What are your respective roles when it comes to writing and recording music?

Jack: “We do work very closely together when we’re writing songs, but we have very different processes and roles within the band. Charlie writes all of the music; I don’t really know any instruments or play anything. I write all of the lyrics, and most of the melodies. But the way we work is not separate. When we’re sitting down to write a song, he’ll be playing a guitar riff, I’ll be coming up with melodies. But he’ll also throw out melodies and I’ll throw out ideas for guitar even though I can’t really speak in that language. It’s a very collaborative process.”

You referred to writing music as a language — do you think this is a universal language or something that the two of you have honed together as you’ve tapped into this relationship?

Jack: “My perspective is that any other guitarist I would work with would think I’m crazy if I tried to communicate with them. I kind of tell Charlie to make things sound more like whatever vague idea I have in my head. Like, make it sound ‘brighter’ or make it sound more like a certain color or ‘bigger’ or ‘wider.’ Words that aren’t exactly the best descriptors, and yet Charlie tends to get my drift.”

Charlie: “Yeah, we’ve gotten very good at communicating with each other, and I’d say especially now that we’re in college and we have such limited time together, we’ve gotten very efficient at describing the sounds and visions that we share.”

What would you say is the thesis, the main message of this album?

Jack: “It’s an album that I poured a lot of myself and my ideas and my stories into. When we first started writing it, I think Charlie and I were very focused on writing a coming-of-age album, if you will. We were focused on that Bruce Springsteen “Born to Run” energy — escaping your hometown, growing out of your parents’ house, becoming your own person… But I also think that now that I look at it as a complete picture, I can say that it’s less about leaving a place or childhood behind, and more about leaving a version of yourself behind, and becoming happy and comfortable and proud of the new version of yourself. I guess it speaks to something larger — I hope it does.”

In terms of lyrical content, how much of it would you say is storytelling or real experiences or some combination of the two?

Jack: “I think for me, with lyricism — I would argue with any art form — there has to be a little of yourself, a little of the artist embedded in it. But I don’t think these [songs] are entirely based on real life. Sometimes I go back and listen to a song and I think to myself, ‘did I really feel like that, or is that an exaggeration of an exaggeration that has been buried by time and nostalgia and all those things?’… with a lot of [the songs], there are kernels of truth in them, but it is very much not based entirely on experiences I had. I just like telling stories. I like expanding on a single thought and saying, ‘what could that be if it was a six-minute song?’”

My favorite song on the album was “Riverbend”. It felt like the centerpiece of the album, and is notably the longest song at 11 minutes. Can you speak to the process of creating this song?

Jack: “Riverbend” is the most honest [song]…Riverbend really formed over the course of three months or so … We hit the ground running, and then every single line or riff or melody after that was just laborious. It really did feel like dragging through the mud because we cared about it. We knew we wanted to create something bigger than any of the other songs, so we set out with that goal. It really only took shape within two weeks or so, where we had been stagnant for a long time, and all of the sudden the song just came to life, lyrically for me. It felt like it clicked into place and the lyrics kind of fell out.”

Charlie: “I think pretty early on in the process we started referring to the song as ‘11 Minute’ or ‘9 Minute Song’, far before we had nine or eleven minutes worth of material. But I think since we came up with the outro part, we had this idea of this grand, long masterpiece to be on the album. This vision was there from the start.”

Now that you’ve finished this album, do you have a vision of what the future looks like for you guys?

Jack: “I can say Charlie and I are both very proud of the album and happy to have it out there. We wanna just sit with it for a minute and let people enjoy it. You know, our many adoring fans … But at the same time, we are kind of sick of talking about these nine songs, and we are itching to play something new and to create stuff and put out new material. The goal would be to not take as long on the next [album]. As far as what we wanna do with it, I think expanding musically is a big thing … It’s just about creating and creating and not looking back”

Charlie: “We’re just really looking forward to creating and doing something new with our sound. I can’t wait to see what it turns into.”

Contact the editor responsible for this story: Norah Catlin

First introduced in March 2022, Wellesley Drag quickly became a campus staple. The student-led event founded by Ayelet Kaminer ’25, gives students a chance to adopt a drag persona and perform for their fellow sibs, making a home for itself in Claflin Hall’s basement. Wellesley Drag proudly describes itself as “an independent drag collective for queers, dykes, fags, freaks, sluts, haters, whores, and you.” Acts have ranged from drag king lip-syncs to burlesque routines and everything in between, giving rise to new campus celebrities with clever monikers like “Dickless Van Dyke” and “Ellen DeGenderless.”

Despite innumerable administrative roadblocks, Drag reached a peak in attendance and recognition during the 2023-24 academic year. However, due to ongoing renovations and many of the collective’s original members graduating, going abroad or stepping back, the organization did not hold an event for the entirety of the Fall 2024 semester. 

Thankfully, Drag’s hiatus came to an end when Millie Auslender ’27 and Destiny Eversole ’27 rose to the occasion. “I really wanted [drag] to be back,” Eversole told me. “And it felt like if I didn’t help bring it back, it just wouldn’t happen.” Auslender nodded in agreement, adding, “I remember being at my first Drag and thinking ‘I wanna do that one day.’” 

Auslender, who directed Wellelsey’s production of “The Rocky Horror Picture Show” this fall, said, “I think through Rocky and also just being involved in the queer scene at Wellesley, people were talking about it a lot around me and I was like ‘hell yeah, I wanna help.’” 

Auslender and Eversole were by no means alone in this endeavor –– there were many people who helped them plan and execute the return of Wellesley Drag, from seasoned performers to TZE members who helped them secure the space. In particular, they expressed gratitude to Kaminer, Drag’s former producer and host. 

“They helped out a lot, especially with giving tips about how they’ve done it in the past,” Eversole stated. In terms of carrying on Kaminer’s legacy, Auslender told me that she feels “honored.” 

“I think with a lot of other people, stepping up to such a big plate could have been so much more daunting than it was, but Ayelet was so supportive in wanting other people to carry this on… and they want to see fresh ideas, they’re not like ‘no, you have to do it my way,’ they’re like ‘oh, I love the changes you’ve make, I love your vision.’ It’s just really nice to have that support from the founding member throughout the whole process.”

Even with the introduction of new leaders, fresh energy and a new location, Saturday’s performance had many of the qualities and traditions which have made it such a beloved hallmark of campus culture. Audience members gleefully participated in arm-wrestling, a lip-sync battle and a push-up contest. Both Auslender and Eversole performed, as a juggling clown and a slutty Ghostbuster, respectively. 

“I think it’s important for students to have fun and be silly. A lot of people know me just from Senate, or just from class — but that’s not who I am, fully. There’s also the part of me that will shake ass to the ‘Ghostbusters’ song, and I think having that layer of personality just makes everyone on campus seem more approachable and makes [Wellesley] feel more like a community,” Eversole said.

Other highlights of the evening included a tribute to Lady Gaga’s venerable 2009 VMA’s performance of “Paparazzi,” a lipsync to Chappell Roan’s unreleased femme-top anthem “The Giver,” and a drag-king burlesque performance to Steely Dan’s “Dirty Work” –– featuring a strap-on reveal, naturally.

“I think that especially now, when there’s so many restrictions on community spaces at Wellesley and lack of places where students can come together and be authentically themselves, it’s really important to have Drag as a place where students can do that. It’s a very accepting, very queer place where you can come and be yourself and not be judged for it,” Eversole remarked. Auslender added, “I think that’s something that does really lack at Wellesley –– third spaces in general… I think it’s a really important way for people to let loose.”

As restrictions on drag performances and trans existence have increased nationwide under the current Trump administration, the organizers and performers of Wellesley Drag feel the event more essential than ever. 

“Especially in the current political climate, it’s very important for a school like Wellesley especially to have a space on campus that is explicitly queer… without regard for all the shit Trump’s doing right now. There’s really not a lot of spaces off campus where people can feel 100% comfortable being themselves, so creating that space on campus is very important. If nothing else, just to set the precedent that queer and trans people deserve to live and have fun,” Eversole asserted.

Fortunately, the future of Wellesley Drag is in good hands. “It’s about freedom, it’s about community, and I’m really happy to be a part of that,” Auslender said. To aspiring performers, Auslender and Eversole impart the following advice: “Just do it. Get your ass on stage and have fun with it! It’s not that serious.”

If you missed Valentine’s Drag, do not despair –– the collective will be back later this semester. 

Contact the editors responsible for this article: Ivy Buck, Anabelle Meyers

Since that night, I’ve listened to everything Leigh has released, from her 2023 EP “The Only Thing Worse Than A Woman Who Lies Is A Girl Who’ll Tell Truths to Carrier Pigeon,” her debut album from 2024. Prior to seeing her in concert last November, I got the chance to interview Leigh. During our conversation, I asked what fans should expect at her concerts. She described her shows as “quirky, fun, and sassy.” Keeping this in mind, my friends and I headed to the Sinclair in Cambridge on Nov. 10, eager for a stellar performance and a good time. 

Massachusetts native Charlotte Rose Benjamin opened the show with a sweet and sentimental performance. Both Benjamin and myself observed that the crowd was particularly high-spirited, dancing along to her songs with an energy usually reserved for headliners. I took this as a good omen for Leigh’s set –– one which proved to be correct. 

This time around, Leigh’s all-female band took the stage ahead of her: drummer Grace Goodman, bassist Kaitlyn Gerdau and guitarist/keyboardist Taylor Wafford. Then, to uproarious cheers, Leigh emerged from backstage in a neon green halter top with shimmery silver shorts and matching fishnet tights. At the beginning of her set, she asked the crowd to shout out their names, a request we gleefully obliged. Despite the bigger venue and more elaborate production, it was clear that Leigh’s lovable, down-to-earth personability hadn’t diminished. 

Her setlist included both old and new songs, from her 2021 “Thelma and Louise”–inspired ode to friendship, “Ronnie’s Song,” to “Carrier Pigeon’s” lead single “No Doubt.” About halfway through her set, Leigh’s band left the stage, leaving her alone with her guitar once again. 

“I’m gonna do a few songs alone, for old time’s sake,” she told the audience. As Leigh’s captivating voice washed over the Sinclair, I was once again in awe of her ability to foster beautifully intimate moments. The crowd gently swayed and sang along, many turning to serenade the friends or lovers beside them. 

The audience’s liveliness remained consistent throughout the evening, peaking especially when Leigh’s band returned for the set’s electric conclusion. Prior to “Sheep Song,” Leigh explained that Grace Goodman, the band’s drummer, suggested that what these shows really needed was a mosh pit. Whether or not it was a joke, Leigh agreed, and instructed the crowd to open up a circle pit. As the band launched into song, we flooded the now-vacant section of the floor. I’m not sure if what we did was a mosh pit –– maybe more of a dance pit or jumping up-and-down pit. Regardless, it was a blast, and I certainly danced more than I have at any other indie-folk show.

For the encore, Leigh played “Take Back,” the same song she culminated her set with back in 2023. Before she began to sing, she shared its origins: the song was born from a time when she worked all day and went home to a person who made her feel terrible. Her time, she then realized, should belong to her and nobody else. “We’re going to reclaim that time, right now, together. I want you to scream it!” she urged us. And so we did — chanting the cathartic refrain  –– “I’m gonna take back some of my time, I’m gonna take back some of my time” –– as Leigh sang with a smile I could hear.

While Odie Leigh’s musical stylings have shifted considerably since I saw her in 2023, her concert at the Sinclair proved her elegant growth as an artist. Bearing witness to her trajectory has been an incredibly rewarding experience, and like so many others in the crowd that night, I wait with bated breath to see where she brings us next.

Contact the editors responsible for this article: Norah Catlin, Ivy Buck 

On Friday, Jan. 31, Ollie Gullick & The Lads took to the stage at Cambridge’s Middle East Upstairs venue, delighting the crowd with a rock ‘n’ roll set that was nothing short of electrifying. Prior to the show, I got to speak with frontman Ollie Gullick over Zoom to learn more about the singer, songwriter, music director, guitarist and soon-to-be queer rock heartthrob.

“For me, rock and roll is the authenticity, and always has been,” Gullick said candidly. He cited legends like Pink Floyd and Led Zeppelin as influences, but his passion for music truly took root at a “musical playtime” he attended as a small child.

“I can’t remember that far back, but my parents told me the woman who ran it had an accordion and I wouldn’t take my eyes off it the whole time.”

Once he was old enough to begin experimenting with musical instruments himself, Gullick took up guitar “because my dad played it, and I wanted to interest girls. But I’m gay now, so that didn’t quite work out.” In terms of growing up queer in less accepting spaces, Gullick professed that “it sucked, but I’m grateful because it gave me a lot to write about.” 

On stage, Gullick’s unabashed queerness is instrumental to his performance. At the Middle East venue, he dedicated three of his opening songs to “a guy who wasn’t as straight as he seemed,” gay sex, and “a twink [he] used to know.” Belting out his lyrics in a powerful, gravelly voice, Gullick danced across the stage and smoldered at the crowd as he fluttered a fan emblazoned with the word “cunt.”

“[Being gay] manifests itself in my performance and the way I write music because I had to hide for so long and now I don’t anymore, so I’m just gonna let it all out.” This explosion of joy and pride was infectious, washing over the crowd as the band performed. 

Born in the UK, Gullick’s family moved to Abu Dhabi when he was 14 years old, where he remained until relocating to Boston to attend Berklee College of Music. While he recognizes the uniqueness of his expatriate upbringing, he’s found that “people can find things within [my story] that they can relate to themselves.” 

During the show, Gullick gave a shout out to a friend in the crowd, stating that he almost omitted the upcoming song from the setlist until she convinced him otherwise. The song in question was “The Cross,” which tells a beautifully heartbreaking story featuring some of Gullick’s most poetic lyrics and stunning instrumental solos. This song was one of my favorites of the night, as it highlighted Gullick’s ability to modulate between melancholy softness and powerful intensity in an instant. 

Along with fronting The Lads, Gullick is also music director and guitarist for ZaZa & The Psychedelic Orchestra and Berklee’s Lady Gaga Ensemble. “It’s been tricky, definitely, wearing all these hats. But I find it similar to how I’ve lived in England, Abu Dhabi and Boston –– for a while, it felt like three different people. ZaZa, Gaga and Ollie, myself, kind of felt like three different people going into those rooms. And I think trying to remember ‘no, it’s just me doing different things’ has been really helpful. I approach everything in the same way, emotionally.”

During Friday night’s performance, Psychedelic Orchestra frontwoman ZaZa joined Gullick on stage to perform his song “Turn Around and See.” The performance was a clear crowd favorite, with many friends and fans shouting out the lyrics as Gullick and ZaZa sang while staring each other down with affected rock ‘n’ roll intensity that repeatedly gave way to beaming smiles, their chemistry as friends and collaborators abundantly clear. 

As the band’s set came to a close, Gullick requested that the venue’s PA system be turned off. A hush fell over the crowd as Gullick and the six Lads stepped to the front of the stage to perform an acapella rendition of “Front Room” in a beautiful three-part harmony. Despite the pervasive booming bass audible from the venue downstairs, it was a heartwarming moment, encapsulating the bond shared by the band’s members.

“It was never planned, this thing,” Gullick told me of his collaboration with his bandmates. “I just thought I was gonna be ZaZa’s guitarist, but a lot of the music I wrote was really personal to me … So I was like, ‘Okay, I’ll put together a little group so I can do my own little shows.’ I just wanted to play at [the pub].” When forming the band, Gullick had never even heard his guitarist, Colin Lillich, or his keyboardist, Leo Birkin, play before. Drummer Alex Reeves and saxophone player Andrew Schuler are Gullick’s roommates and fellow Psychedelic Orchestra members. 

During Gullick’s first semester at Berklee, The Lads received a coveted “Caf Show” slot, earning the chance to perform in the school’s dining hall, which becomes a concert venue by night. The band was met with an outpouring of praise, and ended up booking several other gigs and recording sessions with a producer. The band’s lineup is completed by bassist Jack Helfer and a second saxophonist, Cooper Swartzentruber, who joined the band as a stand-in while Schuler was abroad and ended up becoming a permanent member.

After an electric encore, the band bid their farewells and departed from the stage. As I made my way out of the venue, I noticed “SOLD OUT” scrawled in black marker over the show’s flyer at the box office –– surely the first of many for Ollie Gullick & The Lads.

Contact the editors responsible for this article: Norah Catlin and Ivy Buck 

These are all the instruments present in The Rockwell on Oct. 22 as ZaZa & the Psychedelic Orchestra take the stage. The crowd buzzes with excitement as the instrumentalists take their places, all dressed in sharp black suits. Once they’re settled in, they begin to play “The Phantom of the Opera,” setting a brooding and dramatic tone as the audience continues to murmur. But when the band’s frontwoman, Berklee College of Music student and superstar in the making ZaZa emerges from behind a curtain, the room falls silent. She is dressed in a gold and black-feathered masquerade mask and a fringed red robe covering a chic vest and miniskirt, with thigh-high red leather boots and a plethora of accessories. 

She struts up to the microphone as a spotlight falls over her, closes her eyes and begins her rendition of “Feeling Good,” made famous by artists such as Nina Simone and Michael Bublé. She sings the first verse acapella, her breathtaking voice putting the crowd under a trance. As she nears the chorus, there is a palpable tension in the air as the audience waits for the rest of her band to join in. At last, on the final syllable of the chorus, the band comes in all at once, a sonic wave crashing over the venue as goosebumps raise on my arms.

Needless to say, the Psychedelic Orchestra isn’t exactly your average college band. Speaking with ZaZa a few days after the show, I asked what inspired her to put together such an elaborate ensemble of musicians. 

The idea was born backstage at a showcase at a Berklee summer program. She was with her “creative soulmate” and guitarist Ollie Gullick and felt quite “bored” by the endless barrage of five-piece rock bands.

“The idea was to have an orchestra that’s much bigger than me, however, matches the energy that I think I bring on stage,” ZaZa said.“Having a five-piece band didn’t seem like enough, and it didn’t feel like I was doing myself or anybody else justice … I always just loved the idea of a bigger sound.”

 It’s not difficult to gather that “big” is the defining word when it comes to ZaZa & the Psychedelic Orchestra — it emanated from every aspect of their performance, from the physical size of the band to ZaZa’s costume changes and fascinating theatricality. During a musical interlude, ZaZa ran offstage, returning in an elaborate wedding gown and matching parasol. A couple of songs later, she briefly exited the stage during a cover of Jeff Buckley’s “Grace,” returning with her hand in a fist, obscuring its contents. At the song’s climax, she rubbed her hand down her chest, revealing a seemingly endless supply of bright red paint. Continuing to sing, she smeared the ‘blood’ all over the dress and her face with an anguished expression, dropping to her knees as she wailed out the lyrics.

To me, this moment was reminiscent of Lady Gaga’s infamous performance of “Paparazzi” at the 2009 VMAs. When I asked if this was a reference, ZaZa explained that, while she didn’t set out to imitate Gaga, the singer is in fact one of her biggest artistic inspirations.

“I think Lady Gaga was the first person I saw put theater and pop music together, and I was just like ‘wow, that makes so much sense.’ I fell in love with [pop music] because of her, because I saw that you can be a rockstar making pop music.”

The show reached its peak with the aforementioned performance of “Grace.” Speaking of her ‘Carrie’-style bloody breakdown, ZaZa told me “I feel like the whole show up to that point, I’m working up to that last moment. Once I get to Grace it’s like [imitates explosion] … I’m ripping my heart open in front of you, you’ve torn my heart out of my chest and now I have to wipe up my own blood.”

During the performance, ZaZa paused to unpack the theme of the show, “Leo in Mercury.” The title, she told the crowd, draws from her astrological chart.
As she later explained to me, “Oftentimes if you’re a Leo in Mercury, you’ll be very misunderstood by people despite the efforts you make to articulate your feelings.” Her performance, she explained, channeled this cosmic tension — a fusion of fierce passion and the vulnerability that comes with being misinterpreted and, at times, betrayed.

The setlist, combining originals and covers, perfectly encapsulated this concept. After “Feeling Good,” the band launched into two of the summer’s biggest hits: “Von Dutch” by Charli XCX and “HOT TO GO” by Chappell Roan. As ZaZa described it, this portion of the set encapsulated the waves of “carelessness”  and “overconfidence” that can come with betrayal or heartache. Her original song, “Ruining My Heaven” comes next, with the crowd chanting along as she belted out the “dramatically angry” anthem about being cast aside by a friend in favor of “a bum of a guy.”

From somber songs like another ZaZa original “Never Trust an Angel” to upbeat yet emotionally charged tracks like “Escapism.” by 070 Shake and Raye, the set took the audience through a journey of heartbreak and healing. 

The band concluded their set with “From Here,” an original by ZaZa and Gullick. According to ZaZa, the song is about falling out of love and beginning to look at your own heartbreak from a more detached perspective. “I just wanted that vulnerability at the end … After ‘Grace’ I’m covered in blood, my heart is ripped out, there’s nothing to hide behind.”

A few songs into their set, an audience member handed ZaZa a pride flag, which she wrapped around herself as she sang. Prior to the show, the band announced that 10% of ticket sales would be donated to the Fenway Institute, an organization providing healthcare and support to the transgender community in Boston, a decision made in light of recent occurrences of transphobia at their school, Berklee.

“I’ve grown up around gay, queer and trans people my whole life … [Many members of the band] are from the community, so we naturally felt very involved.”

One of the band’s managers, Lily Chopus, came up with the idea to donate a portion of ticket proceeds to charity, and ZaZa chose the Fenway Institute because it specifically services the Boston community, providing not only gender-affirming care but mental health care as well. 

“It was a pretty fast and easy decision to make … We were in a position to be able to do something, so we did it.”

As the band played their final notes and applause reverberated through The Rockwell, it was incredibly clear that this group is destined for great things – each moment of the show felt like a glimpse of a star in the making. This is a band with the talent, vision and ambition to reach far beyond Boston, and I, for one, cannot wait to see what heights they reach.

Contact the editors responsible for this story: Anabelle Meyers, Norah Catlin

The show marked the start of their nationwide tour opening for Porches, whose most recent album features vocals from Chloe. sweet93’s music is a dreamy blend of swirling reverb, lullaby-esque melodies and early-90s influences like Cocteau Twins and Mazzy Star. 

The day before the show, I sat down with Chloe to learn more about the behind-the-scenes of making the new single. “It transformed, like, three separate times. I’m talking verse, melody, chords – it shape shifted. I found myself just being pulled to this more ethereal space honestly, and just wanting those sounds,” said Chloe.

As its title suggests, the song asks existential questions about reality and the world around you. “I really was just questioning everything– personal truth, universal truths…  I realized I just wanted to ask the questions that I myself have been really wondering lately, and just genuinely what is ‘truth’?”

I wondered whether she felt that writing and recording the song had given her any answers. “Yes and no,” she replied. She explained that the song allowed her to put the questions into music and let that speak for itself. “I’m just trying to describe that feeling – you don’t know what to say, you don’t know how to say it… [writing the song] didn’t give me the answers of life in a bigger way, but it gave me the answers as a songwriter, as an artist.”

Kohanski takes great joy in the artistic process, no matter how long it takes. “I love creating music, writing music. I love those moments where you break through and you finally get that art or that thing or whatever, even if it takes three months – like with my song ‘Be My Best’.” 

She explained that although the lyrics to the song took less than half an hour to write, the process of mixing it took place over the course of two years. Others may have found this frustrating or excessively arduous, but for Chloe, it was an “awesome” experience. 

On the eve of sweet93’s first tour, Chloe expressed her excitement for the upcoming experience. “There is literally nothing like being in a room with people who are there to really experience music and really be a part of a night of a show. It’s communal. There’s an exchange of energy. It feels special. Every time I play, afterwards I’m like ‘This is my destiny.’ This is what I love.”

As sweet93 took the stage at The Sinclair on Oct. 15, Chloe’s passion for performance was evident. Her set had the audience under a trance which held until the end of their final song. Joined by her band, a revolving cast of friends and collaborators, Chloe serenaded the crowd with “what’s true?” and their most popular song “Stars Above,” an ethereally haunting track featuring echoing vocals and bluesy, note-bending guitar. 

sweet93 concluded their set with “You Decide,” a heavier, reverb-drenched tune reminiscent of the golden days of shoegaze. According to Chloe, this song is the band’s favorite to play live. “I hope people feel like they can just like, rock out to it, close their eyes and just feel it,” she said. Indeed, this track appeared to be a crowd favorite, with even the stiffest of flannel-clad men (a demographic stunningly overrepresented in the crowd) gently bopping their heads in appreciation. 

Shortly after their performance, an older gentleman in attendance excitedly emerged from the restroom wearing a brand-new sweet93 t-shirt, his original shirt stuffed into his back pocket. He proudly showed off his look to Chloe at the merch table, who beamed from ear to ear and gave her new fan a big hug. The heartwarming moment perfectly captured the magnetic appeal of sweet93 –– their timeless, nostalgic sound resonates with fans across demographics.

sweet93’s tour with Porches will continue across the United States through the end of November. Whether you’re drawn to moody, atmospheric sounds or just love a great live show, don’t miss your chance to catch them on stage!

Contact the editors responsible for this article: Ivy Buck, Norah Catlin

Hailing from Louisiana, Leigh takes pride in her southern roots and her tendency to wear her heart on her sleeve. In the song “Party Trick” off her recently-released debut album Carrier Pigeon, she muses that “maybe I’m too forward/but then again I’m not.” Two tracks later, on “No Doubt,” she admits that “I’m not too good at being subtle or acting unimpressed.” However, it is these very qualities that make Leigh shine as a songwriter and performer. 

Radical authenticity has been at the forefront of Leigh’s music since she released her first single in 2021. Her sound has evolved significantly since then, but the honesty at the core of it all has remained unchanged. Leigh describes her first two EPs, “How Did It Seem To You?” and “The Only Thing Worse Than A Woman Who Lies Is A Girl Who’ll Tell Truths” as being “two sides of the same coin.”

“I feel like ‘How Did It Seem To You’ is very much the confusion and the sadness and the mourning of a relationship, and then ‘The Only Thing Worse’ is the anger and the understanding and the processing that comes after that. And then Carrier Pigeon is just a whole new start, a fresh new world.”

Aside from length, the main difference between Carrier Pigeon and Leigh’s first two projects is that the new album is markedly more upbeat and filled-out than the two previous EPs, which lean more acoustic. This shift doesn’t daunt Leigh, who told me that she feels no pressure to stick with the familiar sound her audience has grown accustomed to hearing from her.

“At the end of the day, I don’t know what my audience is hearing … What I know is that when I have trusted my gut, it has resonated with people. And what I know is that if I keep my songs honest, that is what has worked. I’m never trying to make a new sound, or be more exciting or go back to acoustic. I’m just writing the songs that resonate with me and just trusting that it’ll resonate with others.”

Speaking of her fanbase, Leigh emphasizes that she doesn’t want anyone to feel “left behind” as she ventures into this new era. She understands that her audience isn’t obliged to support and listen to her indefinitely, but hopes that they’ll see “the honesty that’s still there amongst the multiple guitars and the drums and the bass. I just trust that they will still hear whatever it is that they loved about my music.” 

The more Leigh divulged, the more apparent it became that the honesty in Leigh’s writing is not just a quirk or a stylistic choice, but the driving force behind the very essence of her work, breathing life into each of her songs. I asked her if she ever feels shy or embarrassed spilling her guts onstage to hundreds of strangers, and she responded that it’s something she’s grown accustomed to.

“It used to really bother me. It used to make me really nervous, but I’ve done it so many times now that I just go full force. I saw a quote the other day, something along the lines of, ‘as a performer, you’re being paid to embarrass yourself.’ You’re being paid to do the thing that the people in the audience feel they can’t do, and I think that that’s so true and so freeing. I mean, look, everyone thinks they want to see a normal girl on stage. Everyone thinks they want to see someone be 100% authentic, but then when you see that, it’s really uncomfortable. So in this twisted way, honesty becomes performance. And I’ve really come to terms with that.”

Leigh’s artistic integrity seems to stem at least in part from her refusal to let herself be reduced or restricted by a “twangy granola indie folk musician” label.  She encourages listeners not to make assumptions based on where she’s from or the music she’s made in the past. She told me that while her folk influences come from her upbringing in Louisiana, she wants to emphasize how diverse the deep South (and the music it produces) is. Fellow Louisiana-native musicians like Tim McGraw had just as much of an impact on her as those like Lil Wayne.

“I’m not granola. I hate the outdoors. I hate hiking. I’m allergic to the sun. If I get a sunburn, I throw up. Really, so allergic to the outdoors. I don’t live this ‘granola life’. And if you only liked my music for this aesthetic and this projection you put on to Odie Leigh, then I don’t think you were ever really listening. If all you got from my music was the acoustic guitar, then you weren’t actually listening … the lyrics to ‘Crop Circles’ [2022] are, like, edgy and crunchy and kind of punk. So of course, it would make sense that this is the music I make now, now that I have more resources and am more confident in my own artistry.”

Sure enough, Carrier Pigeon is a culmination of everything that makes Odie Leigh great: her lyrics effortlessly combine honesty, humor, and heart. She puts an edgy twist on her signature folksy sound, and her confidence and artistry shine through in the finished product. The album is as expansive as it is cohesive, and each song is as relatable as it is deeply personal. “Party Trick” contains the lyric Leigh claims best encapsulates the album as a whole: “I don’t know you, but I’d like to.”

When asked to describe the vibe at her shows in three words, Leigh responded “quirky, fun, and sassy.” She told me “I hope that [the people at my shows] have fun. I hope that they go home and they tell their friends about how they missed an amazing show. I hope that they make everyone around them jealous.” If this sounds up your alley, be sure to grab tickets to her concert at The Sinclair in Cambridge on Sunday, Nov. 10. Take it from me – an Odie Leigh show is not one to miss.

Contact the editors responsible for this story: Norah Catlin, Anabelle Meyers

This was more or less the consensus my friends and I came to as we eagerly awaited the start of Improv Asylum’s mainstage performance. Boston’s Improv Asylum, founded in 1998, touts itself as “the funniest show you’ll ever be a part of.” With shows six nights a week, the venue holds space for improv, sketch comedy and even a “karaoke jukebox musical.” Located in Boston’s North End surrounded by Italian restaurants, Improv Asylum seems to appeal to a bewilderingly large variety of patrons. The audience at my show ranged from a group of young boys celebrating Owen’s 13th birthday to a happily unemployed Austrian couple enjoying the tail-end of their 8-month-long honeymoon.

To the delight of my friends and I, the show was hilarious. With the exception of a few slightly weak moments, the cast excelled at turning prompts and suggestions from the audience into hilarious skits. They were especially adept at making well-timed callbacks to earlier moments in the show. One recurring character was a middle-aged chain-smoking high school student, a clear audience favorite. They incorporated a variety of classic improv games and exercises – during my favorite sketch, the actors had to break out into song when an off-stage actor rang a bell randomly rang during the scene. One of the mainstage cast’s newest members, Rhett Sosebee, improvised a hilarious song about smelling dirty laundry in a locker room that I’ve thought about at least once a day since seeing the show. Another highlight was the live piano player, who played background music that perfectly matched the energy of each sketch on the fly. The crowd broke into uproarious laughter as the musician played “Seize the Day,” the galvanizing song from the 1992 Disney movie, “Newsies,” as one of the actors tried to guess which motivational phrase his scene partner was acting out.

Boston has always had a thriving comedy scene, with clubs like The Wilbur and Laugh Boston bringing in crowds of chuckle-chasers with incredible consistency. However, what sets Improv Asylum apart from the rest is their incorporation of audience participation. Every skit is inspired by prompts and stories from the audience, meaning that every show is unique and customized to its crowd. In this way, the audience becomes part of the show without ever setting foot on stage, creating a beautifully collaborative and immersive experience.

The tickets are admittedly a bit on the pricey side (particularly for college students), coming in at about $35 after taxes. However, I would say that the experience is well worth it. The actors are clearly professionals, and the ambiance of the venue is fantastic. Pro tip: if you go to any Saturday show, you can get free standby tickets for their midnight show Raunch, an 18+ “uncensored” improv show. I decided to go to Improv Asylum because I had a friend in town who wanted to see “something we could talk about after,” and this show certainly fulfilled that criteria. If you’re looking to splurge on a night of good, clean fun, I would highly recommend catching a show at Improv Asylum before or after grabbing dinner at a nearby Italian restaurant with a few of your giggliest pals.

Contact the editors responsible for this story: Anabelle Meyers, Norah Catlin

*Whiplash spoilers ahead*

On Tuesday, Sept. 24, I was lucky enough to catch a 10th anniversary reissue of Damien Chazelle’s 2014 film “Whiplash” at AMC Boston Common 19. The film centers around Andrew Neiman, an aspiring jazz drummer who falls under the mentorship of the notorious Terrence Fletcher. I was thrilled by this movie when I watched it for the first time this summer, so naturally I jumped at the chance to see it on the big screen. Of course, watching a movie on a laptop doesn’t even come close to the experience of seeing it in a theater, reclined in a plush chair with snacks in hand. I find this especially true of reissues, where most audience members are already fans of the film. This was certainly the case in my theater, in which I felt a strong sense of camaraderie and even community with the other patrons. We laughed at J.K. Simmons’ iconic “not quite my tempo” line, air-drummed along with Miles Teller, and simultaneously sat up in our seats as the film’s climax began, a palpable tension falling over the room.

It’s no secret that “Whiplash” is an absolutely fantastic film –– it received nearly a hundred accolades after its release, including three Academy Awards. Simmons took home the Oscar for Best Supporting Actor, a well-deserved nod to his terrific performance as Terence Fletcher. Seeing his performance on the silver screen emphasized how incredibly terrifying he was as Fletcher, a wickedly cruel music instructor who becomes an aberrant mentor to Andrew Neiman, Teller’s character. The film excels in its intense subversion of the typical mentor-protégé trope (think “Good Will Hunting,” “Karate Kid” or “Dead Poets Society”) into something spine-chilling rather than heartwarming. 

Upon this most recent rewatch, I was struck by what seemed to be almost body horror elements of the plot. The film’s central theme is obsession, and the lengths to which one will go to become “the greatest.” Fletcher is undoubtedly an abusive figure, but Neiman fervently abides by his methods out of a belief that under Fletcher’s guidance, he can unlock his potential as one of the greatest jazz drummers of all time. Unfortunately, this comes at the expense of Neiman’s mental and physical well-being. Some of the most memorable and visceral scenes include close-up shots of blood dripping onto the drums, pouring out of bandaged hands from hours of exertion. 

At one point, Fletcher pits Neiman and two other drummers against one another to see who can “earn” the role of core drummer in his band. To do this, he holds the drummers and the rest of the band in rehearsal for five hours, demanding that they play at an inhumanly fast tempo. I felt a deep sense of physical discomfort watching the musicians push themselves to the absolute limit, vying for Fletcher’s acceptance as he berates them. At the scene’s climax, Neiman plays frantically while sweating, spitting, bleeding and nearly crying as Fletcher chucks a cowbell at his head, screams profanities and hurls a drum across the room. When Fletcher finally cuts him off, he simply tells Neiman, “You earned the part,” before instructing the two other drummers to clean Neiman’s blood off the kit. 

Body horror is a subgenre of horror that features graphic depictions of the destruction or degeneration of the human body. It incites fear by presenting the body in an abject form, as something grotesque. I would not say that “Whiplash” crosses this boundary –– it’s certainly more of a dramatic thriller. However, certain elements of the film incite fear by presenting the body (specifically Andrew Neiman’s) in a way quite reminiscent of body horror. “Whiplash” highlights the body’s gradual decline towards borderline abjection for the sake of greatness. 

One of the most striking scenes occurs when Neiman gets in a car accident while rushing to a competition, which severely injures him. Instead of going to a hospital, Neiman crawls out from under the wreckage and staggers toward the concert hall, determined to keep his hard-earned spot in the band. It’s an extremely harrowing sight to behold, watching a barely conscious man force himself to perform out of absolute desperation for success –– a desperation which is reflected by the state of his body. He is bloody, stumbling, and can barely even hold his drumsticks. In this sense, his body becomes a horrific object, reflecting the state of his psyche under Fletcher. This event proves to be his breaking point, as the scene culminates with Neiman physically attacking Fletcher on stage and getting kicked out of his school. 

Though it may not fully fall under the genre of body horror, “Whiplash” is an incredible and enthralling movie that grabs your attention in its opening moments and doesn’t let go until the credits roll. If you’re a person who enjoys being on the edge of your seat but isn’t necessarily into horror, this is certainly the movie for you.

Contact the editors responsible for this story: Norah Catlin, Ivy Buck

Coming from Seattle, WA
Concert in Caz
September 7th
Special Performance by:
The Well-Licked Rats

Immediately, concert-lovers across campus rejoiced — Wellesley College is notoriously lacking in the live music department. But who and what was this mysterious new band? None other than Wellesley’s own Mallika Bubb ’27, Emory Guenther ’27 and their friend Melia Golden, a sophomore at the University of Washington. With the help of their manager Riya Kalra ’27, audio engineer Catie Cho ’27 and merch designer Mallika Sunder ’27, the Well-Licked Rats put on a show to remember. A few days after the concert, I was lucky enough to talk with Bubb and Guenther to learn more about the band.

The group originally formed in Seattle, consisting of Bubb, Golden and Vedika Bhat, another Seattle native. When Bhat, the group’s bassist, was unable to make it to Wellesley for the show, Guenther stepped up to the plate. 

“I played around on the bass around the end of spring semester last year … I didn’t really know anything,” Guenther told me. 

However, after finding out about the plan for a Wellesley concert and the group’s need for a stand-in bassist, she committed herself to learning to play.  

“Originally, I thought I was only going to have to play six of [the songs], but I ended up playing all eleven originals,” she said. 

Members described the band’s genre as a blend of “punk, indie and dance rock” with a definitively funky vibe. All of the original songs were written by Bubb, the group’s lead singer and guitarist, and Golden, the drummer. 

“I would write the guitar parts and melody, and usually the lyrics too,” Bubb said. 

She would then bring the songs to Golden, who would work out the drums until they were happy with the finished product. Golden also contributed lyrics for a few songs, including “Cherry Tree.” At the Sept. 4 show, she stepped up to the microphone explaining that the song is an homage to the cherry tree in front of which she and her brother would take back-to-school photos each year. When Golden returned home from college for the first time, she found that the tree had been cut down. The sweet and sentimental song was certainly a crowd favorite thanks to its emotionally resonant context.

During a tuning break between songs, Bubb explained the origin of the band’s unique name. Bubb told the crowd that her first choice was “Radiohead 2,” eliciting scattered cheers and applause from the crowd. However, this name was vetoed by her bandmates. The name The Well-Licked Rats originates from a study Golden had learned about which discovered that rats who are “well licked” by their mothers in infancy are better at handling stress as adults. Finished with tuning her guitar, Bubb dedicated the next song to “all the unlicked rats out there.” The show concluded with acoustic covers of Mazzy Star’s “Fade Into You” and Big Thief’s “Masterpiece,” with Bubb encouraging audience members to sing along. According to Bubb, these songs were the most nerve-wracking to perform. 

“I actually had not played ‘Fade Into You’ until that day … that was a very last minute [addition]” she smiled, recalling that Golden had written out the lyrics to the two cover songs for her so she could read off of them during the performance.

The show itself was a smashing success, but most attendees had no idea how many obstacles the band had to overcome for it to happen at all. Bubb recounts reaching out to Wellesley’s music department in search of a drum set and facilities to no avail. Instead, they rented the drums from a Guitar Center in Natick, bringing them to campus with the help of Hannah Cummins ’27, who volunteered as the band’s unofficial chauffeur. Bubb also purchased a soundboard, which she considers an investment for future shows. In total, the band spent around $250 in expenses to put on the show. They were able to raise some money back thanks to donations from the crowd and the sale of stickers designed by Sunder. However, Bubb emphasizes that it’s not about money. 

“I had no anticipation of making money … I just wanted to spark an interest in starting bands at Wellesley — I want to see more women in bands,” she said. 

In terms of the venue, the band was lucky enough to have Cazenove RA Riya Kalra ’27 as their manager. When the band struggled to find a location for their show, Kalra told them, “I need my [Community Engagement hours] anyway.” They ended up making the concert Cazenove’s monthly hall event, which allowed them to obtain speakers and a microphone through the College. 

In addition to the aforementioned challenges, the band had less than a day to practice, as Golden arrived in Massachusetts the day of the event. Golden took a redeye flight to Boston, landing early on the morning of the show. After Bubb and Cummins picked her up, Golden slept while the other band members set up in the basement. At this point, Bubb met the band’s audio engineer, Catie Cho, for the very first time. 

“We didn’t actually rehearse until around 2:00 p.m.,” Bubb revealed “We just played through the entire setlist, and I worked out a couple of kinks.” 

With just one afternoon to rehearse, the band managed to get through the entire setlist without a hitch.

The concert’s venue, Cazenove Hall basement, has a capacity of 75 people, a limit which was maxed out before the band had even begun playing. When asked if she could change anything about the show retrospectively, Bubb answered, “I felt bad about having to turn people down at the door … I hope next time we can accommodate for that better.” 

Bubb remarked that her expectations had been relatively low, expecting an audience consisting of 30 or so of the band’s friends. According to manager Kalra, a total of 105 students showed up. The band believes that the turnout proves how strong of a demand there is for live music at Wellesley. The venue also necessitated a strict no bags, no bottles, and no off-campus guests policy, requiring attendees to sign in at the door. In the future, the band hopes to put on shows independently to avoid such restrictions and make their concerts accessible to all.

I asked Bubb if she had any words of advice for other Wellesley students interested in performing music on campus. 

“Honestly, just go for it. Don’t be afraid to show people things that you’ve made,” she said. 

She also emphasized the importance of not striving for perfection (as Wellesley students may often tend to do). 

“Be patient with yourself, try to make the kind of music that you want to make … even if it’s not perfect, people are probably going to like it, or show up at least.”  

Bubb urged aspiring musicians not to fall victim to self-imposed limitations. 

“Don’t say ‘oh, I can’t perform until I can play a barre chord’ ‘I can’t perform until I can play a solo’ … Just do what you can, even if it’s very simple.” 

In her final reflection on the show, Bubb professed, “I want to show people that it’s not that hard to make music and it’s not that hard to be in a band. You just have to have the courage to put yourself out there.”

Contact the editors responsible for this story: Norah Catlin, Anabelle Meyers