On the heels of four back-to-back sold-out shows at the Gramercy Theatre in New York this past January, The Magpie Salute is back for more shows. Following the prior announcement of shows in Chicago (July), San Francisco(September), Boston (August), Atlanta (August) and Los Angeles (September), now comes a headlining tour.

THE MAGPIE SALUTE’s first-ever national headline tour–starting July 26 in Indianapolis–which will include appearances at festivals (itinerary below). For more information and to purchase tickets, visit: http://themagpiesalute.com/events

THE MAGPIE SALUTE features musicians who have played together for decades throughout various projects and share a musical bond. The band brings Rich Robinson, the guitarist and co-founding member of The Black Crowes, together with two key members of Crowes fame–guitarist Marc Ford and bassist Sven Pipien–alongside drummer Joe Magistro and guitarist Nico Bereciartua. THE MAGPIE SALUTE also boasts a fine cast of vocalists, including lead singer John Hogg (Hookah Brown, Moke), former Crowes singer Charity Whiteand background singers, Adrien Reju and Katrine Ottosen.

7/26

INDIANAPOLIS, IN

Vogue

7/28

CHICAGO, IL

Metro

7/29

CHICAGO, IL

Metro

7/30

DETROIT, MI

Saint Andrew’s

8/1

BUFFALO, NY

Tralf Music Hall

8/3

BOSTON, MA

The Wilbur

8/4

HARTFORD, CT

Infinity Hall

8/5

HAMPTON BEACH, NH

Casino Ballroom

8/6

PORTLAND, ME

Aura

8/8

NEW BEDFORD, MA

The Zeiterion Theatre

8/9

RED BANK, NJ

Count Basie Theatre

8/11

SCRANTON, PA

The Peach Music Festival

8/12

SILVER SPRING, MD

The Fillmore

8/13

HUNTINGTON, NY

The Paramount

8/15

CHARLOTTE, NC

Neighborhood Theatre

8/16

RALEIGH, NC

The Ritz

8/18

ATLANTA, GA

The Buckhead Theatre

8/19

MYRTLE BEACH, SC

Myrtle Beach Speedway

8/20

ASHEVILLE, NC

Diana Wortham Theatre

8/22

CINCINNATI, OH

Bogart’s

8/24

LOUISVILLE, KY

Mercury Ballroom

9/7

SAN FRANCISCO, CA

The Fillmore

9/8

SAN FRANCISCO, CA

The Fillmore

9/13

LOS ANGELES, CA

The Fonda Theatre

The post Rich Robinson, Marc Ford & The Magpie Salute Press On With Lengthy Summer Tour appeared first on Glide Magazine.

Slightly Stoopid have unveiled the initial dates for their 11th annual summer tour. The 2017 Sounds of Summer tour will route the California natives to amphitheaters and pavilions across North America and take the band overseas for festivals throughout Europe. Joining Slightly Stoopid on all June, July and August US dates are Iration, J Boog, and The Movement. Pre-sale tickets go on sale at 12 PM local time this Friday, March 3rd through the Slightly Stoopid fan club. The general public on-sale will then take place atFriday, March 10th at 10 AM local time.

“It’s gonna be a summer of madness when we the hit the road with our boys Iration, J Boog, and The Movement for the Sounds Of Summer 2017 tour,” says frontman Miles Doughty. “Smokestacks and sunshine while spending the summer jamming, BBQ-ing, and hanging with friends. Doesn’t get much better than that!”

The Sounds of Summer tour kicks off in Glen Allen, Va on June 8th and carries the band along the East Coast through July 9th. Slightly Stoopid will then hit the Pacific Northwest for about a week before traveling towards the southern edge of the country. Announced are 27 dates and 19 states in all including a return stop to Red Rocks Amphitheater in Morrison, CO as well as Marymoor Park in WA and The Greek Theatre in Berkeley, CA. More dates will be announced soon. A full list of currently announced tour dates are below.

Be sure to catch Slightly Stoopid at festivals worldwide this spring and summer. Currently announced performances include appearances at US festivals Reggae Rise Up (St. Petersburg, FL), Tortuga Music Festival (Ft. Lauderdale, FL) and SweetWater 420 Fest (Atlanta, GA), and internationally at Jungle Jam (Jacó, Costa Rica), Byron Bay Bluesfest (Byron Bay, Australia), and Boomtown (Winchester, UK).

The post Slightly Stoopid Announces 2017 Sounds of Summer Tour appeared first on Glide Magazine.

Following three holiday tours with Nick Lowe, America’s foremost instrumental guitar combo Los Straitjackets couldn’t help but ask the question, “What would Nick Lowe’s songs sound like as instrumentals?” On May 19, the Grammy-nominated guitar heroes will answer that question with the release of What’s So Funny About Peace, Love And Los Straitjackets on Yep Roc Records.

The first single, “(What’s So Funny ‘Bout) Peace, Love & Understanding,” premiered today at all streaming services and the album is now available for pre-order. In support of the album, the band will embark on a 14-city co-headline tour with pop/rock icon Marshall Crenshaw beginning June 15. The shows will feature an instrumental set as well as collaborations. A full list of dates is below.

Produced by Neil Brockbank, Nick Lowe’s producer and longtime collaborator, the band delves into 13 of Lowe’s most iconic songs from his illustrious career with original arrangements. The album also features longstanding Lowe band member Geraint Watkins on keyboards, the recording debut of Royston Lowe on percussion, and a vocal cameo by Lowe himself on an undisclosed track.

“Recording these songs reminded me what a great melodist Nick is,” observes guitarist and co-found Eddie Angel. “Everybody knows that he writes great lyrics, but he doesn’t always get credit for his amazing melodies. The fact that the songs stand up as instrumentals is proof of that. And I think that we managed to bring something new to the songs, which is what you hope to do when you’re covering other people’s material.”

Known for their audacious album concepts and star-crossed collaborations, when it comes to delivering high-energy rock and roll instrumental music, no one equals the finesse, power and perseverance of Los Straitjackets.

Over 20 years ago, the Nashville-bred band—Danny Amis (guitar), Eddie Angel (guitar), Greg Townson (guitar), Pete Curry (bass) and Chris Sprague (drums, percussion)—first donned their easily recognizable attire of lucha libre masks. Since then, the group has released 15 studio albums, two live albums, and toured the world with El Vez, Dave Alvin, The Reverend Horton Heat, Tom Petty and The Heartbreakers, Big Sandy, and Nick Lowe.

LOS STRAITJACKETS TOUR DATES
June 15 – Cat’s Cradle Back Room – Carrboro, NC
June 16 – The Hamilton – Washington, DC
June 17 – Ram’s Head – Annapolis, MD
June 18 – Club Café – Pittsburgh, PA
June 20 – Harrisburg Midtown Arts Center – Harrisburg, PA
June 21 – Capital Ale House – Richmond, VA
June 22 – World Café Live – Philadelphia, PA
June 23 – Daryls’ House – Pawling, NY
June 24 – Boulton Center For The Performing Arts – Bay Shore, NY
June 25 – City Winery – New York, NY
June 27 – The Penthouse at One East Avenue – Rochester, NY
June 28 – Beachland Ballroom – Cleveland, OH
June 29 – Southgate House Revival – Newport, KY
June 30 – The Ark – Ann Arbor, MI

w/Marshall Crenshaw

TRACKLISTING:

SIDE A
Shake And Pop
All Men Are Liars
Lately I’ve Let Things Slide
You Inspire Me
Rollers Show
(What’s So Funny ‘Bout) Peace, Love and Understanding

SIDE B
I Read A Lot
Half A Boy And Half A Man
Checkout Time
I Live On A Battlefield
Raging Eyes
Cruel To Be Kind
Heart Of The City

The post Los Straitjackets Announce New LP ‘What’s So Funny About Peace, Love And Los Straitjackets’, Tour With Marshal Crenshaw appeared first on Glide Magazine.

Justin Townes Earle has signed to New West Records and is set to return with Kids In The Street on May 26th. The 12-song set was produced by Mike Mogis (Bright Eyes, First Aid Kit) at his ARC Studios, and is the first time in his career that Earle has worked with an outside producer. Kids In The Street marks a decade into Earle’s recording career and follows his acclaimed companion albums Single Mothers (2014) and Absent Fathers (2015). The deeply soulful set is both emotionally riveting and effortlessly uplifting. Now embracing sobriety, marriage, and impending fatherhood, Earle is enthusiastically looking to the future. “Life has changed a lot for me in the last few years,” Earle reflects. “I got married and am getting ready to become a father, and this is the first record that I’ve written since I’ve been married. There’s definitely an uplifting aspect to this record in a lot of ways, because I’m feeling pretty positive.” He continues, “When I wrote songs in the past, I was looking in on what I was feeling, but this record’s more about looking outward on what’s happening, and writing about subjects like gentrification and inner city strife. This record also has more of a soul influence to it, and it’s got a deeper connection to the blues than anything I’ve done before.” Noisey premiered Kids In The Street’s opener, “Champagne Corolla,” today, which can be heard HERE. Kids In the Street will be available digitally, as well as compact disc and vinyl. The album is now available for pre-order via PledgeMusic including an exclusive, limited edition colored vinyl version of the LP, special 7” single including “Maybe A Moment” as well as Earle’s reading of Paul Simon’s “Graceland,” and cassette.

Several of the songs on Kids On The Street reference the lower-middle-class Nashville neighborhoods of Earle’s youth, which in recent years some say have lost their character to the creeping scourge of gentrification. Significantly, the album is the first of Earle’s not recorded in Nashville. “It’s the first time that I’ve worked outside of my usual umbrella of people to make a record,” Earle explains, adding “In Nashville, if you have the right connections, it’ll spoil the shit out of you, because you’ve got access to the best musicians in the world and the best studios in the world. If you had told me when I started making records, that I wasn’t gonna make every record in Nashville, I would have told you you were crazy. And if you’d told me that I’d end up making a record in Omaha, I’d tell you you were out of your freaking mind.”

New West Records President John Allen stated about Earle’s signing to the label, “When I first met a young Justin Townes Earle, it was evident then he was intent on following his own artistic path. As his publisher, I saw his songwriting evolve to a literary depth and swagger that maintained that unique vision. New West is very proud to release Justin’s next album of his best work yet.”

Earle’s fierce fidelity to his creative muse has been a consistent thread throughout his young life. Born in Nashville on January 4th, 1982, he grew up as the son of country-rock iconoclast Steve Earle, who gave him his middle name in honor of his mentor, the brilliant songwriter Townes Van Zandt. Justin quickly came into his own as a songwriter and performer, displaying a natural talent for deeply revealing lyrics that reflected his often-harsh life experiences, and a musical approach that effortlessly integrated elements of blues, folk, and country. His 2007 debut EP Yuma set the stage for a steady stream of acclaimed albums.

Justin Townes Earle will take to the road this Spring with his longtime guitarist Paul Niehaus alongside The Sadies as his backing band (they will also support each show). The full band tour will kick off with Earle’s appearance at this years Stagecoach Festival in Indio, CA on April 28th. Prior to the full band performances, Earle will perform a solo March residency at the Doug Fir Lounge located in his new home of Portland, OR as well as two solo, acoustic shows in Georgia. Please see all dates, with more to be added, below.

Kids In The Street Track Listing:
1. Champagne Corolla
2. Maybe A Moment
3. What’s She Crying For
4. 15-25
5. Kids In The Street
6. Faded Valentine
7. What’s Goin’ Wrong
8. Short Hair Woman
9. Same Old Stagolee
10. If I Was The Devil
11. Trouble Is
12. There Go A Fool

Justin Townes Earle on Tour:
March 14 – Portland, OR – Doug Fir Lounge (Solo)
March 25 – Portland, OR – Doug Fir Lounge (Solo)
March 29 – Portland, OR – Doug Fir Lounge (Solo)
April 6 – Atlanta, GA – City Winery (Solo)
April 7 – Savannah, GA – Savannah Music Festival (Solo)
April 28 – Indio, CA – Stagecoach Festival
April 29 – Phoenix, AZ – The Crescent Ballroom
May 3 – Dallas, TX – Granada Theater
May 4 – Austin, TX – ACL Live at the Moody Theater
May 5 – Houston, TX – The Heights Theater
May 6 – Lafayette, LA – Arcadiana Center for the Arts
May 8 – Franklin, TN – Franklin Theatre
May 9 – Asheville, NC – Grey Eagle
May 11 – New York, NY – Webster Hall
May 12 – Fall River, MA – Narrows Center for the Arts
May 13 – Cambridge, MA – The Sinclair
May 15 – Baltimore, MD – Baltimore Soundstage
May 16 – Kent, OH – The Kent Stage
May 17 – Ann Arbor, MI – The Ark
May 18 – Bloomington, IL – The Castle Theatre
May 19 – Louisville, KY – Headliners
May 20 – Chicago, IL – Thalia Hall
May 22 – Milwaukee, WI – Turner Hall
May 23 – Minneapolis, MN – First Avenue
May 24 – Iowa City, IA – The Englert Theatre
May 26 – Denver, CO – The Bluebird Theater
May 28 – Salt Lake City, UT – The State Room
May 30 – Seattle, WA – Neptune Theatre
June 2 – San Francisco, CA – Slim’s

The post Justin Townes Earle Announces New LP ‘Kids In The Street’, Shares Tour Dates With The Sadies appeared first on Glide Magazine.

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The singer/songwriter/trombonist Natalie Cressman has already had a whirlwind career and she is just twenty-five years old. Having been a key member of the Trey Anastasio Band Cressman has sung and played trombone everywhere from Red Rocks to Madison Square Garden and now she releases her newest EP titled Traces.

On past offerings, Cressman had focused more on her jazz playing but Traces melds together ballads/pop songs with electronic beats and mellow dance vibe; all supporting her terrific vocals. This combination of live music with electronica is nothing new, but the delicate touch that Cressman brings to the proceedings makes for an easy and entertaining listen.

Opening with “Radio Silence” Cressman puts words to her feelings of being a female instrumentalist in a male world while allowing for bumps of both her soft touch live band and electronic dance grooves before her own trombone really boosts the sound. While overall the vibe is relaxed perhaps a bit more power behind the breakdowns and dance groove would enhance the track.

“Winds of Whims” goes back and forth between a delicate ballad and skittering beats while “Love Is Blind” works more as a straight ahead light R&B effort. “Where We Started” is the most ambitious track on the EP and it is a vocal showcase as she ranges far and wide with her singing. When the song floats high and airy it works, but it also tries to dip tough and firm and it loses its bite; some more stomp would seal the deal.

Closing with the title track the EP wraps up pleasantly showcasing everything that Cressman was going for; unique instrumental breaks, positive light electro beats and a voice that can conquer pop, jazz, the jam world or whatever she decides to pursue next.

The post Natalie Cressman Explores Dance Vibe on ‘Traces’ EP (ALBUM REVIEW) appeared first on Glide Magazine.

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Comprised solely of percussionist Russ Lawton and keyboardist Ray Paczkowski, the simplicity of the Soule Monde lineup belies the density of sound they conjure up. As a result, the title of their second full-length album, Must Be Nice, might represent a remark rival musicians would make in admiration of this alliance between the two long-time members of the Trey Anastasio Band.

Recording largely live, Lawton and Paczkowski sound much more comfortable establishing and maintaining grooves in the studio on this latest effort than on their eponymous debut in 2012. It’s usually not fair to compare live and studio performances, but it is worth noting that hearing tracks on this album, such as “Influence Too” (with its furious close) and “Compared to Jody,” can elicit much the same response as observing Soule Monde on stage:  the duo sound like a much larger ensemble.

These two musicians’ respective styles of playing are the natural and subsequently effortless source (s) of their wholly original material here and, in turn, their arrangements of the songs. It might not become obvious right away (unless perhaps headphones are in place), but Must Be Nice’s all-Vermont recording and mixing (at Lovetown Studios) plus mastering (at The Tank) might well approximate the sensation of sitting between the Lawton and Paczkowski on, among other cuts, “Immigrant Too”:  the hard-hitting drumming alternately slaps and hammers, while organ lines swirl around the clipped syncopation coming from the clavinet .

Soule Monde continuously swings too, and in unusual ways, for instance, as they jump in and out of the breakdowns contained in “Rocket.” Meantime, in keeping with the title of  “Take My Hand,”  Lawton and Paczkowski generate an increasingly insistent pace during the course of its seven minutes plus. One of the comparatively longer of the eight tracks comprising Must Be Nice, it is nevertheless as streamlined as its surroundings, cuts timing between five and six minutes (except for the two and half duration approximately on the melodica-laced “Kota”), the instrumental purity of which Soule Monde preserve with minimal and largely unobtrusive overdubbing.

If there was any thought of adding vocals to render this music more accessible (sic), no evidence appears to that effect and the continuity over the course of the record suggests such modification is wholly unnecessary. On the contrary, Soule Monde distinguishes themselves throughout Must Be Nice, as thoroughly with the quietly haunting “Mina,” for instance, as during the bouncy likes of “Took You Long Enough” in all its is danceable glory. The complementary nature of those numbers mirrors the chemistry between Russ Lawton and Ray Paczkowski which, in turn, should compel repeated playings of this record and subsequently reveal an admirable durability.

The post Russ Lawton & Ray Paczkowski Brew Ideal Chemistry on Soule Monde ‘Must Be Nice’ LP (ALBUM REVIEW) appeared first on Glide Magazine.

Using 70s punk and New Wave as a springboard to launch into their own unique creative process, Cincinnati quartet The Yugos have been making waves in their hometown since 2011. The group even garnered a Cincinnati Entertainment Award for Best Indie Artist of 2015, reflecting both their ability to write frenzied, hook-laden songs and to perform them with gusto. On March 10th The Yugos will release their third album Weighing the Heart on Old Flame Records. The album captures some of their sharpest songwriting while deftly weaving the stuttering time signatures of early XTC and Talking Heads into the dark pop ruminations of The Cure and Psychedelic Furs. Fun stuff indeed.

Today Glide Magazine is excited to premiere the new tune “Andopolis”. In writing the song, the band found inspiration from an odd source, Judd Apatow’s cult TV series Freaks and Geeks. While this may seem a bit out there, that inspiration translated to more general themes about growing up that fit the band’s punchy post-punk sound. “Andopolis” features a guitar hook and chorus that linger in your head long after listening and definitely make it clear that The Yugos put on an energetic live show.

Speaking on the inspiration behind the song, the band has this to say:

“The title of the song comes from Nick Andopolis of ‘Freaks and Geeks’ – one of our favorite television shows. This is the second time we’ve used a ‘Freaks and Geeks’ character name for one of our songs. I feel like this will continue to be a tradition as long as we’re putting out albums. We’d like to think this song channels Nick Andopolis’ teenage angst and frustration with growing up. ‘I am so scared’ is a vocalization of how we feel about growing up. It’s okay to be scared and it’s okay to own your fears. We’re known in Cincinnati to have a lot of energy and stage presence during live performances. This recording especially captures our live performance energy. ‘Andopolis’ was written one day during practice which makes it the most collaborative song. We usually have a few parts already written before getting together. We are super proud of how this song turned out and are very happy to share it with the world.”

LISTEN: 

The Yugos release Weighing the Heart March 10th on Old Flame Records. For more music and info visit them on Facebook. 

The post SONG PREMIERE: The Yugos Inspired By ‘Freak and Geeks’ On Post-Punk Anthem “Andopolis” appeared first on Glide Magazine.

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Not only is Chicano Batman’s newest album the most soulful, emotionally moving/political album of their career, it is also their most complete. Freedom Is Free finds the group continuing their South American rock influences but also diving head-first into classic American R&B with grace and passion.

Opener “Passed You By” effortlessly flirts with dreamy guitars and layers of groovy sounds but the pleasant background vocals quickly get overtaken by the money number “Friendship (Is A Small Boat In A Storm)”. This track traces direct influences to Curtis Mayfield, Stevie Wonder, Earth Wind and Fire, all the 70’s soul/R&B greats and in the end, it stands toe to toe with those luminaries.

The title track lets the vocals soar behind the message of love while funky drum beats provided by Gabriel Villa and bass runs from Eduardo Arenas keep things constantly bubbling around the angular guitar work of Carlos Arévalo. “La Jura” amps the keyboards and Spanish language vocals from front(Bat)man Bardo Martinez mixing with a laid back dreamy soul groove. A track like this would have been right at home on The Arcs’ Yours, Dreamily, and that is no surprise as Leon Michels came onboard to produce Freedom Is Free. Michels is a Brooklyn-based producer who’s worked with everyone from Dr. John to Rick Ross; he is a natural fit for this band that is never afraid to experiment.

Not every track is perfect, however, “Angel Child” wanders in too many directions at once and never coalesces completely, while “Run” tries to bridge R&B grooves with quirky tempo changes but lacks ideas. However, the band nails it for the majority of the time, easily oscillating between light and breezy pop movements (“Flecha Al Sol”) to down and dirty funk (“Right Off The Back”) while managing to split that difference on some of the best efforts such as “Jealousy”.

The statement track on the album is the spoken-word, fiery “The Taker Story” that sums things up with this refrain: “Mass killings and mass graves, globalization of slaves, genocide and extinction, all the functions of civilization.” Martinez goes direct and it works, but what keeps everything afloat are the crisp horns, warbling keys, spectacular drumming and the never ending groove; instead of overbearing at five and a half minutes it feels too short. Closing with a breezy acoustic based instrumental “Area C” the album finishes on a quieter note, but the band has already staked out their position with Freedom Is Free.

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The post Chicano Batman Hits On All Cylinders With ‘Freedom Is Free’ (ALBUM REVIEW) appeared first on Glide Magazine.

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The elevator pitch for Before I Fall must have gone something like, “Imagine if Mean Girls were like Groundhog Day.” There’s no better, or really any other, way to describe the latest film from Ry Russo-Young, who previously helmed and co-wrote (with Lena Dunham) Nobody Walks, winner of the Special Jury prize at Sundance back in 2012. That, of course, gives her indie cred to spare, none of which she wastes with Before I Fall, a film that mostly won me over despite all of my best efforts.

There’s a lot that could’ve gone wrong with Before I Fall. The film is based on the 2010 young adult novel of the same name by Lauren Oliver, and suffers from many of the same problems that plague much of young adult fiction. Cookie cutter plots, characters, dialogue, situations. Much is telegraphed far advance, though that’s largely a product of its genre and demographic. Get past that—which admittedly may be a feat of some will for older audiences—and there’s a story of genuine interest. That the film is held together so well is a credit largely to the efforts of Russo-Young.

Under her capable thumb, Before I Fall maintains a distinct credibility; the shots are interesting, the tone is reflected well, the pace moves nicely despite its built in repetition. It’s not difficult to imagine a world where Russo-Young passed on this project, leaving it to languish in the purgatory of mediocrity. Instead, we’ve got a film that’s taut enough, for what it is, and will more than likely appeal to its target demographic. That alone speaks to the talent of its director, who makes her first step outside the insular world of festival films without losing any of her indie stripes.

Samantha Kingston (Zoey Deutch) lives a charmed, upper middle class existence. As a member of one of the most popular cliques in her high school, where she and her friends Lindsay (Halston Sage), Ally (Cynthy Wu), and Elody (Medalion Rahimi) rule as tastemakers and heartbreakers. Those deemed lesser than they are tormented viciously, like the tortured artist Juliet (Elena Kampouris) who is so often the target of their bullying. After attending a party one night, the four friends get into a horrible car accident—one that should surely kill them. Instead of death, however, Samantha is caught in a time loop and forced to live out the day over and over again, forcing her to unravel the mystery of her circumstances.

One of the best moves Before I Fall makes as a film is that it never overly panders to or looks down on its target audience. This is a film as unabashedly for teenagers as you can possibly get, but it never mistakes being a teenager for being dumb. Too often, movies aimed at a young adult audience make the unfortunate mistake of over-simplifying themselves and rendering themselves moot in the eyes of their demographic. While older audiences might roll their eyes at some of the characters and situations, the adolescent crowd will find a lot to enjoy from this twisty morality play.

At first glance the opening act of Before I Fall feels choppy and disconnected, making it somewhat hard to get into. As the film progresses, however, and as Sam relives the day again and again, details are added which contextualize some of the bizarre choices made in the first act and add depth to the story, making it emotionally relevant for its audience. With each pass at the day, we learn more about the car accident and the players involved, eventually revealing a deeper mystery.

What at first might seem shallow or trite quickly builds into a stark musing on bullying and adolescent growth. Deutch is wonderful as Sam, bringing a vulnerability to the role as she struggles with what’s happening to her. As she grows with each pass through the day, she stands in contrast with her friends, who wonderfully portray the vapid it-girls you remember from high school. Still, they too develop nicely. We learn more and more about them, Lindsay in particular, as the film progresses, creating an insightful look at the root causes of bullying, reminding us that even the worst people have their scars. The actions of the crew of mean girls are never excused, but as Sam learns more about her friends their perspectives are explained.

It’s a flawed film, to be sure. At times it walks the line between melodrama and schlock at little too finely, and it might be a bit too “very special episode” for many people. Still, Before I Fall is one of those surprising films that audiences might overlook, and that’s a shame. Russo-Young is a director of no small talent working with a cast of remarkable ability. It’s easy to see why the film made so many Best of Sundance lists at the end of this year’s festival. This is an emotionally mature and actualized work of young adult cinema that has appeal that works for the adults in the crowd as well. It’s a wonderful step into a larger cinematic world for its director, one that I hope portends bigger and better things as her career progresses.

Before I Fall is now playing in theaters everywhere.

The post Flawed But Not Terrible, ‘Before I Fall’ a Solid Entry into Young Adult Cinema (FILM REVIEW) appeared first on Glide Magazine.

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Indie rom-coms are tricky. While they mostly teeter on the edges of cheese, comedy, and the disillusioned youth of this generation, they’re also generally straightforward. Girl meets boy, boy is interested in someone else and/or (insert obstacle to be overcame), boy and girl either end up happily ever after, or they go their separate ways, knowing it’s for the best. Flip it however you want, there’s always going to be that fairly typical, paint by numbers storyline we’re so fond of. Sometimes we get that breakout film, delving deep into a new subsect of human emotion. Table 19, is not that film, but that’s not to say it doesn’t have its own charm.

Telling the story of a group of misfits sitting at the very edge of a wedding, cast to table 19 in an effort to keep them all in the same area, Anna Kendrick once again stars as the quirky everywoman, dying of anxiety as she gets ready to face her ex at the wedding. As we get little clips about each character sitting at the table it becomes clear that their backstories would solely be these intros, causing the character development to fall flat and leaving a gap in what very well could have flowed effortlessly.

Kendrick’s anxiety travels to the audience in a positive manner; who among us hasn’t dealt with the heartache of your past significant other being so close, but further away than they’ve ever been? Her story is bookended by the tragedy of her table mates, including the ex-con/cousin of the bride (Stephen Merchant), the estranged married couple who are vaguely friends with the Father of the bride (Lisa Kudrow & Craig Robinson), a teen looking for validation in the form of some sort of sexual encounter (Tony Revolori), and the forgotten ex-nanny of the bride (June Squibb). The main closeness plaguing the table is their incessant loneliness taking over their being, lying heavily on their consciousness as they try to figure out why they showed up in the first place.

Things quickly unfold in a very Duplass manner. Kendrick is revealed to be the ex-maid of honor to the bride while we sit and speculate on whether or not the brother of the bride is a garbage laced fuck boy, or simply a broken-hearted dude who was unable to handle his feelings in a reasonable manner. It goes back and forth several times, using the few hours during the wedding as the tester for what could be the rest of their lives.

Even though Kendrick’s (mostly) all-star cast of table 19 weirdos don’t quite get the screen time they deserve, it is their sorrows and victories that really give the film the turn it needs to remain relevant. We’ve been here before, we’ve felt for the characters, because we are them. Or at the very least, we will be. Growing up and looking for someone to guide your burgeoning emotions. Gaining forgiveness to find peace, and a place you belong. Dealing with the struggles of being with your partner, when one or both of you has fallen out of love. And of course, growing old and being forgotten, losing touch with the world around you as you reach for that one last relationship that could mend your broken heart.

Among the morose realization that we’re all in the same boat, there’s also a lighthearted playfulness that keeps things light enough to pacify even the pickiest of rom-com viewers. The entire soundtrack is made up of 80’s hits, performed by the young and disillusioned wedding band. While a little off putting at first, the film offers a satisfactory explanation, elevating the music into its own character. Kendrick even has a little romp with a mysterious fake Hemsworth brother (Thomas Cocquerel) who literally embodies the old adage of “looks can be deceiving”.

What most stands out is the fact that the Duplass brothers have been able to create female characters, playing to a female audience, without being overtly male about it. There’s a quiet dignity underlying Kendrick’s stubborn character that’s elevated by Squibbs determination to help her young charge by proxy, and Kudrows reticence to get involved. While the male dominated industry may be changing at a snail’s pace, at least there’s comfort in the fact that some of those testosterone soaked scripts floating around Hollywood take into account the realities of how genuinely odd it can be to be a woman. Table 19 may not be the movie of the year, but it’s a genuine look at the beauty and horrors of the human condition, all wrapped up in 87 minutes.

Table 19 is now playing in theaters everywhere.

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