Author: cmweb

On Friday night, Emily Bear captivated a loyal audience of friends, family, and fans that filled the room at Café 939. On tour promoting her new Emotions EP, Emily Bear reinvented the atmosphere of Cafe 939 in a way that was uniquely her own. 

From beginning to end, Bear immediately broke down the walls that separate the artist from the audience with her casual demeanor and charming personality, converting strangers into fans. With every song came personal stories with themes ranging from feeling the pain of heartbreak to owning that same pain and repurposing it in a positive way. She moved the audience with these stories, illustrating them with transparency proving her emotional depth.

One of the most interesting elements of Emily’s performance was the way she utilized her classical piano background to compliment her more contemporary pop songs. With the support of her band (Max Gerl, Kyle Thornton, and Nathan Hicks), her swift piano phrases merged effortlessly with her rich voice. As the show progressed, the intimate nature of the performance was heightened by the distinct chemistry Emily had with her band. During every solo, each band member displayed their reverence for one another, flashing faces of approval as if in a jam session. Some of my favorite moments involved her moving from the center stage keyboard to the grand piano that hung back with the band. It was special to witness her pouring all her energy into complex classical arrangements after being astonished by the tremendous piano skills she maintained while singing her original music. 

The room was especially impressed by her rendition of Elvis Presley’s, “I Can’t Help Falling in Love With You,” and The Beach Boys’, “God Only Knows,” showcasing her voice in a way unlike any of the other songs. Throughout the show, Emily progressively proved her songwriting prowess, with every original sounding different from the last. Her capabilities were even more notable when she sang a new original called “Ghosted” that she had only performed once the night before. With relatable lyrical content that elevated in the pre-chorus atop a bassline driven arrangement, “Ghosted” is a strong representation of Emily Bear’s songwriting chops.

 With an exceedingly high level of talent and character, Emily Bear is down-to-earth and carries herself with grace, possessing the potential to command the world stage. As an experienced musician, songwriter, and vocalist, she brings a heavy arsenal to the table and is able to wear a lot of hats. The capability she has to achieve greatness was apparent at her show on Friday and I hope to see more from her in the future.

It’s been a long wait for Kate Davis to finally showcase her debut album to the world. Growing up a jazz musician, Davis’s musical journey took an unexpected turn–she went from a young teen playing bass in the Grammy Jazz Ensemble to becoming an indie rock singer-songwriter as she entered adulthood. After immersing herself in the New York City music scene for years, performing at almost every iconic New York venue you can think of from The Bowery Electric to Carnegie Hall, she is now touring worldwide to promote Trophy— her latest creation.

BIRN: You must’ve written tons of songs leading up to this release, how did you figure out which songs would fit under the theme of “Trophy”? Did you ever feel disappointed about eliminating certain songs?

KD: I definitely eliminated a bunch of songs – my contenders list for Trophy was quite long. I was looking through every song I had ever written just to make sure I had the perfect track listing for my first album. Some of the songs were written very recently and had a different kind of maturity so they were pretty obvious choices. Some of the older songs needed a little reworking, a change of perspective, or a smarter approach to the arrangement. Production helped to bring all of the songs to the same universe. I am really happy with how the songs on Trophy reflect my journey as a songwriter, but also a person.

BIRN: Your song “Open Heart” is such a unique play on the concept of open heart surgery. What’s the story behind it?

KD: I wrote Open Heart a long time ago – I had only been writing for couple of years at that point and was still working on the basics. My dad told me that it wouldn’t be the worst thing if I wrote from my clever side… He was a smart guy and liked smart songs. Around the same time I had a dream about an ex boyfriend involving a game of operation. It was a very surreal and vivid dream. Perfect song fodder. I pieced together a story and tried to be more thoughtful about its construction so that it wasn’t just another song about a relationship.

BIRN: The visuals for Trophy make a pretty bold statement – the album cover is a snapshot of you dressed up in sparkly attire on stage with a frozen facial expression, and your music video for “rbbts” in contrast includes scenes of you drowning in a bathtub and dancing in darkness. Can you talk about what inspired these images?

KD: Life! I think we experience a huge range of emotions as humans and even if our lives aren’t necessarily lived out through emotional bathtub scenes, that doesn’t mean we don’t relate to the experience of feeling the burdens of sadness or grief. The visuals are another way to interpret these pretty basic human experiences that I sing about throughout the record. I hope that the visuals for this album help set the backdrop for the songs and perhaps offer even greater perspective.

BIRN: What do you hope to achieve as an artist between this album release and your next project?

KD: I am of the opinion that good songs are the most important thing an artist can produce and posses. I have been feverishly writing for my next album, but hope that the songs and spirit on Trophy will help take my music and me around the world. I want enough people to care about my work that I just keep getting to make it. Creating a record and refining my aesthetic as an artist has been the most fulfilling part of my life so far.

BIRN: You co-wrote “Seventeen” with Sharon Van Etten on her latest album, which explores the progression of time over generations. What are your personal reflections on witnessing a new generation being born into the same world you live in?

KD: When we were writing the song together, it seemed like I was representing the younger generation that Sharon was sending this empathetic message to. Working with Sharon to relay a message to her younger self was powerful – I took a lot took away from the experience and it encouraged me to be even kinder to my current self. Seeing the younger generation, it’s obvious that they are living in a different world than the one I came up in. In some ways they seem to be more wise and more aware, but still struggle with more modern issues. I feel a deep respect for the younger generation because they have the power and the desire to make change. Not that the older generations don’t – it’s just as much our responsibility – but the younger ppl I know are strong, unique, informed, sensitive (all traits we should all aspire to). Even in the age of living online, they are not afraid to be real.

BIRN: What would you consider to be a “productive” co-writing session?

KD: Anything that yields work that you feel proud of.

BIRN: You’ve performed all over New York City but you’re originally from Portland, Oregon. What would you say are the differences between both cities’ live music scenes?

KD: I love Portland and I am very grateful for the classical and jazz scenes that I got to grow up in. Both deeply affected that musician that I would ultimately become. Since I was much younger, my time in Portland was much more about institutions, education, private lessons, and high school band experiences. It was very specific. I had so many mentors who were so kind and generous and parents who were committed to seeing me through the best possible education in music. Out here in NYC I’ve experienced more of a community of peers. Though I am still a very diligent student of music, I learn and experience things now in a much different way. If anything, the scene out here is more conducive to my current aspirations and learning goals as an artist. It’s amazing to have access to a diverse music community and to a city that is overflowing with artists of all kinds.

BIRN: As a music school alumni, do you have any special words for current Berklee students who are unsure of where their path in music will take them?

KD: Sometimes I wish that I could go back and tell my freshman year self that its ok to take the path less traveled. Music education extends far beyond the classroom walls. Never doubt that you know what you like. Knowing pretty early on that I wanted to break away from what was expected of me, I definitely was working towards becoming a unique artist. It was just hard to go in 100%. I settled into two separate lives where I would “work” for money and write for fun. Life circumstances make everything more complicated, but if you know what you want, be bold. Trust your instincts and work as hard as you can to get to the place that you dream about. Most importantly though, don’t regret anything. Every part of the journey helps guide you to where you gotta go – even if parts are pretty brutal.

Tune into birnCORE to hear indie rock artist Kate’s live performance at Cafe 939 with Jesse Ruben coming up on Saturday, November 16!

The show starts at 8 PM and you can stream it here.

The BIRN has a pair of tickets for you to win to see this show. To win the tickets, send an email and your contact phone number to tickets@thebirn.com by Thursday, November 14 at 11:59 p.m. Make sure to have Kate and Jesse in the subject line. The winner will be chosen at random. Good luck!

After releasing albums Bcos U Will Never B Free (2015) and Apricot Princess (2017), singer-songwriter Alex O’Connor most commonly known as Rex Orange County, has returned with the release of his third full-length album Pony. Writing and recording the entirety of the album with help from producer Ben Baptie, the 21-year-old has outdone himself with an engaging soundscape of bedroom soul that illustrates his feelings from a more juvenile perspective.

Listening to the music of Rex Orange County persuades listeners into believing that they truly know him. As someone who maintains an uncommon sense of creative individuality while also possessing the familiarity to attract listeners, Rex Orange County cannot be held by the confines of genre. His musical personality is precisely described as, “the amalgamation of bedroom pop cosplayers, Odd Future apologists, and old souls.”

From the beginning to the end of Pony, Rex Orange County is transparent with his emotions, utilizing lyrics that make you feel like you’re eavesdropping on his thoughts. In the opening track “10/10,” he candidly admits to having a difficult year and feeling down. Then, with an undertone of hope, he acknowledges how a change of attitude could change his mindset, singing, “I feel like a five, I can’t pretend / but if I get my shit together this year maybe I’ll be a ten.” He continues to acknowledge his journey to a place of stability in the song “Always,” while harnessing a boyish mindset that craves dependency, singing, “But until somebody sits me down / And tells me that I’m different now / I’ll always be the way I always am.” Rex Orange County shamelessly revisits this adolescent outlook throughout the album to communicate the way most 21-year olds feel at this time in their lives.

His focus starts to shift on songs like “Face to Face” and “Stressed Out.” Both songs talk about trust issues but are illustrated in different ways. “Face to Face” uses the theme of a long distance relationship to describe being in a place outside of his comfort zone and not knowing who to trust, longing to be back with her. “Stressed Out” is an extension of this feeling. “They wanna take what’s yours / They wanna go to dinner on your name / I let them take control and take me for a fool / It’s such a shame,” describes the way he lets people use him even though he can’t trust them. Rex Orange County approaches the close of the album with an uplifting tone that exudes positivity. With strong rhythmic drive and layered vocals that soar through orchestral strings, “It Gets Better” is one of the album’s best and most honest love songs about his long-term girlfriend Thea. The final song on the album, “It’s Not The Same Anymore,” revisits the overall theme of Pony but is observed through a different lens. “I’ll keep the pictures saved in a safe place / Wow, I look so weird here / My face has changed now,” acknowledges the reality that he has grown up and his life will never be as simple as it once was. This song is meant to conclude the “boy inside my thoughts” perspective Rex Orange County has maintained throughout the album, closing one chapter and opening a new one.

On Tuesday, November 5, Berklee alumnus Jorge Perez presents the American version of his European sensation Patáx live at the Berklee Performance Center. The concert features faculty artists, as well as students from Berklee College of Music and Boston Conservatory at Berklee, and is directed by contemporary writing and production professor Jerry Gates.

Listen to Jerry’s pre-show conversation with Jorge about all things Patáx.

Patrick Watson – “Dream For Dreaming” – indie pop

Patrick Watson has created another gem with “Dream for Dreaming .” This tune immerses you immediately within the first chord and leaves you asking the question “What’s next?” It doesn’t disappoint either, Patrick Watson paints an ambient, emotional world that encapsulated his smooth, cathartic voice perfectly. This keeps building and building and gives the listener a sense of melancholy and raw emotion. The use of dynamics makes the song have an ebb and flow comparable to waves in the ocean, giving a very powerful performance and making this one of the more remarkable tunes to come out so far in 2019. I highly recommend “Dream For Dreaming” and encourage everyone to give it a listen!

Matt Maltese – “Jupiter” [single] – indie rock

Kicking off the track with synth and punchy bass, Matt Maltese brings us into a retro vibe comparable to the soft rock bands of the 1970s. Matt’s vocals are smooth and his lyrical content is always exceptional and bordering on the abstract. This tune weaves a tale of yearning for a past love, and tells it in a way only Matt Maltese can. This song has a fantastic vibe and feel, and keeps up with the excellence that is this artist’s standard. All of Matt’s content is fantastic and I recommend you checking him out! Give. “Jupiter” a listen below!