In Love With The La La


On a cold Friday night in the hazy winter light. 
I had seen a film ever so magical, so wonderful. A delight. 
The colors that graced the screen so vibrant and vivid. 
The music so variant. It was both bold and timid 
The dancing had captured my heart in an instant 
My own memories of tap dancing, jazz piano, and musicals had been so distant 
This film I’m describing in none other than La La Land 

Please watch it if you love Los Angeles, fleeting dreams, or swing & big band.

**I couldn’t help myself but make a rhyme scheme introduction on quite possibly one of my favourite movies of all time.
I know I know I know guys, this is a big statement to make! Have no fear, I fully support this film from within my bones.
Before I gush on about the Top 10 Reasons why I’m in love with La La Land, I have to preface that I have a long running background in dance, piano, & musical theater. I’m also a classic film enthusiast so every single easter egg was a slice of intense joy for me. My perspective is completely bias, but after seeing this movie with various audiences (ranging from having no musical background to die-hard fans of overtures and 4 chord minors) there are overall themes that run through this film that are universal to anyone whose ever had a dream they wanted to pursue.
( image via Google)
10. The Opening Sequence featuring CinemaScope 
If you aren’t familiar with 1950’s classic films by MGM, the widescreen lenses they utilized during that era were CinemaScope lenses. These lenses were integral for motion pictures at the time to capture everything in frame. From panoramic views to sweeping perspectives capturing long sequences of choreography, the fact that La La Land was shot with these infamous industry lenses is a simply sweet homage to the classics.
(image via Summit Pictures)
9. Damien Chazelle and his personal story
There are directors that self impose their narratives in the work they do, but often do so in a way that is glorifying and centralized, Chazelle however inserts his personal experiences through struggle. He loves jazz music and musicals, but his cumbersome fear of stage fright kept him from the spotlight. I had rewatched his film Whiplash prior to seeing La La Land. The film Whiplash is Chazelle’s exploration of when he was a jazz drummer in high school and in contrast to La La Land, both films portray the process of achieving one’s dreams. One situation that is isolating and self-centered (Whiplash) and another that is communal and almost altruistic (La La Land).
(image via Summit Pictures)
7. The Non-Cliche Iconic Landscapes of Los Angeles
Having seen this movie with company from both LA and far from LA (London, in fact) there are variable differences on what people would like to see about Los Angeles in the movies. My British friend complained that they didn’t see the Hollywood sign; my Los Angeles friend loved that there was a scene at Watts Towers. Overall, I’m quite enamored at the fact that Chazelle didn’t choose the road most taken when it comes to filming in Los Angeles, his implicit direction to show some “uncommon but familiar” landmarks that ground the nature of this city is to my liking.
(image via Summit Pictures)
6.  The Subtle Jokes About Los Angeles 
I went to college in Los Angeles county and became acquainted with all the Los Angeles stereotypes. This film captures these seemingly real stereotypes and situations in such a light-hearted humorous way; from Prius popularity to gluten free galore it also portrays that although this city is filled with dreamers where everyone is trying to make it, there is room to find your “tribe” or “squad” in the immense demographic that is the people of Los Angeles. In a city full of people playing professional make-believe, I’ve  made an immense amount of authentic friendships that last a lifetime.
(image via Summit Entertainment) 
5. The Title’s Double Meaning
Not only is LA known for its moniker “La La Land” but La La Land is defined as “a fanciful state of mind” in which the cinematography captures so effortlessly in many frame by frame moments. It toggles the boundaries of reality and disillusion through dream like sequences. I’m a sucker for things with depth and the movie title’s double meaning adds another layer.
(image via Miguel Aguilar) 
4. The Production Collaboration + Minimal Post Production Editing 
Due to the nature of making this film in the 1950’s technique, Chazelle’s objective to take elongated one camera shots with minimal takes was an operation of meticulous proportions. In addition, I’m appreciative of the use of the actual landmarks and the minimal use of a soundstage/ set. It is rare nowadays to see a film without some sort of CGI, multiple takes and multiple cameras used, so this film felt like a visual breathe of fresh air. It is relaxing to the eyes; you’ll experience it once you see it.
(image via Summit Entertainment)
3. Ryan Gosling + Emma Stone’s Chemistry 
Originally, Miles Teller and Emma Watson were cast to play the roles of the two lovebirds.  Due to conflicting filming schedules, Chazelle went with Gosling and Stone instead. Prior to this film, the pair starred in two roles together. If you have ever seen the 2011 movie  Crazy Stupid Love their chemistry was very natural. Both of these actors’ dynamic emotional range is versatile as well. During the filming process, Chazelle, the screenwriter, and both of the actors were integral in the development of Mia and Sebastian. The result? Absolute chemistry. If you pay attention closely, the behaviors/dialogue of one transfers onto the other in the same fashion as a real relationship.
2. The Music 
The composer of the musical score is James Hurtwitz. He also has worked with Chazelle on his two prior films Whiplash and Guy And Madeleine On A Park Bench. The thematic musical score has five main melodies from it’s five main songs. If you listen to the film’s soundtrack closely you can hear each one of the five songs transposed in a different key and tempo throughout the film to convey the emotional atmosphere. The film’s soundtrack is really meant to be listened as a whole, each song advancing the narrative. Creating together an amalgamation of scenarios that define the human condition when it comes to trying to achieve your dreams.   In the process of composing the musical score for La La Land, Hurwitz compiled roughly around 1900 piano demos to show to Chazelle as well as the lyricists Justin Paul and Benj Pasek. Paul and Pasek also wrote original music for one of my favourite shows, Smash.
(gif via Summit Entertainment)
1. The Dancing + Rehearsal Process
All strengths put aside, if there could be one reason and one reason only for me to love this film, it has to be the dancing. I’m a sucker for dance movies, but lately the movies that have come out in recent years didn’t have a narrative I was fully invested in. The plots were predictable and the choreography (or lack thereof) was inundated with tricks and gimmicks. La La Land however heavily pays homage to cult film dance classics such as Sweet Charity, Singing In The Rain, Umbrellas of Cherbourg and many others. Iconic sequences of choreography recorded in beautiful one camera one take constraints (like the Old Hollywood movies did) effectively hones in on the beauty that happens when dancers, dancing, and a compelling musical score converge together. Mandy Moore, the choreographer also created these pieces to be accessible due to the capabilities of the actors. She wanted the choreography to to be approachable and realistically anchored in everyday movement that (when shot on camera) would blur the dreamlike dance sequences and dialogue seamlessly.
Prior to the four month filming process, Gosling and Stone had a three month rehearsal for both the dance choreography and the learning of the piano. Although the rehearsing schedule was rigorous, it was beneficial in the long run.
In addition, if I could shamelessly plug in another aspect as to why I love this film so much, a couple of my favourite dancer friends from the YouTube community also make an appearance in the opening number (ahem,Jilly Meyers, Dana Wilson, and Galen Hooks to name a few) and it’s rewarding to see other dancers that I’ve watched on YouTube/had taken workshops with for  years, finally get the recognition they so well deserve.
If you have read this far, I applaud and appreciate you. Leave comments if you have other reasons as to why you love La La Land too!
Indelible Gratitude,

Falling Back Into The Urban Fabric


A night last week was a turn of events that lifted my spirits in the most connective way possible. My previous post about “Intimacy” and sharing a human experience left me feeling despondent with a craving to discuss bigness, not business. I missed observing all the walks of life that inhabit the fabric of the urban environment. Lately though, I got my “dose” just as unexpectedly.
My cousin invited me to a multi-medium art show in the heart of a bustling downtown and I almost hesitated because I didn’t want to go alone. Had I made the decision with my fear I would have missed out on a soul-soothing experience.
The event was called “FUTURES” and it was sponsored by the organization This showcase featured artists of all different mediums. From makeup and fashion to music and dancing this event had it all. It took residency in the House of Blues performance venue for a night and it was something to experience as with anything that is ephemeral in nature.
I was uncomfortable at first, because I came alone and didn’t know anybody except for my cousin whom was busy selling her handmade jewelry, but after a beer I became more conversational (huzzah for a little bit of carbonated liquid courage eh?) and I met some creative souls over conversation I won’t forget.
I had conversations about things I missed talking about when I was in college. Amongst these conversations were topics of the following:
  • The importance of narrative driven design
  • Instagram and the consciousness of light, shadow, tone, and texture of a photo
  • How to write socio-political rhymes for a modern “twerk & bae” audience
  • The materialization of an idea and the logical process of starting
I sound so elitist with my art & design jargon, but I just miss talking BIG ideas; things regarding the creative process whatever the medium may be. I still have hopes to search for conversations like the ones I had that memorable night. Or maybe my INFP personality is just overly-romanticizing things.
Whatevs, I’m slowly sipping away at my flat white and enjoying this pitter patter of the rain that is currently storming through the Southern California skies. Here’s to a Lazy Sunday of mental preparation for this beast we call Mondays.
So, this is to you, my reader/subscriber to my thoughts.
I hope you find yourself in good conversation over this next week. We all need it.
Indelible Gratitude,

#TFT- Thankful Thursdays

Traditionally, Thursdays meant delving into one’s archives to find the most ridiculous and nostalgic picture to post up on Instagram, but since Thanksgiving is occurring within this month, I’m dedicating my Thursdays in a different, more thought provoking manner.
In juxtaposition to my last post, my first gratuitous mention is the spectrum of music. I wouldn’t necessarily say that I’m a budding musician, but I do dabble a bit in the ivories (been playing since year 9). I’ve never gone out to compose my own music, but music has been an essential part of my soul since the very beginning.
At the heart of it, I was born dancing. My parents recount the days when I would sit in my high chair, crying for food, but simultaneously swaying to Earth Wind & Fire, Tracy Chapman, The Goo Goo Dolls, and Led Zeppelin. They got a kick out of it; me not so much because my belly was empty.
Music was essential to my growth as a dancer. It taught me to listen to all the complexities that is found within music; it forced me to visualize notes, materialize rhythms, and express feelings of depth that I’m always too afraid to speak of. Music supported me when nothing (and nobody) could and gratitude doesn’t even begin to explain it.
AND, if I could make an honourable mention in the realm of music, I think there’s one human being in particular that I would like to thank. Thank you producer, writer, all-around badass musician John Feldmann for believing in the music of SO MANY bands that formed the anthems of my growing youth (and 2 albums in particular that happen to be my favourite all-time). Thank you for having faith in: THE USED, Good Charlotte, Story of the Year, Ashlee Simpson (Autobiography), The Cab, The Red Jumpsuit Apparatus, Hedley, Saosin, Makua Rothman, We Are The In Crowd, ATL, Sleeping With Sirens, and finally 5SOS. If you ever read this John, know that you’ve helped tremendously in the development of a 20 something lost millennial find her musical personality since the pre-teen days. You’ve inadvertently comforted me during a heartbreak, helped me say “fuck the rest” when I’m feeling rebellious, and lifted my spirits when I was in despair. I will be forever grateful for your creative headspace. Don’t stop rockin’.
Sincerely With Gratitude,

Welcome to the New Broken Scene

NBSAs you all may know, the sophomore release of 5 Seconds of Summer’s album occurred on Friday and I was able to witness the New Broken Scene in full force and full faith at Hollywood & Highland. Before I discuss track by track my perspective upon each song, I must preface my history with this band in particular.

In 2011, I was looking up YouTube covers of Ron Pope’s “A Drop In The Ocean” and came across a blonde haired boy with a promising but little shaky voice, his youtube name was hemmo1996 and that was my initial taste of 5SOS. Fast forward a year in 2012 and they came out with their EP, entitled “Somewhere New” and I was having a rough experience in my relationship at the time. The song “Unpredictable” was my escape and my comfort song during the times I felt ignored and invisible in the relationship that I so fervently fought for because it’s hard for me to quit anything really. Another year later, in 2013 I found myself going to a One Direction concert in Kentucky, but ended up loving this band even more instead of the main attraction. They energetically played “Try Hard” and my heart was elated by their goofiness and their stage presence. So in brief summations of it all, this band helped me through some emotionally dark times over the past three years, call me a fangirl or a young adult with a “questionable” taste in music, but nothing but immense pride for these four Australian gentleman is all I can emanate whilst watching their musical progression over the last four years.
I had been in a musical drought for quite some time, just listening to the crap on the radio, until 5SOS came out with their EP and I started engaging in their endeavors via Keek, Twitcam, Livestream etc. Although they were young, I connected with them because we had similar taste in music. That was when my love for pop-punk/emo revival/post-hardcore music reignited. I thank this band for promoting music that has meaning in their lyrics and for choosing to be transparent with their fans about why they love the music that they love; to help connect a constantly growing teenage fanbase with music that I loved (and still love) a decade ago.
I revisited all my old illegally burned CDs (it was the dawn of BearShare, Kazaa, and Napster at the time) and the nostalgia hit home for me. Listening to those old CD’s felt like an old friend that you’ve recently caught up with and nothing but great memories came out of it.
Fast forward to October 23, 2015 and Sounds Good Feels Good finally debuts after much building anticipation. To be honest, I was completely surprised by the sound change, a couple songs as a whole took some multiple takes to understand and love equally. Instead of listing each song and coming up with some mediocre summation, I’ll just list the ones that strongly resonated with me the most. This is mostly an emotive analysis and I’m getting a bit vulnerable here people, so take my perspective with compassion (also listed in no particular hierarchical order).
Hey Everybody: Every morning when I wake up at the ungodly hour of 5:00 am, I start and end my day with this song. It resonates with me at the moment because I’m currently sailing the high seas that is young professionalism and learning my place within the world. Money is a bit tight right now and listening to this song lets me know (in a light-hearted rhythmic way) that everything is going to be okay.
Fly Away: The first taste of this song was purely based on its melodic content. The upbeat tempo catered to my inner dancer and I couldn’t help but sway to it. Later on, I investigated the lyrics and I loved the imagery they captured. The contradicting sceneries of California with London sky actually appeals to me, because as much as I love a sunny California, I also love a cool overcast day complete with looming clouds. When I listen to this song, I can totally picture this on a road trip. That feeling of the inevitable unknown is a bit scary, but relinquishing at the same time.
Permanent Vacation: In the same pop punk valor as She’s Kinda Hot, Permanent Vacation rhythmically has a message about the status quo. With thought provoking lyrics found in the bridge such as “Congratulations your imitations are taking over the radio stations. Corporations, calculations. We’re the voice of a new generation.” this piece stood out to me because it starts this dialog of the meaning behind today’s contemporary pop music. It begs the question of whether artistic value is trumped over radio air play popularity in today’s music and I’m glad 5SOS are exploring this avenue, calling to attention that maybe we can have good songs on the radio with good melodies AND great lyrics.
Jet Black Heart: When this song made its debut, it took me a couple tries to really listen to the lyrics. I’m a victim of analysis paralysis and I wanted to know the depths of this song and become completely immersed with it. After much inner debacle, I love the darkness of this song. The proclamation that it’s “okay to not be okay” strongly relates with me in my current situation, but I highly believe that we must process these dark emotions we have in order to see the light. To come to revelation about how these dark times can make us stronger by showing us how resilient we can be as human beings. In addition, the lyric “the blood in my veins is made up of mistakes” is definitely one of my cherished lines because it reminds me of my favourite band The Used.
Catch Fire: Sonically, this song is very different for this band. I hear a lot more synth in the production of this song, but it works beautifully here. I intensely love a particular lyric in this song, and I might make it a permanent attribute to my physical body (if you can catch my drift) and it goes: “I can’t change the world, but maybe I’ll change your mind.” I emphatically relate to this lyric because I tend to soul search and make it my life aspiration to affect someone’s mind in a positive light. It has a very “coming of age” tone that I find magnetizing.
Vapor: This song has almost the same cadence as Catch Fire but the resounding similes throughout the song is what hit this one home for me. To me, this song describes the feeling of a deep first love. The kind of love that has a dark side, an addictive side, where we all succumb to its grasp in our life at one point or another. And again, in the second verse “Cause you know you got perfect aim, I wanna feel you in my veins” another strong The Used reference that makes me giddy with agreement. It’s an addicting song and I find myself singing it whenever I see pavement, someone smoking, or feeling the warmth of the sun.
Broken Home: I don’t necessarily come from a broken home, but I know many loved ones that do. I’ve seen a behind-the-scenes glimpse into the world of parental disputes and it’s scary, they weren’t even my parents, but seeing that look in another person’s eyes, the irrevocable sadness and isolation is gripping. This song is such a great vessel for adolescents dealing with divorce to find unity in. It’s a well written song with such emotive lyrics and vocals and a major reason why I love this band, thank you 5SOS for this musical piece of comfort.
Invisible: I love the simplicity of this song and how it’s not bombarded with too many musical elements. Amongst all the songs in the album, this song completes me lyrically & musically. With Michael saying “What was it?” and then the transition to the typewriter (which is one of my favorite sounds, subjectively) in my mind it’s the sound of forgetting, of not remembering. This song illustrates the mundane of everyday life, and how easily we all can fall into a routine that numbs us and derails us from spectacular moments; it exemplifies the portions of invisibility that we can all succumb to. The crescendo that occurs at 1:53 accompanied by epic orchestral strings as Calum sings the chorus an octave higher really elevates the pathos of this piece of music. In addition, the violin interlude at the end gives it that extra touch of intimacy. I give deep veneration to this song because it’s composition as a whole is positioned in an atmosphere of intense vulnerability and I love that.
San Francisco: The opening melody exemplifies a sense of uplifting nostalgia and it definitely sets the tone for the rest of the song. In similar fashion, this song lyrically contains imagery with same respect as Vapor. The lighthearted chords, feathery tambourine licks and the enchanting drum beat complete this idea of memory. A memory of being completely in the moment and remembering how sweet being young and spending time with someone whom captures your heart can feel so free.
Outer Space/ Carry On: In adjacency to “Invisible” this is also in my repertoire of most beloved songs in the album.  The orchestral opening and the sudden crescendo when the lyrics “the rain it came too soon, I will wait for you” is attention getting, then proceeds in its natural cadence. There’s a grace to the tempo of this song and the message behind this song reminds me a bit like my favourite fictional character, Holden Caulfield. Throughout the novel, Holden utilizes alienation as a form of self-protection, he admits he is an outsider, watching everything change and that’s what the lyric “nothing like the rain, when you’re in outer space” reminds me of. Watching something happen and you’re on the outskirts of it, but you desperately want to engage in that experience too. THEN when you think this song doesn’t get any more emotive, it transitions into another song, with a ocean interlude bisecting the two songs.
Comprehensively, this album is what I’ve been waiting for, for a long time and it did not disappoint. I appreciate how connective the album is, and the natural progression of the songs as they appear on the album. I can really feel the thoughtfulness put into this breadth of music. I deeply admire the subtle motifs that are disseminated throughout the songs. Elements such as blood/veins, islands/castaways/rain/oceans, the intimacy of night/darkness in contrast to sun/light/fire, the idea of brokenness/pieces, and concept of elusive memories. I can foreshadow strong advancement with 5SOS and I cannot wait what else they have for all of us in the 5SOSFam. Here we are, immersing ourselves into the New Broken Scene; it’s a beautiful place to be.
Catch Ya Later,

Cathartic Chaos


If you asked me ten years ago would I find myself at the age of twenty-five spending an entire day out in the “middle of nowhere”, listening to music that I played in my Sony Walkman CD player when I was thirteen, I probably would have scoffed “never in my wildest dreams.” Two weekends ago proved my teenage self wrong and reignited my love for pop-punk, post-hardcore, emo-revival music. Myself, as well as all the millennials that flocked together in the sweltering San Bernardino sun felt nothing less than nostalgic. I couldn’t even begin to tell you how many emotional riffs pierced through me throughout that day. From hearing “Anthem of Our Dying Day” to a live version of “On My Own” the feelings were real and the camaraderie amongst musicians and listeners were transcendent. In addition, credits to the stage designer because I think the turn-table style of stage where one band sets up in the back whilst another is playing (allowing for seamless transitions between bands) was absolutely flawless.
Before I even begin to explain the theatrical genius that is The Used, I must preface my Taste of Chaos experience with a rundown of bands that my angst y teenage self was eager to hear.
     Story of the Year: I mean, who DIDN’T sing Anthem of Our Dying Day and Until The Day I Die to the top of their lungs? The clarity in the lead singer’s voice as well as the prophetic screams sounded just like the album version. With joy plastered on each of the band member’s faces, you could tell they felt at home and that they were.
The All-American Rejects: Obviously, a crowd favorite here. I’ve never seen them live before and Tyson’s stage presence (making Ensure + vodka jokes) was quite entertaining.  They played basically every song that ever debuted on the radio 10 years ago and it took me back to San Diego summers spent eating s’mores, sitting on the side of the pavement whilst watching my cousins skateboard.
Dashboard Confessional: I was first introduced to Dashboard Confessional in seventh-grade from my English teacher, Ms. Biddle, during our daily journal writing session. I remember writing to my heart’s content to “Vindicated” and “Hands Down” and the super smooth serenading of Chris Carrabba was every middle-school girl’s crush at the time. Fast forward ten years, and never being able to see them live, this was the moment I absolutely lived for. When I heard the chords to “Stolen” I think I experienced some kind of instantaneous retrograde. I’ve always appreciated the complex lyrics that Dashboard creates, I mean, “hope dangles on a string, like slow spinning redemption” ?! Illustrative metaphors are my weakness and when you put them into catchy melodies, I can’t stray away. I was on all emotional levels feeling Chris Carrabba’s humble stage presence fill up the San Bernardino hillside that evening, and although I was probably a couple hundred feet away, I still felt like I was centerstage sorta speak.
Jimmy Eat World: Ashamedly, I admit that I only knew the band’s cult favorite classics such as “The Middle” and “Sweetness” but to my surprise, they are undoubtedly incredible live. I felt like I was listening to the album in a studio. No vocal inflections or instrumental mess-ups found throughout the entire hour + ten minutes they performed. Their showmanship and live performance capability left me speechless.
Last, but finally not least… my first favourite band THE USED (this part is lengthy, I have NO apology).
I remember listening to a mixed cd of sorts when I was twelve, borrowed from my fifteen year old cousin; it consisted of New Found Glory, Yellowcard, The Red Jumpsuit Apparatus, and two songs that I haven’t recognized before. With lyrics such as “So here I am, it’s in my hands. So I’ll savor every moment of this” and “Without it all, I’m choking on nothing. It’s clear in my head, I’m screaming for something” that was basically my first taste of ink, on my own(cheesy, but I HAD to write it). From then on, I wanted more content from this band that call themselves The Used.
You see, beforehand I had a shit taste in music. All I really listened to was manufactured pop songs (which, I’m still a fan of N’SYNC), old school hip hop/ RnB, and all the classics (cue Goo Goo Dolls, Earth Wind & Fire, and Tracy Chapman). While there was nothing wrong with those choices, I wanted something lyrically diverse, and emotionally connective. That’s what The Used did for me. Though the imagery of some of their lyrics might not be for the faint of heart, it was full of meaning for me. Public media at the time pinned Bert McCracken as a weird guy, but I felt like I understood him in a way most people don’t. Some people think political, socio-economic issues and music shouldn’t become integrated, but if it is done right (the way The Used did so, with Imaginary Enemy) then I think it has potential to deliver a powerful message, that is why I love The Used so much. With the installment of their second album “In Love And Death” this quickly became my favourite  album of all time (and still is). If you’re familiar with the album and the story behind it, you can quickly understand why it has become my beloved album of choice.
Fast forward eleven years since the album’s release in 2004, and I couldn’t believe I finally had the opportunity to see them live. The anticipation building up during the whole day at Taste of Chaos was unbearable for me. I was inundated with excitement and just completely over-emotional throughout the whole ordeal. It was 9:59pm, the cool breeze of the hillside picking up and to my dismay, crowds were vacating the premises before The Used was about to step onstage. Seemingly confused by the commotion, I stood put next to the audio-visual tent and my clear view of the stage.
I didn’t even hear anything but all I saw was Bert McCracken dressed in all white, top hat, and cane and my mind was blown. Being a satirical novel enthusiast, I know an Alex DeLarge when I see one, and after much thought, it was the perfect character for McCracken to portray. When I thought the theatrics couldn’t get any better, they opened up with Maybe Memories, which was significantly THE most important song they could open with. The setlist after that was superb.
See list below (though I miss Let It Bleed):
1. Maybe Memories
2. Take It Away
3. The Bird and the Worm
4. Listening
5. I Caught Fire**
6. The Taste of Ink
7. All That I’ve Got*
8. Buried Myself Alive
9. Cry
10. Blood on My Hands
11.Pretty Handsome Awkward
12.On My Own***
13. Killing In The Name, Bulls on Parade, Know Your Enemy
14. A Box Full of Sharp Objects
I was especially emotional when I heard the opening guitar riff to my favourite song in existence “I Caught Fire” and although Bert’s vocal register wasn’t exactly like the album that night, it didn’t matter because his message about love and humanity is exactly what I needed in this moment. Another moving part of the whole set was when Bert pointed out their new guitarist, Justin Shekowski with an acoustic rendition of On My Own. Never in my life have I ever cried at a concert before, and this did it for me. For Bert to showcase their new guitarist in such a warm and welcoming way to a crowd at a festival that has been around for a decade is nothing short of charismatic in my eyes. Overall, the catharsis got to me in full sweeping motions. I was sobbing like a maniac during I Caught Fire, All That I’ve Got, and On My Own and remained strenuously overexercising my vocal chords the rest of the set.
Needless to say, I’ve tasted the chaos and I couldn’t have needed anything more.
Catch Ya Later,