Playlist: Upbeat Tunes to Shake Your Winter Blues

Depending on where you live, the winter weather is probably at a weird transitioning stage right now. For a lot of us Northeasterners, there's been a weird mix of winter weather with uncommonly warm days-- Mother Nature ultimately toying with us. To help you prepare for the guaranteed warm days ahead and to free yourself of any lingering “winter blues,” here's a compilation of dance-y songs, all groovy in their own right. From some old school Walk The Moon, to the contemporary R&B stylings of Anderson .Paak to an alternative Drake cover by Baltimore band Modern Nomad, there's a little bit of everything to put some spring in your step. Listen here.

text, visual and playlist: lydia velazquez
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The Magnolia Effect, Or What it Means When It Means Nothing

Here is the thing about Paul Thomas Anderson’s Magnolia: it shouldn’t work. Actually, it doesn’t work in a number of places. And it’s in those places that it somehow works best. Coming into the movie, I thought I was pretty damn smart. Thought I might major in film and could tell you the thematic weight that fell with Kane’s last whisper of “Rosebud.” I wanted everything to mean something. A tight little analysis I could type up and turn in for an elective course. Everything with rhyme and reason and easily explained over coffee when I wanted to hear myself talk. Pretty damn smart.

Magnolia was smarter. Released in 1999 to positive reviews and audience walkouts, it either had your number or it didn’t. I felt like I’d written mine on a bathroom wall. The film tracks roughly 10 characters of varying ages and fame (Tom Cruise! Julianne Moore! Philip Seymour Hoffman!) over one day in the San Fernando Valley. They are all somewhat distantly related to one another, like six degrees of separation but without Kevin Bacon. It is over three hours long and at the end — blink if you don’t want spoilers — frogs rain down from the sky.

I wasn’t introduced to the film so much as it was transmitted to me through osmosis, bit by bit, by my father, for years, until I finally sat down and re-learned everything I thought I knew about how things should work, feel, and end. When I was eleven, he showed me a scene from smack dab in the middle of the movie, with no context, in which each and every one of the characters is seen singing along to Aimee Mann’s “Wise Up.” The movie is not a musical. It made my dad, who was, to my eleven year old self, a giant and possibly made of stone or unbendable metal, cry. I was knocked off balance.

I came into Magnolia looking for a story I could pick apart later until it was bleached bones and muscle. Empty but for beginning, middle, end. Like they teach in intro writing classes or around the carpet in kindergarten. Magnolia gives you beginning, middle, beginning, middle, middle, beginning. Until you finally get to: End? Or maybe beginning again. I couldn’t tell you. That’s the fun of it, the thread that tugs and makes the whole thing move. Who cares if the rug unravels when you’re having so much fun watching it come apart?

Magnolia, for all its strange Biblical allusions and endless IMDb trivia page, is not trying to preach anything. There is not anything to figure out or to know or to conclusively understand. It didn’t try to teach me right from wrong. The last shot, without giving too much away, reveals no truths worthy of bringing down the mountain. You can’t, in fact, even hear any of the dialogue because Aimee Mann’s Oscar-nominated “Save Me” is playing too loud. But there is a moment, just before the camera goes black, where the character on the screen — a twenty-something blonde who has tugged both pity and annoyance and pity again from audiences brave enough to make it through — looks directly into the camera. Aimee hits a guitar-riff hard before the next chorus. The blonde smiles, just a little, just a turn of the lips. Cut to black.

It’s nothing and it’s enough. It is not pretty or perfect or even exactly profound. But it hits where it hurts, presses just above some hidden bruise. It feels good, like hope and flowers under dirt. It doesn’t feel like a revelation or a lesson. I cannot for the life of me tell you what any of it means. If it’s about anything, it is things that are best left unexplained.

After it was over, my dad asked if I wanted to hear his theory on the frogs. On what the biblical allusions were saying and whether the relationship between the cop and the coke-head was meant to teach us something about saviors. Remember, I was always the one who wanted to tell you about “Rosebud.”

“No,” I said, breathing it all in through my open mouth. “I really, really don’t.”

And he smiled. Cut to black.

text: jadie stillwell
visual: magnolia
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When discussing Jean-Pierre Jeunet’s Amélie, it’s hard not to use cliché terms like “whimsical" because it is just that-- but in a very unexpected, un-cliché way.

The French film follows Amélie (Audrey Tautou), an emotionally isolated young woman who works in a small bar in Montmartre. After finding a box of childhood trinkets hidden in her apartment and reuniting the box with the now middle aged owner, Amélie is overcome by a newfound desire to help those around her and to create a memorable life for herself and others. Yet while helping others, Amélie loses sight of the importance of pleasing herself, particularly in regards to her muddled romantic efforts to pursue Nino Quincampoix (Mathieu Kassovitz), a loner in his own right who works at a sex shop.

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One of the many aspects of the film that I find to be appealing is the complexities of it. When most people think of Parisian life, they assume it to be softer and slower than anywhere else, but Amélie's life is just as chaotic, if not more, than any other young woman's life. What makes Amélie’s life different, however, is how her imagination and empathy (results of a lonely childhood) take control of and often influence her actions and how she solves problems.

In regards to the film’s incorporation of the imaginative, it is worth noting the film's breaking of the fourth wall, but particularly in the way it's done. The narrator, for one, speaks directly to the audience, but there are also quick moments in which characters will speak directly to the audience or look (or even smile) into the camera. It feels less like breaking and more like tapping on the fourth wall.

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Another notable aspect of the film is the beauty of the dialogue, or sometimes the lack of. It's important that any watcher know that, as mentioned, the film is French and therefore in French. So unless you're fluent, you'll need subtitles-- but after the first few scenes you'll be so enchanted by the story you will forget you're even reading. There is also a good chunk of scenes in which there is little to no dialogue, but the actors convey the unspoken dialogue clearly, with their expressive movements that make even the most complex of feelings evident. Considering the obscurity of the plot and the characters respectively, each conversation is so strange and unexpected.

An interaction that particularly sticks with me is between Nino and the man in a photo which Amélie gives to him. Nino's imagination taking a hold of him as he questions the man in the picture as to who the mysterious girl (Amélie) is and what she wants from him. The man beckons to Nino: “No, you dope! She’s in love!” “I don’t even know her,” replies Nino. “You do!" urges the photo. “Since when?” “Since always. In your dreams.”

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As for the visuals of the film, I really take my hat off to Bruno Delbonnel-- the cinematography depicts Paris as beautiful and quirky as it is and as one would hope it'd be. The film makes use of a lot of camera movement and skewed angles to help convey the energy and excitement within the film. There is also a sort of yellow tint to the picture that gives off an aged but warm feeling, once again adding to the appeal and nostalgia of the work.

Amélie is no doubt a film for the hopeless romantic, the child-at-heart, and just about anyone else who wants to smile.

text: lydia velazquez
visual: amélie
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Max Donahue is a teenage designer from Massachusetts. I recently had the opportunity to talk to him about his inspiration, the process that goes into his silk screened graphic tees, and his plans for the future.

Adele Sakey: How did you enter into the world of fashion? What sparked your passion?
Max Donahue: When I was younger I would play with dolls and make dresses out of paper. As I got older, I stopped. I was afraid of being made fun of for liking things that were typically associated with girls. Throughout my education, I realized that high school is the worst and the topics I was studying didn’t make me happy. During my junior year, I started designing clothes and I realized that was the direction I wanted to go in.

A: Who or what inspires you and influences your work? (Either other fashion designers, music, art, etc)?
M: Alexander McQueen and his life inspire me so much; I love him. I also always admire couture designers because I love the intricacy of their designs. In terms of art, I love Alberto Giacometti. His style of drawing is similar to mine and the way he sees the human figure is interesting to me. With music, Frank Ocean is someone who always makes me think; I love his lyrics.

A: I noticed on your website that you make silk-screened graphic tees. Can you talk a little about the process that goes into making them and how you come up with the designs?
M: My shirts come from drawings in my sketchbook. I sketch them out and then scan them into Photoshop, where I edit them so they can be printed in black and white. I make the silk screens and then I can print the designs on to the shirts. The designs for my first series of shirts were inspired by different ways messages could be sent. I thought about how drawings and art could be used to say something, and also how messages could be sent in ways that not everyone can understand. Currently I’m working on a new series of shirts, which are inspired by love and the sociopolitical situation our country is in right now.

A: What is your favorite piece that you’ve ever created?

M: My favorite piece I’ve ever made was a dress I made last summer. It’s titled Paris Black and was my final project from a course I took at Parsons Paris. I was able to shoot the dress with my friend Dasha. Dasha was so fun to photograph and presented my dress really nicely; she’s gorgeous and we worked well together. The whole experience of making that dress and photographing it in Paris is something I’ll never forget.

A: What are your favorite current trends in fashion?
M: I love platform shoes right now. Marc Jacobs did really dramatic platform boots last spring which I loved; I love seeing platform shoes across different brands, from Fenty by Rihanna to Alexander McQueen platform sneakers. I also love how (faux!) fur is being used more frequently as an accent for pieces, i.e. seeing fur sleeves on a jacket.

A: Where do you see/hope to see the world of fashion progressing to in the future?
M: I hope that designers keep using their voices and working to change society. I think it’s an artist’s job to create in times of injustice, and with America’s political situation right now, I think fashion can make the people’s voices heard. What you wear inherently makes a statement, so I hope that fashion will progress by continuing to express our feelings through clothes.

A: What are your goals for the future of YOUR fashion career?
M: I want to make the most of my education at Parsons starting next year, and I really want to understand the industry more. Long term, I would love to have my own label, but we’ll see where things go. Right now I want to gain experience and start building my career by learning and working with other designers.

Be sure to keep up with Max via Instagram (@mxadonahue) or his website.

text: adele sakey

visuals: max donahue
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Unlike many of these Album Education posts, Sonic Youth’s Daydream Nation is not the first or the only album for this group, but instead the fifth. With that high bar raised, the album still holds its own. The 1988 punk/indie rock/whatever release is a collection of powerful and LOUD sounds collecting founding members Thurston Moore, Kim Gordon, Lee Ranaldo, and Steve Shelley’s articulations on their counter-culture. On Daydream Nation, they present a prolific attempt to capture what is like to be a punk among the punks, and just how many punks there seem to be. Daydream Nation is not necessarily better than the other albums presented in this series, but can serve as a complement of these many youth-themed albums, as it attempts to summarize what it’s like to be inspired by punk art in general.

Teen Age Riot
What I like about this iconic song, arguably the most well-known by the group, is its opening. Bit by bit, SY adds sounds until the song becomes an uncontrollable outburst. Steady strumming is brought in by Gordon, dreamily chanting “sweet desire, we will fall”; then, a pause. The same guitar sound returns with a vengeance. The rest of the song is a steadily melodic, yet at the same time, a wild outburst. I've never heard a more perfect song for moshing than this opening track about teens.

Silver Rocket
Continuing powerful, bursting noises, the next track is fittingly about a rocket. “Silver Rocket” has more raw punk energy than the first song. It’s overall aggressive, somewhat scratchy, and never stops pounding. You could argue that the “silver rocket burning a hole in your pocket” that Moore sings about is a euphemism for a lot of things, and its ambiguity is fitting. No matter what, a mechanical, silver contraption that is meant for shooting continues the energy of Daydream Nation.

The Sprawl
This third track shows something that SY likes to showcase on many tracks of this album: the rants of their band members. On this song, Gordon rants about the hot topic of sexualized commercialism:  “I wanted to know the exact dimension of hell/ Does this sound simple? Fuck you, are you for sale?” It may seem irritating now, but in 1988 it probably needed to be said. If the words are too preachy, choose to look at how well the name “The Sprawl” fits the lingering guitar sounds that literally run throughout this marathon track.

‘Cross the Breeze
Certainly the least aggressive of the opening tracks, this one opens with a beachy, elegant vibe. But it’s not for long that these sweet, oceanic guitars stick around. In a major flip of tempo and style, SY returns to their pounding guitars. Even though the new sound doesn’t stick around, its emergence and quick disappearance show how SY likes to freak out their listeners. Their math-rocky tempo changes (not new to Boston listeners) are disquieting acts of rebellion.

Eric’s Trip
For an album that’s been played mostly in garages, the name Eric fits perfectly. And a song about a drug-fueled “trip?” Even better. Psychedelic vibes add some spacey sounds and whammies to this track. But it’s not a departure from the punk rock sounds of the other songs-- it just adds another layer to the album.

Total Trash
This is the point in album listening when every song starts to like the Guitar Hero song selection. In each song, "Total Trash" being no exception, there are some time changes, brought together by a catchy guitar melody. With the help of some punk, anti-establishment lyrics, and some references to teen culture (like feeling like trash) you’ve pinned down the brand of SY.  

Hey Joni
It’s still 1988 and it’s okay that this is a very 80s track name and format. The song is a love letter for a lost significant other named Joni. Moore calls out to her, singing “tell me Joni…(fill in the blank and repeat 5 times). You can overlook these 80s references if you want. SY really wants you to. They even repeat "it's 1963… it's 1964," forcing you to think about a time that was more rebellious and psychedelic than their own.

"Providence" is very different. It’s one of the shortest tracks in that it's under 5 minutes. It’s also mainly composed of strange radio communications and somber piano playing. Very serious and very sad. The white noise taking you off the back of the track undermines the sad-sacky, artfulness, and takes you back to the great craziness of SY, coming right back in the next song.

If you like any of the time-changey, flat-voiced man bands to come after SY, “Candle” will be your favorite song. They still make all their usual thrash-heavy sounds, but they do it in a different way. I’m not really sure what it is about this song. It’s mysterious to me in a way that makes it seem better than most of the other songs on Daydream Nation.

Rain King
Think about the objects of choice in this album: candles, silver rockets, and rain-- they all go together. These objects or symbols, however SY appropriates them, turn into some kind of magical emo experience when SY brings them together. They are sad symbols, but they’re also dangerous. If Gordon and Moore we’re stranded on an island, we know what they’d bring.

The sexiest song on this album is “Kissability.” Sexual desire in the hands of SY and Kim Gordon is all teen, weepy, and aggressive. Gordon sings “drive me crazy, make me sick.” It's nothing we haven’t heard before. But with the right sounds, SY adds interest by making crushing sounds of undefined danger.

The Wonder
The Wonder is a part of a three-part trio closing out the album. Considering how many of the songs are primarily angsty, it’s more of the same. Notable phrases are “I’m just walking around, this city is a wonder town.”

"Hyperstation" is part two. It’s more about Moore walking around alone, nightlife, and druggy confessions. They’re really pushing the envelope when they say “I’m a walking lizard.”

Eliminator Jr.
Finally, the last track. Every time Kim Gordon sings it’s a relief. She mostly just makes moaning sounds on this song, but that’s also amazing. By "Eliminator Jr," I don’t think there was anything left for SY to add. They played their rumbling, melodic guitars as long as they could. You have to credit them for attempting to end with still some aggression, some moaning. It’s a punk move to go out with a bang.

text: allie miller
visual: sonic youth
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March marks the month in which musicians begin their spring tours. So, inevitably the relative dry spell of local shows will come to a halting end. With many artists performing across the greater Boston area it can be hard to identify the must see concerts coming to the city. However, I’ve compiled a list of shows that are certainly not to be missed this month:

March 2nd
The Joy Formidable @ Once Ballroom (Somerville, MA)
Start your month of right by seeing this Welsh rock band in a show that is sure to impress. They’re bringing their eclectic sound to Somerville’s intimate venue on March 2nd.

March 3rd
Noname @ The Middle East Downstairs (Cambridge, MA)
Well before performing with him on Saturday Night Live, Noname was featured on Chance The Rapper’s 2013 mixtape Acid Rap. Since then this Chicago native has been on the rise, and released her own mixtape in July of last year. Don’t miss her take over this Cambridge venue on March 3rd.

March 4th
Dua Lipa @ The Paradise Rock Club (Boston, MA)
Coming off a massive tour with Troye Sivan and releasing hit single after hit single, Dua Lipa is no stranger to success. Be prepared to watch her “Blow Your Mind” at The Paradise on March 4th.

March 14th
Tennis @ The Sinclair (Cambridge, MA)
This husband and wife duo return to Massachusetts on March 14th just in time for the release of their fourth studio album, Yours Conditionally. If you’re looking for some good indie pop to soundtrack your month of March, this is the show for you.

March 26th
The Japanese House @ The Sinclair (Cambridge, MA)
London’s The Japanese House, the solo act of Amber Bain, comes to Cambridge towards the end of a substantial North American tour. Her tracks, often times co-produced by the 1975’s Matty Healy and George Daniel, are sure to put you in an ethereal state of mind.  

March 27th
Bastille @ Agganis Arena (Boston, MA)
Bastille brings their Wild, Wild World Tour to Boston on March 27th. The tour is in support of their sophomore album, Wild World. If this album’s groundbreaking singles are any indication, Agganis Arena is sure to erupt in quite the dance party.

text and visual: adele sakey
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Album Education: Television's Marquee Moon

Entrenched in the coolest scene of all time, the 70’s New York punk movement, Television was an influencer then and now. With friends/fellow influencers Patti Smith, Brian Eno, and the whole crew at CBGB’s, Television helped to start something new. Surprisingly, their contributions are not always seen as founding the punk movement itself. Many argue that Marquee Moon, with its more complex guitar work and impressionist lyrics are some of the first sounds of post-punk rather than punk, but it helps to first view their album within the context of punk.

Television’s connections to the punk scene of the time is what has made them the stuff of legends, contributing to Marquee Moon’s timeless canon. Television’s founding member Richard Hell is credited with inspiring the founding style of the Sex Pistols, convincing CBGB to become a punk club, and now inspiring the bunches of contemporary New Yorkers now looking back and starting punk bands.

They were rebellious, in their screaming, gut-wrenching vocals and drooping, drugged-out hair cuts. But they were also an extremely ambitious, revolutionary band, said to practice for hours on end. Does that make them less punk? And is that a bad thing? Maybe or maybe not. Looking back, Television’s classification as punk or post-punk doesn’t detract from its value. It’s worth listening to for its energy and jammy guitars that you can dance to matter what their genre.

See No Evil
Opening track “See No Evil” starts with a simple pattern of scratchy guitars dancing on top of each other. Frontman Tom Verlaine's gutsy vocals complement the sound interplay in a song about running from your wild tendencies while simultaneously reverting to your dark ways. It's a jam for self-conscious punks.

“Venus” brings out another song about choice of lifestyle that continues a similar aesthetic from “See No Evil.” Here, guitars are more spacey and expanive while Veraline sings about “the night.” In Verlaine's night out, he adventures in an imagined New York city street caught between the Medieval Times and involving romantic entanglements with classical goddesses. Verlaine's still pointing to that rebellion of punk themes, but doing it in his new, heavily art-referenced way.

When Television first tried to record with Brian Eno, the band said that they sounded like The Ventures, in a really bad way. Here, with "Friction"’s cascading, reverb-drenched guitars, you can hear some of that surf rock influence. But the song moves away from free-flowing guitars of surf rock or exploding guitars of punk with more of a battle. The instruments all fight for your attention. Fitting for this battle, Veraline’s lyrics focus again on his own moral debates.

Marquee Moon
By the time you get to "Marquee Moon," the self-titled hit of this album, you realize the genius of Television in the context of post-punk: Veraline’s self-exploration. On this track he sings most memorably: “There I stand neath the Marquee Moon/Just waiting,
Hesitating/I ain’t waiting.” No punk would wait and contemplate. But Veraline’s been a punk, and now he’s slowing it down, adding intricate guitars, and asking you to consider your life.

"Elevation" is the most romantic, saddest track. Verlaine’s still being contemplative, but he’s doing it now about a lover. For this love song, there’s a fitting Police-esque, Sting-y vibe to the sound.

Guiding Light
"Guiding Light" starts slow but somehow picks up the spirit after “Elevation.” It's another slow-ish jam but with an emotional “build” proper for a song about rising up. The opening lyrics “Do I, Do I?” get you ready for a Verlaine space trip: one with layers of escape into your own thoughts.

Prove It
The drums on “Prove It” steal this show. For the first time, they take over the work from the guitar on Marquee Moon, and they have success. Like the battling guitar sounds of prior songs, they instead use powerful starts and stops as to maintain Television’s frantic energy. It’s a key point to look to the creation of the album’s instrumentation.
Torn Curtain
"Torn Curtain" takes you out with a bang. Veraline almost goes psychedelic, with some crazy keys and references to “trances.” But I like to think he just wanted to make a song that would stay with the listener as you leave. Like psychedelia, his contemplative efforts on "Torn Curtain" involve traveling to other dimensions, ones that exist only in your self-conscious, post-punk head.

text: allie miller
visual: television
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Locally Grown: Eva Elton

Eva Elton is a seventeen year old singer/songwriter from Boston. I recently sat down with her to talk with her about her music, inspirations, and plans. She released her Reckless EP last spring, and it is available on Spotify, Apple Music, and any other streaming service.

Tell us about yourself.
Oh man (laughs). I’m from Boston, Massachusetts, I’m seventeen years old, and I play tennis, too. I spend most of my time when I’m not at school or with friends writing or playing guitar, so that’s a big part of my life.

When did you first start writing songs?
I started writing songs probably when I was, like, nine. And then I started learning how to play guitar when I was eleven.

Do you play any other instruments?
I play banjo, ukulele, and mandolin.

What inspires you to write songs?
I always thought that I made up stories in my head, but then I realized that they actually come from experiences in my life and I kind of, like, dramatize them a little. Yeah, I’d say they come from experiences, and it’s just how I process those things.

What is your songwriting process? What’s the hardest part?
Okay, so I think the hardest part is taking an emotion that you’re feeling, or that someone else is feeling, and actually verbalizing what that feeling is. Sometimes I write songs about things that are going on in my friends’ lives, and just putting words to such complicated emotions is probably the hardest part. My process? I don’t know, usually I wake up in the middle of the night with a line in my head or a melody, and I’ll turn my light on and write it down or record it in my phone. Or sometimes I’ll be walking down the street, and that’ll happen too. So I don’t know, I don’t have, like, a process process, but an idea will come to me and then I’ll come back to it later, like, not in the middle of the night.

How did you decide on country music?
My mom is from Texas and we go there a lot, so I’ve always been surrounded by country music. My whole extended family is in Texas, and I spend so much time there… so I don’t know, country music has always been playing in my house and then been a big part of when I go down there. There’s tons of live music in Austin, which is where my family is. I love it, I like the stories that country music tells. I love old country most– I think some of the new country that’s on the radio is kind of, like, not as well written (laughs).

You recorded the Reckless EP in Nashville – tell us a bit about that.
So I recorded it at Omnisound Studios, and basically I got in contact with one of the people who runs their studio, and we went back and forth about which songs I should record. That was a fun process because he had everyone in the studio listen to them and gave me lots of feedback, which is really helpful. We chose five songs for the EP, and then I went down to Nashville over March break. I hadn’t met any of these people yet, so I was kind of nervous. I walked in, and I was surrounded by all these incredible musicians; like, the session musicians that worked with me were absolutely amazing. At first, I was like, “Oh my gosh, these people are all so intimidating!” because they are all so talented, but then I realized that we both have the same love for music. So we worked together and I wasn’t afraid to give them my input, but I also learned so much from them because they have so much wisdom and experience. The drummer is Kelly Clarkson’s touring drummer and Paramore’s drummer, and he was so cool! They were all so fun.

Which artists have had the biggest influence on you and your style?
That’s such a hard question, there are so many! I think Tim McGraw, George Strait a little bit, Shania Twain, and Ingrid Michaelson. I would say those are my favorites. Oh– Passenger is also, like, my favorite artist!

What’s the best advice you’ve received, and what you say to other budding musicians?
Well, I think…two things. One, if you love it, keep doing it. I think that’s very important. It’s really challenging to find something you love a lot, and if you find it, that’s really amazing and special, so follow that. And two, make sure it stays fun. I think it’s easy to have something that you love to do, like playing soccer or piano, but it’s also easy to make it stressful, and put a lot of pressure on yourself. I would just say keep it fun. I think that’s been the most important thing. Music is not something that stresses me out, and I don’t feel time pressure in things I have to write or performances because I love it so much, and practice doesn’t really feel like practice. Also, keeping in mind that it’s meant to be fun– it’s my outlet. I wouldn’t want to lose that aspect of it.

What are your plans for the future?
That’s a good question. I would say probably performing a little bit more. Since I was away this fall, I didn’t really get to perform, so ramping that up again. Maybe adding on, like, five more songs and making a full album would be a good next step. Maybe… kinda want to move to Nashville? That would be fun! But we’ll see how that works out. Yeah, I think just performing more and getting out there more, because I get very nervous before performing, but I think it’s so important to do. Also, when I’m in it, it’s the most fun thing. I love it and talking to everyone in the audience. It’s so much fun!

Learn more about Eva on her website or Instagram.

text: meera singh
visual: eva elton
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