Hailing from the sunshine state of Florida, Grace Givertz captivates audiences with her indie folk compositions, blending earworm melodies with heartfelt storytelling. As a multi-instrumentalist, she infuses her music with a diverse array of sounds, weaving folk, Americana, and indie rock into a tapestry uniquely her own. Drawing inspiration from her personal journey living with chronic illness, Givertz’s music resonates with raw emotion and introspection. Her experiences infuse her songs with depth and authenticity, inviting listeners to explore themes of resilience and vulnerability. She has also been heavily involved with the Black Opry, an organization dedicated to highlighting and supporting Black musicians in the country music industry.

While only a relatively short time since the van-dwelling singer-songwriter Olive Klug has fully pursued the nontraditional life of a touring musician, their sophomore album Lost Dog finds them contemplating a propensity for adventure no matter what avenue of love and loss it leads down. Although still very young, on Lost Dog Klug artfully addresses “aging as a neurodivergent free spirit” on the road with an unarguably talented ability to fearlessly voice deeply honest emotions through captivating storytelling.  

Gentle at the start, album opener “Taking Punches From the Breeze” gets its title from Klug’s self-described nature of “letting the wind take them wherever they’re meant to be.” As more instrumentation fills in alongside fingerpicked guitar and Klug’s soft croon, a shuffling drum beat arrives under lyrical imagery of life’s new direction and the ups and downs of being beholden to the breeze. 

Deemed by Klug as “the happiest song you’ll ever hear about unrequited love,” “What to Make of Me” is a “zydeco-inspired romp” so full of life and self-assuredness that there’s hardly room to dwell on anything remotely devastating. Pure unshakeable confidence clocking in at just under three minutes, this tune is much like the short-term romance that inspired it with the added benefit of being able to listen on repeat. 

“No one is their best self in the first few weeks following a big breakup,” explains Klug. “And the song ‘Cold War’ demonstrates how this manifests in our modern world.” Poignant and precise, the stark recording of guitar, bass, haunting strings and vocals accentuate a very twenty-something realization on ended relationships and the proclivity to stalk the internet thereafter:  

“The cold war has begun 

Of who can prove that they’re having the most fun, 

Through tiny screens and Spotify streams 

Trying to prove to the other that we won” 

“The song shows us parts of ourselves we might not always be proud of,” says Klug. “But can undeniably relate to.” 

A “take on Paul Simon’s wordy magical chaos,” “Train of Thought” is an experimentation into the world of abstract metaphors compared to Klug’s usual literal storytelling style. On the surface the fun and frolic of wordplay and rhythm are countered by the personal meaning to Klug, and letting the listener in to what it’s like to be neurodivergent and how they have “recently embraced the internal chaos instead of trying so hard to control and repress it.” Additionally, lines like “and they try to button up my suit and tie in an attempt to hold me back but I’m this strange old conductor wearing pearls and a backwards baseball cap” highlight how their “nontraditional gender presentation is intrinsically linked to this neurodivergence and desire to resist societal pressures.” 

The “fast-paced folk punk anthem” “Opposite Action” creatively puts Klug’s “under-utilized psychology B.A” to use – taking a therapeutic concept for a song name and putting its practice of encouraging “patients to do the opposite of what their emotions are telling them to do” in the chorus. Frustrated after applying these methods and not attaining immediate results during a depressive episode in the summer of 2023, Klug’s stream of consciousness style verses offer emotional release and the recognition that getting older and more responsible can feel like an inner-battle when the old patterns want to “give into the worst of me sometimes.” 

Slowing down the tempo, “Lost Dog” is a melancholic examination of lifestyle choices. “It’s about watching your peers settle down into serious relationships and buy houses and wonder if you made the right decision to choose freedom and independence,” says Klug. “It’s about learning that the other side of the freedom/independence coin is often instability and loneliness.” Klug carefully acknowledges that their career can be captivating to many as “a wanderer’s lifestyle,”but others’ admiration can quickly turn to contempt as they age – a feeling expressed through the track’s titular metaphor in the chorus. 

Revisiting the same break up depicted in “Cold War,” the minimalist ballad of “One Dimension” harnesses the healing power of hindsight. “With more time to process,” explains Klug. “It’s much easier to come to terms with the nuance in a relationship and recognize that the anger and vengeance that first arise after a breakup are often a coping skill for processing the real sadness and loss of cutting ties with someone you were once vulnerable enough to share your life with.” 

Already serving as a special moment in Klug’s live set, Lost Dog ends with the enchanting and existential “Fleeting.” Reflecting on the complexities of connection, this swaying track is enhanced by crowd participation on the lullaby-like chorus “it’s fleeting, I’m better when I’m leaving” – a sung mantra between artist and audience of appreciating the present when departure is imminent. 

Lost Dog was produced and engineered by Isaiah Beard (Jobi Riccio) and recorded at Club Roar in Nashville, TN.  

Julianna Zachariou (zak-uh/ree-yoo) is an independant singer/songwriter and multi-instrumentalist currently living in San Diego, CA (by way of hometown Sacramento, CA and a five year stretch in Nashville, TN). Julianna’s “sharp, witty and personal” writing, as praised by San Diego Magazine, has earned her over 8 million streams online and thousands of monthly listeners. Her latest full length album, “Hero Of Your Heart” garnered a nomination from the San Diego Music Awards as well as multiple nods from San Diego’s KPBS on radio and in print. If you catch Julianna, you are sure to enjoy a set that “masters a blend of pop, folk, rock, indie and Americana and turns it into something that feels fresh, like it’s just hers.” (J. Evans / KPBS).”

In the decade since Jenny Owen Youngs last released a full-length album, she’s toured the world, co-written a #1 hit single, launched a wildly popular podcast, landed a book deal, placed songs in a slew of films and television series, moved from Brooklyn to Los Angeles to coastal Maine, and gotten married, divorced, and married again. She’s done everything, it seems, except release another album.

Yet now with her exceptional new Yep Roc debut, Avalanche, Youngs delivers a main course worthy of the wait. Written with a series of friends including S. Carey, Madi Diaz, The Antlers’ Peter Silberman, and Christian Lee Hutson and recorded with producer Josh Kaufman (Bonny Light Horseman, The Hold Steady, Cassandra Jenkins, Josh Ritter), the collection is an achingly beautiful exploration of loss, resilience, and growth from an artist who’s experienced more than her fair share of each in recent years. The songs are deceptively serene here, layering Youngs’ infectious pop sensibilities atop lush, dreamy arrangements that often belie the swift emotional currents lurking underneath. The performances, meanwhile, are riveting and nuanced to match, gentle yet insistent as they reckon with the pain of regret and the joy of redemption, sometimes in the very same breath. The result is the most raw and arresting release of Youngs’ remarkable career, a brutally honest, deeply vulnerable work of self-reflection that learns to make peace with the past as it transforms doubt and grief into hope and transcendence.

That kind of range has been Youngs’ calling card from the very start. Born and raised in rural New Jersey, she fell in love with The Beatles at an early age before eventually finding her way to The Cranberries and Elliott Smith in high school. Her self-recorded debut, Batten Down The Hatches, landed a high-profile sync in the Showtime series Weeds and led to a deal with Nettwerk Records, which re-released the album along with her 2009 follow-up, Transmitter Failure. Widespread acclaim and dates with the likes of Regina Spektor, Ingrid Michaelson, Frank Turner, and Aimee Mann followed, but by the time Youngs released her third album, 2012’s An Unwavering Band Of Light, she was ready for a change of pace, moving to LA to focus on writing for other artists and for film and TV. In 2016, Youngs co-wrote Pitbull’s “Bad Man,” which debuted at the 58th annual Grammy Awards; in 2017, she co-wrote Shungudzo’s “Come On Back,” which was featured in the Fifty Shades Freed soundtrack; and in 2018, she co-wrote Panic! At The Disco’s smash hit “High Hopes,” which went five-times platinum and broke the record for most weeks atop Billboard’s Hot Rock Songs chart. Along the way, Youngs also launched Buffering The Vampire Slayer, an episode-by-episode podcast devoted to Buffy The Vampire Slayer that attracted more than 160,000 monthly listeners and led to a book deal with St. Martin’s Press. Youngs recently launched a new series with her podcasting partner/ex-wife called The eX-Files and has a narrative fiction podcast due out next year, as well.

Nemarca is the musical project of artist Anna Reidister.

Anna Reidister is an interdisciplinary artist, writer, and musician located in Boston, MA. Her work explores the intersection of storytelling, character building, and late-stage capitalism through performance, event production, post-digital objects, folk art, and poetry. She aims to expose the absurdity of neoliberalism, imagine new worlds and envision alternate realities. She has performed at Massachusetts College of Art’s Alumni & Founders Day, Club Passim’s campfire. festival, Boston Neighborhood Network’s Community Media Day, and the Winthrop Pride Festival hosted by Senator Lydia Edwards. She holds a BFA from Massachusett College of Art and Design in Interrelated Media and a minor in Creative Writing.