwined in my life. My grandfather was an
organist, my uncle was a classically trained pianist, and my mum was a music
teacher. And so when I was started writing, in my living room or whatever, I
was free to do that.”
And Garratt was free to write as much or as little as he
wanted, paying off in his early adolescence. In 2005, he entered the UK
national selection for the Junior Eurovision Song Contest, finishing 8/8 for
his first song “The Girl.”
“I remember that song” he says. “It was 10 years ago, but I
do remember it was not a complex or challenging song to write. It was one of my
first songs, you know, but writing it, to me, was something that sort of just
came to me.”
And that discovery period is how Garratt spent the next 10
years writing his own material.
“For a lot of artists,” Garratt says, “They write one song a
day and I don’t think there’s anything wrong with that at all. But I don’t work
that way at all. What happens for me is that I’ll be working on a project and I
have to figure out what the music is trying to be—what the songs are. The songs
and the melodies—they already exist, and they’re all already floating around in
my head and some come easier than others. For example, I had ‘The Love You’re
Given,’ which went from just being recorded and written to album ready in 4
days. While with ‘Weathered’ that was a song that took four years of me
figuring out where it was going. Those three parts of Synesthesia—you know, I
had that one song at first, and I just let it set, let it simmer, to years
later have all these melodies still floating around in my head. That’s when I
knew I had to go back to it and create that 3 part series. So with my music,
it’s can be a process of years just to figure out what the music is trying to
tell me it wants from itself.”
And however organic the process may be, it works for Garatt,
winning two BBC awards and a BRIT Critics Choice Award in 2015 and 2016. And
with this debut album studio album separated into two discs, we can easily see
the type of fluidity Garratt has honed within his material. These are not
tracks one can easily write in a day. Tracks
like “Water” and “Lonesome Valley” incorporate old school blues with modern
technology of synth and electropop—a lot like fellow contemporaries James Blake and James Vincent McMorrow.
And yet, though Garratt is aware of his up and coming fame,
he stays humble.
“I don’t think I’ve blown up that much, but it’s a good
perspective to have for sure. Every day still, I wonder how this is happening
and if it’s real. It’s good though
because I try to still learn and improve, you know, because at any moment this
could all be wiped away from me. If I don’t learn something very day, and I’ve
not trying to improve in any way, then I’ve wasted my time. I’m not doing my
job. Whether that’s writing music, or exercising, or traveling or eating right,
I try to learn or improve every day.
When asked about latest collaboration with fellow artist, Gallant, the artist mentions it was an interesting experience.
“I’ve not done a lot of collaborations before. I definitely
have always stuck to myself because you know, I’m the only one that’s going to
know what my music want to say to come across.
I’ve always done it for me, just for myself. But I definitely would love to collaborate
more in my future.”
And what’s he doing now? Touring and patiently letting his
music that he’s written already sit in the stores of his memory and mind, so he
knows in the future when to come back to it and fine tune its sound and message
“That’s how I have to think about it, you know? You have to
treat your music with respect—and with patience, because at the end of the day,
that’s your only job as an artist.”
RAC lights up with a live band at ShowBox SoDo on Tuesday, Nov. 24th
Light keyboard filled the air and a soft beat emitted from the over-leveled speakers. With only half the room filled, the music blasted through the Showbox, piercing the silence until the crowd settled into the sound. The first opener, filouspulled out his guitar, bowed his head slightly and riffed over a reverberating female vocalist. The two instruments together, a midi setup and fx-ed guitar sounded like a chorus of chilled-out house music.
“Hey Seattle,” the beanie-sporting artist spoke before returning to his instruments. A faint cheer could be heard from the bar in the back.
Not phased by the crowd’s lack of enthusiasm, Filous strummed along to dance-worthy tracks. Smiling all the while, the casually-dressed multi-instrumentalist switched between MIDI controllers, keyboards and his various guitars. As he slammed on the bass, the crowd swayed and lights flashed before us.
Filous introduced himself as an artist from Vienna. Over a few spouts of laughter, he further explained his adventures at Jack in The Box before playing his next song, “Coming Over” – a synth-heavy sound featuring the same summery guitar riffs that had been heard frequently throughout the set.
Light lyrics sprinkled throughout the song and the line, “All I can think about is coming over” repeated into a somewhat-tropical instrumental chorus. The hook brought many to the dance floor and the strobes shimmered among us. With all of his talents, I got to wondering why the microphone was placed so properly as if it’d be used whilst playing. All my questions were answered in a single breath as Filous pulled out a harmonica for his last track – blowing us away with his breath-induced harmonies.
filous wowed us with flawless multi-instrumentalism
After a short break, two musicians approached the stage. Both on drums, the two multi-instrumentalists represented the Portland-based Karl Kling. Arpeggios filled the air and a dimly lit duo sang indulgent lyrics over two sets of electronic instruments. A light up set of tools stood adjacent to a traditional drumset as the two musicians harmonized with one another.
We moved our bodies back and forth and a few other audience members joined us. Although I wasn’t there alone, I couldn’t help but notice the sheer amount of standing that took place during this show. Of course, I could chalk it up to the fact that we were watching an opener, but since this is my last post for Rainy Dawg Radio, I thought I’d mention something that’s been bothering me since I moved into this city and began participating in the music scene:
Why don’t Seattle Concert-goers ever dance during openers?!
Their music is good. The dance floor is ready! If anybody has an answer to this question, myself and all of the touring artists in our area would like to know… Synced beneath the falsettos as the two men expressed themselves among a sea of careless Seattleites. Catchy riffs soared beneath existential lyricism as the band showed off their chops, from drums to loops and electric guitars, the multi-talented Portland band never ceased to amaze us.
Yet most of the audience remained unfazed while my date and I swayed just the same. Harder now. Deeper now. The harmonies seemed to strike nearer than before. Perhaps the volume kept increasing but something about the atmosphere above us kept me present as the fog filled the air and the band requested a dimming of the lights.
“Alright Seattle. This is dance time,” Karl attempted to work the crowd. But only a few cheers could be heard in response as many audience members lingered in the back – bobbing their head to the rhythm instead of shaking what their mamas gave them.
“So dust of your regrets” Kling sang, “Cus there goes the day again. Born into this world.”
Karl Kling sported two drummers and a sounded like Death Cab in a dance club
80s melodies and melancholy choruses led from one song into the next as the opening set came and went. During their last song, “Careful” the duo smiled as they witnessed some energy beginning to emit from the evening’s underwhelming attendees. As Big Data prepared their set, I prayed for a miracle that the dance floor would pick up.
Fog filled the air and screams rang out in support of the surreal visuals that began to appear so subtly behind a coordinated set of electronic musicians. A robotic voice could be heard from the pumped-up speakers and the band members began to move in tandem to a static beat. Almost inaudible, a set of muted vocals began to sing the opening lines of “Dangerous” and the crowd finally moved in-tow to the enthralling rhythm.
The two vocalists played off of one another flawlessly. Each computerized run ran into the next as the lights glimmered among us. The music enticed us to engage as Big Data entertained with alluring visuals above driving drums and guitars; all the while the two frontmen acted as conductors of the crowd below them.
Bobbing their heads back and forth to the ephemeral sound of their own creation, the crashes and clangs of the live instrumentation filled the set beneath layers of enchanting lyricism. All the while, the audience followed along in a daze, drunk in the sound of a presented simulation.
References to a computerized system filled the breaks between songs until the word, “Imagination” broke the sequence, “Your simulation is now complete.” The robotic voice complimented our enthusiasm as the lights reflected off the band-member’s florescent sunglasses.
As the lights continued to dim, the combination of the visual and musical performances pulled us in to a videogame-like trance – complete with the sounds of dial-up modems and mid-2000s internet references. Throughout the set, Big Data did nothing but entertain as our eyes reflected the shimmering stage above us.
With flashing lights and surreal digital visuals, Big Data drew the crowd ever-closer in a existential haze
Members of the other bands and backstage crew joined the band as they repeated their hit track, “Dangerous”
The crowd cheered and familiar faces replaced the physical places of Big Data’s digital revolution. Karl Kling and André Anjos (RAC) stood left and right of a headband-wearing frontman. Behind them, Pink Feathers (aka Liz Anjos) rocked out on a keyboard while a full-sized drumset stood lit and elevated above.
We moved in waves as the live band played covers and originals frequently associated with RAC’s collection of (re)mixes. Hiding behind a telecaster, André occasionally sang along and smiled all the while Pink Feathers and Karl Kling led the upbeat performance. The collection of Portland artists did not disappoint as the crowd sang along to their favorite tracks. From Odeszato The Postal Service, local hits were met with more energy from the audience as the four-piece band reworked popular songs with their disco-inspired beats.
“Hollywood” and “Let it Go” were met with thunderous applause as André stepped out into the center to wail over the beat with his electric guitars. The foursome played off each other splendidly, cracking jokes and smiling along to the energy brought from playing their songs live.
André Anjos leads his live band, shredding along with a pulsating performance
After seeing RAC in the past and wondering when he would break out from behind his turntables, I was inspired and impressed by the entire performance! Altogether, the variety of bands made for an excellent combination of Portland sounds that was able to break through the ever-famous Seattle Freeze.
This Friday brings a recent discovery for me to the nearby Neptune Theater. Destroyer, fronted by Dan Bejar of the Canadian indie band The New Pornographers, will be bringing his unique voice to fill the rafters of the local theater.
Poison Season is a showcase for a variety of lush instrumentals behind Bejar’s often imploring and questioning vocals. Ranging from golden trumpets to strings, sax, piano, flute, (yes, flute) and your standard guitar and bass, I am sure his live show will sound as beautiful live as they do on record, if not more so.
And while you’re at it, watch his amusing and oddly fitting stop-motion video for ‘Times Square’. It’s not what you would expect!
Opening will be Frog Eyes, with doors at 8 and the show starting at 9. Get your tickets here if you haven’t yet.
Jay Rock’s new single “Money Trees Deuce” is a tantalizing release for his upcoming album. The last we
heard from him was the single “Pay for It”,
featuring Kendrick Lamar and Chantal. This was all the way back in late October of last
A reference to his feature on “Money Trees” off Lamar’s good kid, mA.A.d. city, this time around
the song is all Jay Rock. At almost five and a half minutes, it offers ample
support as to why the long wait for his next album will have been worth it.
Opening with smooth, dark horns, the beat implies a dim
story is about to develop. The relaxed vibe is decreased slightly with the
addition of a clapping snare as Rock begins his first verse, and the final
layer of subtle bass and drum kick sets the tone for a laid-back but charged
Rock’s lyrics and steady flow convey a tough story that he
is all too familiar with. Over his three verses, a drug-laced, fatal stumble
towards the all-encompassing goal of getting money unfolds. He raps, “I’m a
locomotive, steam rolling, gotta fight to keep that money stream open”, which
paired with his usual raw inflection, conveys the exhausting toll that this
non-stop grind creates. Rapping about the harsh confines of the ghetto is
familiar to Rock, with songs such as “M.O.N.E.Y (feat. J. Black)”, “No Joke (feat. Ab-Soul)”, and “Life’s a
Gamble” off of his first album Follow Me
Homeall describing in vivid detail where he comes from.
Towards the end of the grim song, he snarls “Had me snatch
that switch off that branch with some leaves on it, fantasizing bout some money
trees on em”. This line ultimately sums up the toxic relationship between the
chase for money in poor cities around the US, and the violence and damage
caused by this pursuit. The fantasized money tree is whipping those in pursuit
of it with the very branches being strained for.
All in all, “Money Trees Deuce” is a fantastic single from
Jay Rock, proving he is more than capable of finding shade in his own trees, no
matter how unforgiving the environment. If you haven’t listen the song already,
it’s definitely worth checking out.
An indie pop band consisting of vocalist Phil Cerna, guitarist Peter McMurray, pianist Jared Fritz, drummer Josh Wiedenmeyer, and bassist Joe Coburn, The New Tribe is a group that, although new, knows technique.
With one single recently just released on iTunes and Spotify, the group’s new track “Human,” written by Phil Cerna, snatches you off your feet with hints in their sound of indie pop group Of Monsters and Men.
Within the first minute of the track, the overwhelming instruments of hard electric guitar and drums give you this impression of a hard rock vibe. Yet, instead of cringing all the way through, your face softens as the track mellows out into Cerna’s soft, tranquil voice overlaying an acoustic melody, and you suddenly realize the hard rock hook works into grabbing you to be pleasantly surprised by the raw vocals of vocalist Phil Cerna.
As Cerna, McMurray, and Fritz harmonize to sing “Nobody’s got what it takes/We’re all just fakes/Doing the best we can/Maybe we’ll make a few less mistakes/But that’s what makes us human,” there’s a heavier emphasis on the instrumentals, and you almost get a vibe similar to Snow Patrol’s “Chasing Cars.” Yet, unlike with other artists in which instrumentals can sometimes overpower vocals, and also like seasoned professionals Snow Patrol, The New Tribe keeps a perfect balance.
There are other elements to the track that keep you from becoming bored with the typical singer-songwriter vibe: the sick guitar solo in the middle, the great way Cerna demonstrates his vocal range in the bridge singing “Nobody’s got what it takes,” and the trippy jazzy stylings on keys combined with the great harmony of vocals in the last minute of the song.
And additional to great musical technique, the lyricism of Cerna once again appeals to a wide audience on a relatable level, proving that maybe these guys know how to write music.
It’s a solid first debut as original artists, and although you get more of an alternative rock serious feel than the bippy-boppy vibe of indie pop, there’s no doubt these guys can take it far, no matter the direction they take their sound. Phil Cerna’s beautiful clear voice does the band a true favor at vocally leading this single that the musicians plan to place on their upcoming EP in the near future.
The New Tribe could just have been lucky with this first single, and only their future EP will really tell whether these guys have a shot or not. But I’m not going to be skeptical yet, with knowledge that Phil Cerna and Peter McMurry take turns at the role of lead vocalist. With all this talent in one bunch, they’re bound to do something rad.
Take a listen, have a treat, because like I always like to say, you want to get their autograph now so you can sell it for millions later.