Web: frankieandthewitchfingers.com 

Conatct: frankieandthewitchfingers@gmail.com 

Players: Dylan Sizemore, vocals, guitar; Josh Menashe, guitar, synthesizer; Nikki Smith, bass; Nick Aguilar, drums 

Material: Frankie and the Witch Fingers is a hard rocking, open-minded band. They are very progressive and mix it up extremely well with punk, metal, jazz and pop. The band is many faceted in many ways. They introduce a trumpet and a sax into a few of their songs and the songs themselves have many layers, twists, turns and spirals. Fast and furious at one point, then a slow-go for a bit, then it’s back on the horsie to gallop away; but only to get into the next song. Hints of Yes, Zeppelin and the Sex Pistols oozed out of the band’s pores as they played very melodic and melodious hard tunes. 

Musicianship: Excellent musicianship all around. These guys (and gal) put it on the line this particular evening in Hollywood. Sizemore walked the tightrope, did a few flips and landed straight on and wanted more. Great shredding from Menashe added ‘umph’ to the already great tunes as the horns and synthesizers added sophistication to the mix. The rhythm section was so on, you could tell these guys have been playing together for a while. Sizemore, Smith and Aguilar could do no wrong as they laid the foundation for a great evening of entertainment. 

Performance: The performance was extremely good. Super high energy was emanating from the stage all night. Aguilar is a monster behind the kit. Not just because he had painted his face super ugly, but because he prodded, poked, yelled and provoked, the audience, as well as his bandmates, to dance, jump and shout all night long; all the while twirling his sticks and sneering at who-so-ever dared lock eyes with him. Together with Smith and Sizemore, the chemistry is unmatched. 

Summary: Frankie and the Witch Fingers was super fun to watch and listen to. Superb lighting show by the Troubadour crew added ambiance and mood to the already vigorous atmosphere that Frankie and the Witch Fingers exuded. A great band performance that not only entertained on a Broadway level, but entertained and impressed on a musical level. If you’re into high energy Rock n Roll and want to dance, jump and shout all night long, Frankie and the Witch Fingers is your band. Prog-Metal at its best! 

Contact: sonofthevelvetrat@gmail.com 

Web: sonofthevelvetrat.com 

Players: Georg Altziebler, vocals, guitar; Heike Binder, vocals, drums, percussion, keyboards, theremin; Tim and Ellen Chinnock, backup vocals; Gar Robertson, mandolin. 

Photo by Joe Garcia

Material: Son of the Velvet Rat (SotVR) is the stage name of Georg Altziebler, joined by his wife, Heike Binder. Delivering tremolo-soaked guitar chords, honest vocals and lyrics, and simple noire-folk grooves, the duo seemed right at home nestled on the cafe stage with the morning sun streaming down as festival goers trickled in from camp. 

Musicianship: With his grizzled vocals and mournful harmonica lines, Altziebler carries the folk-troubadour legacy of Dylan, Van Zandt, and Drake. However, his psychedelic approach to the guitar brings a new flare to the tradition, embracing modern techniques like tape echo manipulation to paint spacey soundscapes that add to his song-vignettes. 

Performance: Opening as a duo, “Blood Red Shoes” was a natural highlight with its simmering energy and singalong “Sha la la’s.” The tight, haunting harmonies on “White Patch of Canvas” highlighted the couple’s locked-in vocals. SotVR weaved song into song, frequently tying together different tracks with a swell from Altziebler’s guitar, or a flash of magic from Binder’s theremin. The simmering, melodramatic “Another Glass of Champagne” began with a crowd pleasing theremin intro, and then sucked the crowd in with woozy vocals and instrumentation. “See So Blue” had a nostalgic melodica solo, punctuated with vocal harmonies, cantering straight into a spacey transition of theremin and tape echo, building into “Jet Pilot”’s driven guitar groove. 

Summary: Son of the Velvet Rat is an adventurous take on the folk-rock tradition. By melding the Old-World cabaret influence of Georges Brassens and Jacques Brel with the story-driven songwriting of Bob Dylan and sonic landscapes of Mojave psychedelia, Altziebler and Binder lure you in and swallow 

you down with a blood red merlot. The duo 

have a stunning range thanks to Binder’s multi-instrumental capabilities and convincingly tie intimate love songs to groovy surf-rock tunes. Altziebler’s self-referential lyric from “Jet Pilot” captures their ethos perfectly, “sometimes it feels like nothing holds me, a puppet on a broken string… feel so free it makes me sing.” 

Contact: monsterwatch@gmail.com 

Web: monsterwatchnoise.com 

Players: John Spinney, guitars, vocals; Ben Parker, bassist; David Cubine, drums 

Material: Monsterwatch is a frenetically heavy psych-punk band based in the Emerald City. The trio embraces the dissonant sludgy guitar sounds made popular during Seattle’s gilded grunge days (Nirvana, Mudhoney) but blasts them into modernity by blending brutal 

post-hardcore beats (Metz, Turnstile), fuzzy hallucinogenics (The Black Angels, Thee Oh Sees /Osees), and sardonic art-edged tonalities (IDLES, Fontaines D.C.). Monsterwatch’s lyrics explore the concept of psychological thrills and existential crises, finding purpose and meaning in lives filled with despair. 

Musicianship: The trio’s overall visceral musical technique is striking. Frontman John Spinney’s vocals easily flow from haunting lows to lofty screams throughout. As a guitarist, Spinney’s playing is blistering, fretting power chords as well as guitar solos with precision even while playing upside down (which is often). Bassist Ben Parker creates deep counter melodies with influences that include Matt Freeman’s (Rancid) arpeggiation stylings as well as Peter Hook’s (Joy Division) “hooky” bass lines. Drummer David Cubine’s hard-powered hitting and his skill in keeping varied time signatures is impressive, especially when working in clean, expressive supersonic fills. 

Performance: Monsterwatch stepped onto the Tractor Tavern’s stage awash in swirling, screeching sound effects. The band casually took their places and after a quick “Hey Seattle, what’s up!,” plummeted into a pure punk fiasco starting with “Let Go.” Monsterwatch immediately moved into “Lick the Wall,” with lead singer Spinney bending over backward while sticking his tongue in the air. The band continued the chaotic vibe as John climbed a speaker cabinet, motioning the crowd to move closer. Their raised arms prompted John to jump in, crowd surfing on his knees. The show ended with the darkly harsh “Big Sin” and maniacal “Brain Twist.” Monsterwatch signed off with Spinney handing his guitar to the crowd before the trio disappeared backstage. 

Summary: Monsterwtach is an extremely talented, vicious psych-punk trio. Their live show highlights the band’s ability to effortlessly blend a wide range of musical influences from grunge to metal core with polished finesse and fierce rawness. 

Contact: daniella@pressherepublicity.com 

Website: sethglier.com 

Players: Seth Glier, vocals, guitar, keyboards 

Photo by Mark Shilowich

Material: Marking the release of his new album, Everything, solely devoted to climate change, Grammy®-nominated artist Seth Glier, took the audience on a journey, imagining a world where we are one with our planet. With topics ranging from foraging for mushrooms to trees having in depth conversations, Glier’s vision is one of hope and problem solving. In “Birches,” trees cry out for what they are missing: The Maples are moving/Spinning northbound seed by seed/Praying for snow and the sap that needs running. In his strongest appeal to our collective efforts to preserve the planet, Glier implores us to consider all living breathing entities in “Rise:” What if this is the beginning/Not the beginning of the end/We all belong, we all belong to the rhythm/So rise. 

Musicianship: Although considered a folk singer/songwriter, Glier transcends that designation with a panoply of sounds from guitar to keyboards and programmed instruments. The absence of a backing band did not impact the performance as Glier fills the spaces with these elements along with the high energy he exudes. His vocals are powerful and often have more of a pop sensibility than what would be considered a traditional “folky” sound or style. 

Performance: He managed to deliver messages that were packaged with a high level of musicality, humor, and sincerity, never hitting us over the head or bemoaning our fate, which was refreshing. There were also plenty of charming anecdotes to accompany the songs. 

Summary: Seth Glier’s commitment to the issues reads authentic. Without preaching or scolding, he paints a tapestry of what can be, with positivity and musical acumen. He has collaborated with musicians in Ukraine, Mongolia, China, and Mexico during his time working with the U.S. State Department and shared the bill with a diverse list of artists including Ronnie Spector, James Taylor, and Ani DiFranco. 

Contact: neilnayar@hotmail.com 

Web: banjoboys.com 

Players: Yobu Maligwa, bababtone and lead vocals; Yosefe Kalekeni, guitar, drum and backing vocals 

Photo by Alon Goldsmith

Material: Under the desert sun, Malawi-based duo Madalitso Band played a sparkling set on the main stage at the Joshua Tree Music Festival. Yobu Maligwa’s bright tenor vocal and homemade bass instrument, the babatone, combine with Yosefe Kalenkeni’s rich baritone vocal, dancing guitar lines, and thumping kick drum to create a rhythmic force. The band pounded out their catchy Afropop songs from their album Musakayike, meaning "don't doubt us," their second international release under Bongo Joe Records. 

Musicianship: Within the span of a song, the crowd was dancing along to their infectious, sunny grooves. Kalenkeni’s rhythms drove the band’s sound with his steady four-on-the-floor kick drum, simultaneously weaving syncopated guitar lines to provide the chords. Combined with the one-stringed babatone and the duo’s vocals, the sound was greater than the sum of its parts. Maligwa and Kalenkeni share vocal duties and take turns leading the songs, but their combined harmonies really captured the crowd’s attention. They delightfully flip musical conventions on their head by using the bassy babatone as the lead solo instrument while Kalenkeni keeps his guitar lines driving and catchy. “Jingo Janga” highlighted the set, with great energy and flare. 

Performance: The set fell into a predictable pattern of vocal section into instrumental jam. By using a glass bottle slide on the babatone, Maligwa not only played bass lines for the songs, but punctuated the tunes with adventurous slides up and down the neck. This rising action for solos frequently culminated in a single, repeated note. Though minimalistic at times, these musical sections brought the listener’s attention back to the rhythmic core of their style, toeing the line between jam band and pop. 

Summary: Madalitso band are an exciting take on Afrobeat music. By boiling down the genre’s instrumentation to its core, the duo showcases the beauty of simplicity. This duo delighted the crowd with their vocal harmonies, warm stage presence, and dedication to the joyful groove. 

Web: littleimagemusic.com 

Contact: brittany.rendak@disney.com 

Players: Jackson Simmons, vocals, guitar; Brandon Walters, bass, synthesizer; 

Troy Bruner, drums 

Material: Little Image is a rave-ready rock band, complete with thundering drum beats, searing guitars and how-low-can-you-go bass lines that rev up the audience to new heights. The music is a little bit all-over-the-place but the audience loved it. Sounding at times like Rage Against the Machine, and Radiohead and/or the Goo Goo Dolls at others, the music was loud, in-your-face and thunderous the whole time. 

Musicianship: Take three musicians, who individually are very good, and put them together and you have a great, energetic and spirited band that drove the audience crazy. All three of these guys are multi-instrumentalists as they showed off their skills to a near sold-out show at Echo in Los Angeles. Bruner was on keys on some of the songs, Walters was on guitar and Simmons, well Simmons was having his way with the ladies as he included the audience in on all the fun. 

Performance: The performance was great. Little Image had a screen behind them on stage flashing pictures of the band and random thoughts and sayings and images that kept the audience intrigued the whole time. Walters was having a great time showering the front row with sweat as Simmons and Bruner were content with playing their instruments and having fun with the crowd. 

Summary: Little Image is a great rave band. The drums were the driving force behind the sound and Walters and Simmons took advantage and took the music to another level. Simmons vocals are very good and the background vocals by Bruner and Walters added another vital layer to the already, groovy and good music. They are energetic and the music is likable and appealing. 

Web: rachelgrae.com 

Contact: mcmiskell@shorefire.com 

The Players: Rachel Grae, vocals, keys; Isacc Singer, keys; Liam Fennell, guitar; Izzy Lamberti, drums 

Material: Rachel Grae is a Pop/Rock and R&B group in the likes of Ariana Grande,  Beyoncé, Lady Gaga and Selena Gomez. The music is catchy and has powerful lyrics that contribute greatly to the understanding of a broken heart. If the music doesn’t get you, the lyrics will. 

 Musicianship: Grae has an excellent group of musicians backing her up. Lamberti is a firecracker behind the kit and was constantly going off. She was sitting in the back, thumping away in her own little world. Confident and poised, she was, seriously, the backbone of every song. She didn’t miss a beat all night and her energy was boundless and infectious. She made the rhythm section happen, even without a bass player. Singer contributed nicely with keyboards and some well-placed, tasty chops and was key in holding down the bottom end. 

Performance: Rachel Grae is a very good, personable, amiable and pleasant persona. She commands attention from the audience and in return she gives them friendship and bonds easily with everyone, even newbies. She has a great voice that sounds, at times, like Lady Gaga, or Ariana Grande and she can hit the high highs as well as the low lows. “How to be Alone” showcased Fennell on guitar, who, also, was an integral part of the music. It’s always nice to have a solid player, who knows the music and that you can count on. 

Summary: Rachel Grae is an up-n-comer who has well written tunes and a very good band to boot. All her music is pretty good, no matter how short or how long the tune is. She is very entertaining and the music is affable. Songs like “How Dare You,” “Enough of Me” and “Your Loss” take you to a land of heartbreak, as you are beautifully lulled into a world of confusion, hate and anger; as only love can do. Just ask Rachel Grae. 

Contact: Shore Fire Media 

Web: devongilfillian.com 

Players: Devon Gilfillian, Vocals, uitar; Jonathan Smalt, drums, backing vocals; Matthew Chancey, bass; Josh Blaylock, keys, backing vocals; Ray Mason, trombone; Nate Felty, percussion; Parker Knight, crew 

Material: Devon Gilfillian is a gifted singer-songwriter and multi-instrumentalist who creates neo-rocked-out soul. Gilfillian's provocative lyrics delve into life’s complex manifolds—from finding and experiencing love to observing and contending with socio-political injustices. 

Musicianship: Gilfillian’s vocals are superb. He effortlessly moves his rapturous voice, which embodies Curtis Mayfield’s silky-smooth timbre, from dark lows to seductive highs in ”Imma Let My Body Move.” As a guitarist, his work also pays homage to Mayfield’s innovative guitar technique, but also points toward Prince’s electrified virtuosity in the supercharged, post-chorus breakdowns “Unchained” and the extraordinary experimental “Follow the Leader.” 

Keyboardist Blaylock provided exquisite additional melodics which included his unaccompanied “Piano Interlude.” The rhythm section—Smalt on drums, Felty on percussion, and Chancey on bass—read each other’s beats, fills, and low lines to perfection. As an ensemble, they provided amazing accompaniment for Gilfillian’s gorgeous grooves. 

Performance: Devon Gilfillian walked onto a Tractor Tavern stage decorated with woven carpets, warmly lit lamps, and several well-placed floral arrangements. He shined a bright smile to the excited, sold-out crowd and surged into the delectable “Brown Sugar Queen.” His seductive voice and alluring personality brought the already tight audience closer, squeezing them together for the Afrobeat-driven “Get Out and Get It” and the neo-funk “Right Kind of Crazy.” Gilfillian and company moved further into the night with the sultry “The Recipe” before belting out an emotionally stirring rendition of Marvin Gaye’s “What Going On.” The show ended with soaring atmospherics in the poignant “Love you Anyway.” 

Summary: Magical best describes Devon Gilfillian’s live show. The joyous contemplative beauty of his music combined with his effervescent, authentic personality instantly draws people toward him. His effortless skill in blending a wide variety of musical genres and lyrical content in his compositions is impressive while his soul-based musicianship is on par with the best in the business. Make sure to check out Devon Gilfillian on tour as well as his most recent album Love You Anway. 

Contact: Gillian Driscoll @ Gillian Jean Creative / gillian@gillianjean.com

Web: jessicacarteraltman.com

Players: Jessica Altman, vocals; Vanessa Bryan, backing vocals; Michael Herring, guitar; Alex Burke, keyboard; Brandon Brown, bass; Dylan Elise, drums

Material: Playing to a tight-knit, supportive crowd, Jessica Carter Altman shared yet-to-be-released music from two coming EPs during her intimate Hollywood show. As a gentle lilting opener, the song harmonies in “Fake It” shone through, with stellar backing vocals and beautifully blended instrumentals that continued throughout the evening. Between gently honest lyrical stories and a clean, tight band, Altman showed the makings of something truly special

Musicianship: Backed by a phenomenal group of some of Los Angeles’s best players, “Aftermath” revealed a great bass sound (courtesy of Brandon Brown), with a funky build that landed with yummy warm vocals. “Naïve” brought a more theatrical style, with a sensitive rhythm section underpinning, more great harmonized voices, and rich organ sounds from the keys (added by Alex Burke). Room favorite, “Pieces” delivered a post-breakup shakeup, with great guitar licks from Michael “Fish” Herring, and more fabulous bass lines and organ sound. “Lucky One” (from 2022’s EP For You) saw things switching gears to a lullaby-feeling country ballad.

Performance: Stepping things up a notch with the Ashford/Simpson/Armstead classic “I Don’t Need No Doctor” (previously covered by Ray Charles and John Mayer), the group added a great guitar intro, heavier funk bass, edgier vocal sound, and solos from each of the musicians on stage, while “Bad Energy” shared a grungier-sounding guitar intro. Altman’s open, transparent lyricism made for a relatable performance, and her down-to-earth approach with her audience—especially on “Clumsy” (speaking to her quirkiness when she first met her now-husband) and newest release “Naïve” (referencing how her dad used to describe her), helped form a genuine connection with the room. 

Summary: Sincere and sweet, Jessica Carter Altman brings an unusual softness to the stage. Clearly appreciative of the opportunity to share her artistry with a crowd, her demeanor shares a level of gentleness and humility rarely seen in performance circuits. Altman’s stories of resilience and vulnerability, along with her quirky and relatable personality, make for a refreshing combination inside a comfortable evening of authentic storytelling.

Photo by Ted Cohen

Seattle, WA   

Contact: andi@terrorbird.com

Web: enumclaw.online

Players: Aramis Johnson, lead vocals, guitar; Nathan Cornell, lead guitar; Ladaniel Gipson, drums; Eli Edwards, bass 

Material: Enumclaw is a talented alt-rock band from Tacoma, WA. The foursome readily blends the fast-and-loud melodic inklings of Hüsker Dü with the laidback vocals and dissonant guitars of Pavement (Stephen Malkmus) and Dinosaur Jr. (J. Mascis), adding a smattering of sounds from '90s indie-icons Sonic Youth (“Teen Age Riot”) and the Pixies (“Where is My Mind?”).  While Enumclaw leans into alternative music’s halcyon days (they cleverly proclaim they are “the best band since Oasis”), their songwriting has a raw intangible authenticity that brings a natural modernity to their sound. Lyrically the foursome explores a wide range of themes—the dark domains of coping with the death of a loved one, the bright spheres of fostering newfound friendships, pursuing quixotic quests to fulfill desired dreams—and brings them into focus through an inspirational lens.  

Musicianship: The four-piece band’s musical technique is carefully crafted into their style of sugary grunge meets full-out indie rock. Frontman Aramis Johnson embraces his deep chilled-out vocals and skillfully slips them over his distorted, lo-fi guitar tones while lead guitarist Nathan Cornell creates mellow melodic timbres with just enough screech to make the songs stand out. The rhythm section, bassist Eli Edwards (Johnson’s younger brother) and drummer Ladaniel Gipson have a strong connection and their ability to mix slick overdrive grooves with steadfast beats makes a perfect undercurrent for Enumclaw’s relaxed but earnest sonic ethos.

Performance: Enumclaw leaped onto Neumos’ intimate stage and immediately surged into the hazy sweet “Save the Baby.” The spirited indie-music makers continued with the jangly fun “Cowboy Bebop” where several fans slipped by security, ran on stage, and dove into the all-hands-up, sing-along crowd. Enumclaw moved through their vibrant set with the dreamy shoegaze-driven “Jimmy Neutron” and ended with a round of new material - the moving alt-rockers “This Light of Mine” and “Change.” The evening culminated with a gracious Johnson inviting fans 21+ years old to meet them at the bar down the road—an invite that was greatly appreciated by fans of that ilk. 

Summary: Enumclaw is a brilliant ’90s indie rock-meets-dissonant shoegaze band. Their live set highlights the band’s ability to bring in an audience with their bold, yet charming presence.  Most impressive is the band’s intangible musicality that can only truly be heard and felt within the throes of their heartfelt, rock-out shows. Look for Enumclaw playing across the United States with new music in 2024!