Tag: Indie

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Pop/Indie Pop

Minos the Saint: The Lockdown Interview

Minos the Saint

Minos the Saint are a staple in the southern music scene, as inevitable as king cake at Mardi Gras and crawfish boils in summer. Their eerie, effervescent take on folk and zydeco classics has singled them out as unique amongst local Louisianan festival-circuit bands.

Founded by Ben Herrington in 2013, Minos the Saint is composed of five musicians: Peter Simon (vocals and guitar) Ben Herrington (accordion, keyboards, and trombone) Micah Blouin (percussion and vocals) Joel Willson (violin and mandolin) and Arisia Gilmore (French horn.) 

Totally Wired recently caught up with Ben and Peter to find out what Minos the Saint have been up to during the turmoil of the previous year, when we can expect new music, and what their plans for the future are.

Totally Wired: “Awake and Dream” was such an astonishingly beautiful debut. Any plans for a second album in the works? And as the creators of the album, how would you describe “Awake and Dream”?

Peter: “Awake and Dream” is our first work, and really captures a very special time where our joined collaboration was realized. The album is intended to portray our live performances which are often described as dynamic and whimsical.  We are finishing up our second album, tentatively titled “Atchafalaya Child” set to be released this summer.   

Totally Wired: Like your website bio says, Minos the Saint is definitely not a typical LA folk band. Y’all have such a unique, layered sound, it’s entrancing. How did your different musical backgrounds knit this sound together?

Peter: We started as a duet, then grew to six!  This slow burn, “bit by bit” approach helped us realize the creative mind and input of each member.  

Ben: Yes, also I think a key is that all the musicians in the band have a wide variety of musical interests.  As varied as aspects of our sound can be, I think we really lean heavily on elements which are comfort zones for each of our members.  While we’re always trying to push the envelope as a whole, much of what we do is based on expressive techniques that we’ve each been working our whole musical lives to refine.  Bringing those individual life-long pursuits together to form a whole is what continues to make it enjoyable and exciting for us.

Totally Wired: The pandemic has obviously been an extremely trying time for anyone with a job in the arts. How have you guys been keeping it together?

Peter: We’ve managed to keep moving forward simply because we have an album to make.  So, in a way, the pandemic offered us a time to stop and capture the material we’ve been working through.  

Ben: Also, I think the last year has really brought us on this interesting journey of questioning and learning about what it means to express ourselves as a band.  For a while, it seemed like there was this momentum forcing us to figure out how to express ourselves remotely.  Having gone down that road for a time, I think now we’re maybe at a place where we can see the beauty of small-scale human interaction with new eyes.  Everything old is new again. 

Totally Wired: This is a bit unorthodox, it’s a reverse interview question! What question have you been dying to be asked—and never have been—by a music journalist? And what’s the answer you’d give?

Ben: The question: If your band were a Labyrinth, who would be the Minotaur? The answer: either me or Joel, but for different reasons:  Joel because he’s our chaos agent and myself because I am the most consistent in my demands over a long period of time.  

You can find Minos the Saint on Instagram @minosthesaint, on Bandcamp, and on Spotify.

Photo Credit: Aaron Hogan of Eye Wander Photography

Categories
Indie/Indie Rock Reviews

Review: Chase Cohl – Dear Dear: Volume I

As the sun leans in closer for a warm embrace and Mother Earth takes her first steps towards revitalization, the time has come to celebrate spring’s long-awaited arrival. So, what better way to welcome it than with a brand new release that is so beautiful, it’d make even the most gifted of songbirds envious? 

Chase Cohl’s EP Dear Dear: Volume I is absolute euphoria. Consisting of four tracks, it embodies a similar feeling to surrendering your skin to the divinity of sunshine; it is nothing short of pure comfort and invigoration. This was my first proper introduction to the enormously talented singer-songwriter who also explores the worlds of fashion and poetry. Hearing these songs for the first time felt like coming home after a long and tiring journey, intoxicated with the pure joy of being right where you want to be. 

Dear Dear begins with “Special Situation,” a song so blissful and pleasing to the ears, it’s only right to stick around for more. The backing harmonies paired with the flawless intertwinement of Cohl’s voice and the dreamlike, vintage instrumentals make this song an undeniable winner in my book. If you’re in search of a song to dance along to with a glass of wine, look no further.

Track two, “Take It Like A Man,” took on the role as the EP’s single, and it did its job phenomenally. It’s what I had first heard from Cohl while aimlessly scrolling through Instagram just mere days ago, and I knew right off the bat that I needed to write about her. After (very quickly) falling entirely entranced by the song’s colorful, 1960s-inspired sound, I genuinely could not get it out of my head. Watch the music video here!

“Still Crying,” despite bearing somber lyrics about the woes of break-ups, carries a playful and bright tune. The back-and-forth between Cohl and the backing vocals throughout the chorus is truly satisfying and addictive to listen to. On top of that, its bridge dips into an enchanting pool that lulls you into a brief daydream just before getting right back into the song’s upbeat magic once more.  

The fourth and final track, “I Can’t Live Without You,” just might be my favourite. It paints an image in my head so effortlessly, I can easily see it as the score to a montage in a film. Despite it being the EP’s shortest song, it possesses so much beauty and airiness that you pay no mind to its duration. It strikes something deep within me that is impossible to shake, and to say I adore every single aspect is an understatement. 

In short, this is one masterpiece of an EP. Elegance and perfection can be heard all throughout, and because I am a newer listener, I will most certainly be taking a dive into more of Chase Cohl’s material (and you should, too!). 


To stay in the loop, be sure to follow Chase Cohl on Instagram and Spotify!

(Cover photo by: KRISTIN GALLEGOS)

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Indie/Indie Rock Why We Love

Why We Love: Orla Gartland

Irish singer-songwriter Orla Gartland gained traction through her YouTube channel and supporting Dodie on tour. Alongside relatable lyrical content, her songs emphasise her passion for music production and perfecting her style.

Orla Gartland’s YouTube channel has content dating back to 8 years ago although she has been active since 2007. Starting out with covers, she has worked her way up to original content. Although her folk roots have been her primary influence, we have seen a shift towards indie-pop. There has been a transition from more acoustically based songs to synthesised instrumentation. Songs like ‘Why Am I Like This?’ and ‘Overthinking’ explore her struggles with mental health and are compellingly honest and raw. Other themes in her music include falling out of love, which is what her latest EP, Freckle Seasons is centred around, and struggling to come to terms with sexuality which can be heard in her song ‘oh God’.

Most intriguing, Orla Gartland is an entirely independent artist using her Patreon to fund her musical developments. This Patreon gives fans extra demos, updates on what is going on in her life and when to expect new releases and competitions. It creates a basis for fans to be able to interact and make friends. It is also a platform for them to share their own experiences with music amongst themselves and with Orla Gartland directly. Patreon, being one of her favourite parts of the internet, has become somewhere she can openly share the progression of her songs and thoughts and ideas. It is fascinating to see lyrics from drafts falling into new songs that become released for everyone to hear. In her latest song ‘Pretending’, the lyrics “I learnt it from a woman on the internet” have been recycled from one of the demos she released on her Patreon.

During lockdown, musicians took to performing on live streaming platforms to replicate the community feeling of going to concerts. Orla Gartland hosted what she called “covers-a-thon” raising £3454 for NHS charities helping frontline workers with hot meals, transport, accommodation and counselling. There is no divide between herself and her music; she uses it to express herself, for escapism and to help people.

It isn’t always easy to come across with such authenticity in the music industry. Still, the transparency between Orla Gartland and her fans makes it easy to believe that it is possible.

Listen to Orla Gartland on Spotify now.

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Indie/Indie Rock Why We Love

Why We Love: King Hannah

If you’re looking for a cinematic journey to detach yourself from the current mundane routine of the world’s lockdown (who isn’t?!), look no further than the smooth, moody, unfiltered odyssey of King Hannah. The Liverpool based duo have had an anything but conventional start to their musical journey together. Developing from Craig’s admiration of Hannah’s solo performances, to working as colleagues in a bar, to finally writing together to produce a sound rich in realism and tailored back production.

Hannah Merrick and Craig Whittle released their first single ‘Crème Brûlée’ back in September 2020 and since then released their first EP in November 2020 titled ‘Tell Me Your Mind and I’ll Tell You Mine’. The EP is centred around the details of the everyday, with quite a descriptive nature to Hannah and Craigs lyrics. Starting with an almost ominous prelude (‘And Then out of Nowhere, it Rained.’), it’s like entering into a new and uncharted world. Followed by a more humorous take with ‘Meal Deal’, taking us through the normality of a property viewing, while contemplating whether to make a housemate out of the arachnid inhabitant. Towards the end of the song, Hannah’s vocals are like flickers of light through an immersive jungle canopy of atmospheric sound and smoky instrumentals.

This is then followed by a song, which really epitomises the times we live in. Named after Mindhunter’s ‘Bill Tench’, the song carries some added energy creating a more relaxed and lo-fi feel. This really emphasises the depth to King Hannah’s production, intensifying the feeling of being taken on a journey through this EP. The emphatic ballad of the duo’s first single then follows, becoming much more expressive with drawn-out lyrics and a jaw-dropping guitar solo that you never want to end.

We are led out by a more reflective and vibrant track, ‘The Sea Has Stretch Marks’, brought to a close by an outro called ‘Reprise (Moving Day)’, combining some of the EP highlights with a muffled radio vibe.

If there is a more emblematic band for the times we live in I am yet to find them. King Hannah’s music has been a refreshing reminder that we can escape the madness and once again be enveloped by creative production techniques and bold sound. The duo has already made an impact on the stage, and now following their formal release this past November, I for one am really looking forward to seeing them back in front of the lights and creating more insightful explorations.

Check out King Hannah on Spotify here.

Categories
Indie/Indie Rock Pop/Indie Pop Reviews

Review: Pale Waves – Who Am I?

A lot has happened in the time since Pale Waves released their first album. Despite the various trials and tribulations, one of which including a tour bus crash, the Manchester indie-rockers have proven that nothing can get in the way of creating absolute magic. Consisting of 11 tracks, Who Am I? taps into the beloved, nostalgic sounds of the 2000s, and going through each song helped me feel more like the ideal, cool older sister trope commonly found in movies of that era (Kat Stratford, anybody?). 

In comparison to 2018’s My Mind Makes Noises, their sophomore album presents a newfound edge that helps listeners unearth a more authentic version of Pale Waves. Now, don’t get me wrong; I absolutely adored their debut record, but it only scratched the surface of what they have to offer. That being said, it’s undeniable that they have begun to grow more into their own, unique sound, and my god, it is completely game-changing. 

I honestly wasn’t expecting this sort of switch-up at all. From the moment they released “Change,” however, I knew we were about to witness a brand new, monumental chapter in their career unfold. With a catchy track and a visually stunning music video to match, it makes perfect sense why this is the way Pale Waves decided to kick off this new era.

Who Am I?’s dizzyingly romantic second single, “She’s My Religion,” brings forth some much-needed LGBTQ+ representation, and it sure as hell doesn’t stop there. “Tomorrow” beckons those who are struggling with their sexualities to take a deep breath and remember, as the lyrics emphasize, you cannot choose who you fall in love with. Not only that, but it also encourages fans who are grappling with their mental health to stick around and see that the world won’t always have you feeling trapped. It’s a truly gorgeous song that wields an impactful message we all need to be reminded of every once in a while.

Ben, I know that you love a boy

Sexuality isn’t a choice

Don’t let anyone say it’s wrong

Won’t you just keep hanging on?

And Kelsi, I know life drags you down

Growing up in a small town

Always the odd one in the crowd

You know I’ll never count you out

This sort of vulnerability seen throughout the record is perhaps one of its most striking features. There’s been a distinct progression in songwriting that opens up more personal discussions, ranging from the intimacy of sex and queer romance (“Wish U Were Here”) to the ever-looming uncertainty that comes with reaching a mental and emotional low (“Who Am I?”). Seeing this newfangled sense of self from lead singer Heather Baron-Gracie, as well as the unapologetic comfortability that has come along with it, is incredibly refreshing. It introduces something notably special into their music, and the novel openness and sincerity found throughout this record have put them on track towards becoming a force to be reckoned with.

In short, Who Am I? is a wildly impressive sophomore album. Honest and bold, this record uncovers a new side of Pale Waves that marks a significant turning point for the band. Every track offers a different story that listeners can relate to and appreciate, and they all form a wonderfully cohesive collection of songs without sounding same-y or repetitive. This could very well become a defining record for Pale Waves, and I’m eager to see how well it treats them.

Listen to Who Am I? on Spotify.

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Why We Love

Why We Love: Black Country, New Road

Black Country, New Road’s debut album For the First Time has been named Rough Trade’s album of the month for February. It’s a tremendous honor for a first album, and it’s well-deserved. The young band have already achieved more in their debut than most groups do over the course of their entire existence. The seven members have forged a sound that defies categorization. There is no genre that fits Black Country, New Road, a lucky thing indeed, because it has forced them to create their own.

For the First Time is a music nerd’s delight, a veritable 7th heaven of listening pleasures. It’s the kind of album that you listen to ten times all the way through on the first day of having it in your possession. You’ll want to unpack the dense, layered sounds, to figure out exactly what’s being said in each lyric, to identify every instrument and every influence.

Each one of the six tracks on the album is stellar, but Sunglasses is my favorite, segueing between mellow rhythms and full-out punk screaming, then (somehow) sliding smoothly into emotional descriptions of the irritations and fetters of relationships and life within a family, and through it all the meditation, gripped like a life-line: “I am invincible in these sunglasses…” It inspires an odd mixture of elation and chills, and the need to share it with someone else immediately. In other words, it’s on its way to being a classic.

Black Country, New Road are an orchestra for the future, “the new classic”(al) for spaceships. On more than one level, it’s something we all need to listen to; it’s something we all need to hear.

You can find Black Country, New Road on Instagram @blackcountrynewroad, on Spotify and on Bandcamp.

Header Photo Credit: Max Grainger

Categories
New Wave Pop/Indie Pop Reviews

Review: VIDEOCLUB – Euphories

If you haven’t already been introduced to the playful, 80s-inspired music of French duo VIDEOCLUB, let this be your guide. Adèle Castillon and Matthieu Reynaud are undeniably one of the coolest power couples out there, and after officially releasing music since 2018, their highly-anticipated debut album Euphories was gifted to the world on 29 January. 

Featuring pre-released tracks from over the past few years along with plenty of brand new additions, Euphories serves as the perfect introduction to the young musicians. Throughout the album, you’ll discover wondrous, lively energy that invites you to set your responsibilities aside, just for a moment, and let yourself have some well-deserved fun. 

There’s something incredibly enchanting about this record. I have been a fan of VIDEOCLUB for quite some time now, so hearing the singles I’ve been playing on repeat be finally compiled into a full-length album is something truly special. It was well worth the wait, too, because it’s undeniable that Adèle and Matthieu put their heart and soul into Euphories. Each song seamlessly leads into the next, creating an excitingly hypnotic record that once you start, you’ll want to stick around until the end. 

The first song I had ever heard from VIDEOCLUB was “Amour Plastique,” which now has an impressive 58M views on YouTube. So, seeing that they kicked off their album with this track made me feel an immense amount of pride. It’s what thwarted them onto people’s radars, and because of everyone’s massive love and support for “Amour Plastique,” Adèle and Matthieu have been given a fantastic opportunity to continue sharing their talents with the world. They certainly have not dropped the ball as every release since then has been widely well-received. With these new songs hitting airwaves, I have no doubt in my mind that their fanbase will consistently grow more each and every day. 

One of my absolute favourite new tracks is “Polaroïds.” I adore how they utilize the distinct sounds of a Polaroid camera within the beat; it adds a unique and clever touch that makes the song all the more charming. The lyrics, which reminisce on cherished memories, are really refreshing as well, and they can definitely be relatable in times like these. All of these elements combined create something that feels like pure bliss manifested within a single song (as well as a phenomenal addition to any sort of “Late Night Drives” playlist).

“SMS” is another song I am completely obsessed with. The beginning of the song sounds like an explosion of real, genuine happiness, and I can’t help but smile whenever it comes on. I’m a bit of a hopeless romantic, so when I read the translated lyrics (I’m still learning French, leave me be!), I was smiling like such an idiot. It represents love in a fun, wholesome light and emphasizes the excitement behind new love unfolding. Towards the end of the track, you can even hear the synth riffs from “En Nuit,” “Amour Plastique,” “Mai,” “Enfance 80,” “Roi,” and “What Are You So Afraid Of,” which wraps up their debut record flawlessly. 

As a whole, I have fallen completely in love with Euphories. There’s a song that can match whatever mood you may be in—hear me out. In the mood to relax and shut out the world for a bit? “Trois Jours.” Need something to listen to while you’re out-and-about that’ll help you feel like the main character? “Suricate.” Don’t speak a word of French but you still want to sing along? Don’t worry, “What Are You So Afraid Of” and “Petit Monde” have got you covered with some English lyrics.

There’s truly something for everybody throughout this tracklist, and my joy goes far beyond anything words could express. Adèle and Matthieu have absolutely smashed it with Euphories, and I cannot wait to see what else they’ve got up their sleeves. 


To keep up with VIDEOCLUB, follow them on Instagram and Twitter.

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Indie/Indie Rock Why We Love

Why We Love: Eaves Wilder

In just 6 months, Eavie (better known as) Eaves Wilder has managed to produce frantic fairytale sounds to fill your very best indie playlists. Being a Gen Z artist, the way our generation has grown up with music is so chaotically different from the likes of our inspiration. We genre mix and we dabble between artists and sounds which makes for such a clash of sounds that’s really paving the way for the next wave of music, and Wilder is absolutely no exception.

So how would I describe her music? Imagine putting the DNA of George Harrison, Kate Bush, Beabadoobee and Blur into a blender, then serving that milkshake up along with a sprinkle of toppings to coat all that with even more, and if you’re a fan of the darker sounds of pre-The 1975’s ‘Drive Like I Do’, then Eaves Wilder is someone for you. But being so young and having experienced so much, Eavie brings a flair of unique excellence that just melts your ears. Her debut single Won’t You Be Happy written in the height of the first lockdown, and was an immediate hit, the emotional range and relatability here was off the scale and was the right step to make Eaves Wilder soon to be a household name.

Later still she dropped the single In And Out (And Out Again), a beautiful piano-led ballad that envelops more of that shoegaze vibe that was so present within Won’t You Be Happy. One thing to note is her talent as a pianist, being able to sing and perform precise twinkling key rhythms is not something you see often (see the live piano performance below), especially among young songwriters nowadays. Eavie manages to be a breath of fresh air and a staple to the term ‘Artist’. You get a real feel for Wilder’s passion for her music and it’s wonderful to see out in the Eaves Wild…

But there’s no slowing down for Eavie, she’s on an upward spiral and we’ve all got golden tickets to join the ride. Just last month we heard another single Man, We Was Lonely (a little ode to everyone’s favourite Beatles bassist), with perhaps the charm of Arcade Fire’s Funeral as inspiration, particularly vibing with the vocal tones of Régine Chassagne. Three songs into Eavie’s career and already she’s making a name for herself, making dreamy songs to soundtrack your teens and my god does it make you crave to hear these tracks in a live venue.

Eaves Wilder is making her way to the top, so what better a time to grab her hand and follow her to the summit of her musical venture. 6 months since her debut and only 3 songs in, but already she is one of my favourite rising stars that you must keep up with.

So don’t forget to keep a keen eye on her socials and follow Eaves Wilder on Spotify.

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Indie/Indie Rock Punk/Rock Why We Love

Why We Love: The Garden

Hearing The Garden’s music for the first time was like unlocking a door that draws you into an entirely different universe. Their sound, as well as their aesthetics, are both completely and distinctively their own. They’ve got a special kind of magic that has presented itself through genre-bending, undeniable originality, and a full creative exploration that’s led them towards developing some of the most unique music of our time. 

“California Here We Go” was my introduction to twin brothers Wyatt and Fletcher Shears, and I found myself completely enamored. The sultry bassline, the addictive chorus, and their love for jester-styled makeup had me wanting to dive in deeper as soon as the song was over. For those just beginning to explore The Garden’s discography, this is, without a doubt, an essential song to keep under your belt.

Released just a few months prior, “Call This # Now” is another staple track that carries whimsically hypnotic energy. The music video matches it perfectly, too, and it’s one that I frequently revisit; not only is it just a music video that I genuinely love to watch, but it’s also a good glimpse into what the Shears brothers are all about. I guarantee that after listening to this song—even just once—you’ll find yourself subconsciously humming the chorus on multiple occasions. Or, maybe, I’m just projecting. 

You didn’t think I’d leave out “Thy Mission,” did you? It’s safe to say that this is currently The Garden’s most popular song, and with the combined forces of the Shears twins and Mac Demarco, it’s no wonder why this is such a well-received song. The artists, though seemingly on different wavelengths, mesh together so flawlessly; it’s almost as though it was a match made in heaven (or, based on the video, hell). Like “Call This # Now,” this is another music video I am obsessed with. They took an already interesting concept and put their own unique spin on it, and the end result is entertaining, comedic, and stunning.

Alright, there are plenty of other key songs from The Garden I could recommend, but let’s shed some light on their latest release, shall we? Dropped in March 2020, Kiss My Super Bowl Ring consists of eleven explosive tracks that each add something powerful to the mix. It’s truly so fascinating to hear how seamlessly they play around with different sounds—even within the same song—and this album provides so much variety that you’re bound to find at least something to love. My personal favourite is “AMPM Truck,” give it a listen here:

Wyatt and Fletcher have their own individual side projects as well. Wyatt makes his music under the name “Enjoy,” and Fletcher is behind “Puzzle.” These experimental projects are absolutely phenomenal, and I’m wholeheartedly a massive fan of both. A lot of the music from Enjoy and Puzzle is much more laid-back and dreamy compared to their work in The Garden, so if that’s more of your vibe, definitely give both projects a listen. 10/10, would highly recommend. 

So, in short: The Garden has quickly become one of my favourite bands. They are certainly ones to watch as they shake up the music scene, and if you’re new to their music, you’re going to want to stick around. I have completely fallen in love with their impressive artistic range and style, and I’m sure you guys will, too. 

I’ll leave you with one last thing, and it’s a performance I’ve found myself watching daily. Give it a watch, and you’ll understand why.

Keep up with The Garden on Instagram and Twitter.

Categories
Indie/Indie Rock Punk/Rock Why We Love

Why We Love: Airways

Five years ago, upon being gutted on missing out on a ticket to see Muse and then Nothing But Thieves, I decided to check out who’d be supporting the latter on their tour and check out the band that I’d now be missing out on. I found myself one gloomy morning on my way to college checking out that very band, Airways, and from the moment that first chorus dropped I was hooked. The song in question was One Foot, a track that blends sounds from such indie rock icons such as Oasis, Arctic Monkeys and Gorillaz, but in a very modern way a’la YUNGBLUD or RAT BOY, taking indie and punk right into the heart of the 21st century. Discovering this band as the support act of the support act of my favourite band at the time, it can’t be said anymore but, man never skip out on the opening band.

Later I managed to encourage my mates to listen to Airways because they just so happened to release a smash hit that made it onto Spotify’s ‘Walk Like A Badass’ playlist, Reckless Tongue. A song that combines the classic style of 2007 Arctic Monkeys with the indie and hip hop modernity of 2017. Just a menacing tune that makes you want to headbang in the middle of the street, shop or wherever you may be when you find yourself listening to their EP Starting To Spin. Alongside One Foot and Reckless Tongue, this EP boasted White Noise Boys a track that sparks some lowkey ska vibes, not the most conventional vibes but enough that you can hear a band like Madness or The Specials perform it. But the classic indie rock sound wasn’t all they had to offer, scratching the surface of some electronic sounds with the title track.

So fast forward a year and the Airway boys settle for Nothing But Thieves‘ guitarist Dominic Craik to do some producing work for them, which splashed a cavern of depth so visceral in the form of Blue Gasoline. God you can just taste the talent Airways have to offer here on out, it’s a dick tease the fact they’ve not released an album at this point. Combining synths to reverb-drenched guitars in a dreamy journey that makes you want the clouds to just swallow you up.

Fast forward a year yet again and we’re gifted the double single Trampoline / The End. The latter gets overshadowed by Trampoline a bit so I want to gloss over The End which is a beast of a track. What do you do when you’ve done the whole indie rock thing and the ethereal soundscape? Combine them in the most monstrous way possible. Fans of Twenty One Pilots seem to take a liking to this track in particular, so if that stuff is up your alley, make it a point to check out this one.

But then switching stuff up once again, going back to a more indie realm, Airways dropped their latest single, Out Of Luck in 2019. Which is a little while ago so I am praying this means we’re all the more closer to a debut album. Back to a faster pace upbeat style, but taking guitar inspiration from the likes of Johnny Marr but perhaps with a more disciplined surrounding, but then kicking off into another classic headbanger in the chorus.

Imma leave you guys with Alien. A song about the bands rejected US Visa’s leaving them unable to play at SXSW. Lyrically it’s actually more of a funny story, I mean I’m sure not for them the amount of money they probably lost in that application was probably no joke, but hey it made for a good song and hopefully, in a few years time they’ll be playing it to huge crowds on a headline tour through the very country that said “nah mate, not today”. I’m paraphrasing here but you get me bro.

Listen to Airways on Spotify before they blow up so you can tell your mates “I told you so”.