Here’s Everything We Know About: Chase Petra’s Album ‘Lullabies For Dogs’

Name: Pom Poko
Start: 2025-1-28T19-19-00-00
End: 2025-1-28T21-21-00-00
Location: Baby's All Right

Syd Trip

After nearly seven years, Chase Petra is ready to end their musical hiatus. In 2018, the Long Beach, California trio released Liminal, which received high praise. But come March, Chase Petra’s long-awaited follow-up, Lullabies For Dogs, will fill fans’ ears.

Chase Petra describes themselves as a “quarter-life-crisis pop” act. However, their forthcoming project’s lead singles, “Centrifugal Force” and “A Bug’s Life” display their wide musical inspiration. In a statement, Chase Petra addressed critics of their constant exploration. “The reason our songs come off as a little genre-confused is because there’s no aim,” said vocalist Hunter Allen. “In this band, it’s always just shoot.”

On Lullabies For Dogs, supporters should expect more of the same. Continue below for the confirmed release date, tracklist, supporting tour dates, and more for Chase Petra’s album, Lullabies For Dogs.

Release Date

Lullabies For Dogs is out 3/7 via Wax Bodega. Click here to pre-save or pre-order.

Tracklist

“Centrifugal Force”
“Catharsis”
“Two Nights In New York”
“Have Faith, Horatio”
“Bread And Circus”
“Icarus”
“Because I Am My Own Dog”
“She Simply Left”
“The Needle”
“The Suture”
“A Bug’s Life”
“IWYTWT”
“Hospital Bills And Scratchers”

Album Cover

Supporting Tour

Shortly after Chase Petra’s album hits streaming platforms, the band will gear up for their tour across the US. On the road, Small Crush and Sorry Mom are listed as the Lullabies For Dogs Tour‘s official opening support.

03/28/2025 – Anaheim, CA @ The Parish
03/29/2025 – Mesa, AZ @ Nile Underground
04/1/2025 – Austin, TX @ Empire Control Room
04/2/2025 – Dallas, TX @ Club Dada (Indoors)
04/4/2025 – Orlando, FL @ Will’s Pub
04/5/2025 – Atlanta, GA @ The Masquerade (Altar)
04/6/2025 – Carrboro, NC @ Cats Cradle Back Room
04/8/2025 – Richmond, VA @ Richmond Music Hall
04/9/2025 – Washington, DC @ DC9
04/11/2025 – Philadelphia, PA @ The Foundry
04/12/2025 – Brooklyn, NY @ Music Hall of Williamsburg
04/13/2025 – Boston, MA @ Sinclair
04/15/2025 – Toronto, ON @ Hard Luck
04/17/2025 – Cleveland, OH @ Mahalls
04/18/2025 – Detroit, MI @ Sanctuary
04/19/2025 – Chicago, IL @ Cobra Lounge
04/21/2025 – Denver, CO @ The Marquis
04/23/2025 – Salt Lake City, UT @ Kilby Court
04/25/2025 – San Francisco, CA @ The Independent
04/26/2025 – Los Angeles, CA @ The Roxy

january, 2025

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tue28jan7:00 pmtue9:00 pmPom Poko7:00 pm - 9:00 pm Baby's All Right, 146 Broadway

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(Tuesday) 7:00 pm - 9:00 pm

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Baby's All Right

146 Broadway

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Norway's freewheeling Pom Poko combine their jazz school training and experimental leanings into equally sugary and explosive music. Inspired by math rock, post-punk, West African music, and weird pop bands such as Deerhoof, the group introduced their loose-limbed, playful style on 2019's Birthday, then emphasized the contrast between their meticulous compositions and chaotic performances on 2021's bracing Cheater. With 2024's Champion, Pom Poko brought more maturity to their music without losing any of their spark. Named after a film by Japanese animation powerhouse Studio Ghibli, Pom Poko consists of Ragnhild Fangel Jamtveit (vocals), Martin Miguel Almagro Tonne (guitar), Ola Djupvik (drums), and Jonas Krøvel (bass). Tonne, Djupvik, and Krøvel met while studying at the Trondheim Music Conservatory and initially aspired to be a noise punk trio. However, when they were asked to perform at a literary festival in 2016, they added Jamtveit on vocals and quickly wrote a set of sugary pop-punk songs with unexpected twists. The band soon started playing gigs, including a support slot for their friends Broen. Simon Raymonde, the founder of Broen's label Bella Union, happened to see Pom Poko play at this show and signed them soon after. In February 2019, the label released the combo's debut album, Birthday, which was nominated for the Nordic Music Prize as well as two Norwegian Grammy Awards. That August, Pom Poko issued "Leg Day," a stand-alone song they recorded in a northern Italian village. Another track, "Praise," appeared in March 2020 and hinted at the more volatile direction of the band's second full-length, Cheater. Released in January 2021, the album was co-produced by Marcus Forsgren and took the sweet and combustive elements of Pom Poko's sounds to extremes. A year later, the band issued This Is Our House, an EP that combined old and new songs with sounds ranging from fuzzed-out to delicate. As Pom Poko made their third album, the signs of their growing maturity as musicians and people informed the songs they wrote. Self-produced and mixed by Ali Chant, August 2024's Champion paired a more spacious version of the band's music with topics like parenthood and personal growth. - Biography by Heather Phares

tue28jan7:00 pmtue11:00 pmElsa y Elmar7:00 pm - 11:00 pm Bowery Ballroom, 6 Delancey Street

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(Tuesday) 7:00 pm - 11:00 pm

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Bowery Ballroom

6 Delancey Street

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The six-time Latin GRAMMY-nominated singer-songwriter and producer, Elsa y Elmar, has announced her third studio album PALACIO, out 30th August 2024 via her independent label, Elmar Presenta. Much like the sea for which she named herself, the essence of Elsa y Elmar moves with the tides. Yet the anchor to her genre-meandering "spiritual pop" is her unsparing, confessional approach to songwriting. In PALACIO, she plumbs the depths of her soul, searching for a bigger meaning in her most personal anxieties and romantic mishaps; she surfaces with pearls of synthy, alt-pop wisdom to share with others wading in the same deep waters. "It's very complex, the spiritual dimensions of us millennials," says the CDMX-based, Colombian-born artist, whose real name is Elsa Margarita Carvajal. "I try to capture that in my music. We're all about giving others a space for their feelings. That's a pretty spiritual experience!" Produced in collaboration with Latin GRAMMY-winning musical director Julián Bernal (Sebastian Yatra, Kali Uchis), PALACIO serves as a creative sanctuary for Elsa, who teases out her emotional and musical metamorphosis in 11 dynamic songs. Guided by guitars and sparkling with Elsa's pop flair, the album includes only one feature: a cameo from Spanish vocalist, Álvaro de Luna who revels in the alternative contours of "Visto." "Each song is its own genre, a planet in the solar system whose axis is my obsession with knowing myself, exploring myself and improving myself," explains Elsa. "I made PALACIO as an act of trust [in] life, creativity, art, and as an act of rebellion towards the structure and demands of the current music industry," she adds. "In PALACIO, beauty and error, seriousness and play, happiness and sadness, love and heartbreak coexist — but above all, freedom." Born in the Andean town of Bucaramanga, Colombia, the 30-year-old singer-songwriter grew up playing guitar and the flute; she was encouraged to start making music professionally after writing witty, personalized versions of Shakira songs for her friends. Yet upon entering the recording studio for the first time, 16-year-old Elsa felt alienated by the pressure to conform to the industry standards for Latin pop. "These producers not only wanted me to use songs already written for me by a stranger in Miami," she says, "But they said I'd look prettier if I took off my braces. I knew there had to be another way, so I went to school for music." Elsa braved the unforgiving Boston winters to study at the Berklee College of Music, where she graduated in 2015 with a Bachelor's degree in music performance. There she recorded a 2013 EP titled Sentirnos Bien — from which her song, "Me Viene Bien," won the Grand Prize in the Latin category of the 2014 John Lennon Songwriting Contest. She followed up with her 2015 debut album, Rey, an early sketch of her signature electro-pop sound. In 2019, Elsa pumped up the volume with her Caribbean-faring pop album, Eres Diamante, and landed a nomination in the category of Best New Artist at the Latin Grammys that year. In 2020, she was nominated for Best Pop Song, thanks to her work as a co-writer on the Ximena Sariñana single, "Una Vez Más." After releasing her 2022 LP, ya no somos los mismos, Elsa counted three more nominations that year, including for Album of the Year and Best Engineered Album. After surviving the earth-shattering breakup that triggered ya no somos los mismos — and a serious health scare that landed her in a hospital — "I woke up with nothing to lose and full of desire to live and create," says Elsa. She spent the summer traveling with friends in Europe, searching for a more adventurous Elsa. "I went from Berlin to Tenerife, Italy, Madrid," she says. Instead of kissing a procession of hot foreign strangers, as planned, the journey led Elsa back to the songs that built PALACIO. The summer yielded her the Balearic house-inspired track, "Lento Violento," as well as the melancholic dance cut "Drogado de Emociones." In order to bring balance, she pulled back the polish with her angsty punk-pop of "Ke mAL;" and in "A Ella," she cautions the future lover of her abusive ex, with an otherwise light, amiable tone that evokes Cibo Matto. "I don't like to imitate what I hear, so I have to put it through my world," she says of her blended pop sound. "In indie music, you grab the guitar and you just go: 'Wah-wah-wah!' Together with Julián Bernal, my musical partner, we produced the PALACIO songs one by one, with [respect to] the naiveté [and] the impulsiveness of our first ideas." Released this year on March 1, the first day of Women's History Month, Elsa chose the single "entre las piernas" to become her first release in two years. What began as a revelation during the artist's moon time — "I was super PMSing," she says with a laugh — culminated in a pulsating, feminist alt-pop anthem, in which her confidence soars higher than ever before. Directed by Frederick Venet and produced by Georgian animation studio The Crux, the music video depicts a lush, jungle environs populated with colorful vaginal blooms, illustrated in a style that evokes the enduring beauty of Pre-Columbian art. "Women truly carry the world," says Elsa. "How many women at any given moment will be walking around the city center, carrying a mountain of blood between their legs? Beyond blood, we carry so many burdens — we also carry the expectations of how you should behave, how you should look like, how you shouldn't get too angry lest you become hysterical. This is the body that I inhabit as an artist. This is my experience. I needed this to embody myself." Draped in pink and peach chiffon, Elsa becomes the living centerpiece of her own art exhibit, in the video for her latest single: the ethereal folk-pop theme of "palacio<3," a soul-baring invitation into the safe haven she describes as her "Interior Museum of Emotional Landscapes." "Elsa is your friend, your confidant, your diary," she says of the album. "The palace is OUR space, and music is our safe place."

tue28jan8:00 pmtue11:00 pmBen BarnesWhere The Light Gets In Tour8:00 pm - 11:00 pm Theatre of Living Arts, 334 South Street

wed29jan8:00 pmwed11:00 pmBlind Pilot8:00 pm - 11:00 pm Bowery Ballroom, 6 Delancey Street

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(Wednesday) 8:00 pm - 11:00 pm

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Bowery Ballroom

6 Delancey Street

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Oregon's Blind Pilot combines lush West Coast indie pop and elegant folk-rock to create a sound that's both intimate and panoramic. Emerging in 2005, the band found mainstream success in 2011 with the release of their Billboard-charting sophomore effort, We Are the Tide (2011), and elicited acclaim for 2016's And Then Like Lions, which reached the upper echelons of multiple Billboard charts. An eight-year hiatus preceded the arrival of the band's fourth long-player, 2024's In the Shadow of the Holy Mountain. Blind Pilot was founded in Portland in 2005 by singer/guitarist Israel Nebeker and drummer Ryan Dobrowski, who first banded together in college before combining their talents and touring the northwestern Oregon circuit. By 2006, however, they'd decided that a change of scenery might help their songwriting. Blind Pilot consequently relocated 90 miles north, where the duo spent three months inside an Astoria warehouse while recording demos for a full-length album. Afterward, Nebeker and Dobrowski launched a "bike tour" that saw them traveling from Vancouver to San Francisco on their bicycles, playing shows and selling EPs (not to mention saving gas money) along the way. They returned home to finalize their 3 Round and a Sound debut, which was released by Expunged Records in June 2008. While playing shows supporting 3 Round and a Sound's release, Blind Pilot added four new members to the touring lineup. This swelled the band's sound, making 2011's acclaimed We Are the Tide a more fleshed-out, lush affair. The group then signed with ATO for their third LP, which would be five years in the making. Still operating as a six-piece, they released And Then Like Lions in the summer of 2016. The LP cracked the Top Ten on the Billboard alternative, folk, indie, and rock charts. Artistic crises marred Nebeker in the years to come, with a particularly sinister bout of writer's block driving him to desperate measures. After reading, therapy, and writer's trips failed, he challenged himself to compose the band's long-gestating fourth album in a single month. Produced with sonic heft by Josh Kaufman, the resulting In the Shadow of the Holy Mountain was released in 2024.

thu30jan7:00 pmthu10:00 pmJoy OladokunThe Blackbird Tour7:00 pm - 10:00 pm Irving Plaza, 17 Irving Place

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(Thursday) 7:00 pm - 10:00 pm

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Irving Plaza

17 Irving Place

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Observations From a Crowded Room Joy Oladokun gets emails. She meets people. There are DMs. Fans of the Arizona-bred singer-songwriter express how they feel before and after seeing one of her shows. Some say they have entered her gigs feeling depressed, unseen and scared, but they leave in a different headspace entirely — upbeat, acknowledged, more confident. Others explain that seeing people like themselves onstage—Black, queer, funny, all of the above — inspires them. With her seemingly bottomless well of melodies and conversational couplets, her inviting buoyancy and infectious guffaw, Joy Oladokun is a human mood elevator. “I think that's beautiful,” she says of receiving these missives. So beautiful in fact that Oladokun decided that she wanted to get in on that action and craft an album “that was a version of what I've been able to give to other people for myself.” Enter Observations From a Crowded Room, a 15 track collection of 12 songs and 3 interludes, written, produced, and largely performed by Oladokun, which build on and expand her pop-folk sonic palette with electronic flourishes and lush harmonies. The record was created at a critical juncture in Oladokun’s life. She was assessing her perch in the world and the industry after the success of previous albums (2021’s in defense of my own happiness and 2023’s Proof of Life) garnered universal high praise, a slew of famous fans and collaborators like Sheryl Crow, Jason Isbell, Noah Kahan and Chris Stapleton, sold out headlining tour dates and opening slots with John Mayer and Hozier. It also invited scrutiny. She began questioning whether she should pursue something else. “I think for me it was a pivotal moment of thinking, ‘I don't know what good there is in this for me anymore. I know what it does for my management. I know what it does for the fans. But I don't know what good this is for my heart and my head anymore,’" she recalls of the bleak place in which she began to find herself. Then she started recording Observations From a Crowded Room. “This album became a way for me to write things, feel things, process things,” she says. “Because, as the producer, I just had to sit with these songs for so long. It became really healing in a sense of, ‘I made this. I'm listening to an album that I genuinely love. All the sounds and bits and bobs came from me with the help of just an engineer.’ It was transformative. So it started out as, ‘I quit,’ and it has ended up as a fresh start.” “I used music to dig myself out of that hopeless headspace and land at a place that if my career ends tomorrow, for whatever reason, I made this record, I made the other records that I'm so proud of,” she shares. “And I did it in a way that was true to me, and now in a way that feels sustainable to me.” What was the inspiration for the title Observations From a Crowded Room? I'm a tried-and-true introvert, and this job, as much as I love it, requires me to walk a tightrope with my social energy tank. I think I spent a lot of time last year being in rooms full of people like me, full of people unlike me, and everything in between, and then I would come back to the back room of the bus or to a hotel and just sit and reflect on what this new phase of my career in my life meant for who I am and how I'm living. I just wanted to write about my life in real time as it's happening and dig into the ways that this job affects me, because I was starting to feel a lot of the repercussions. There is a sense of leveling up here, musically, lyrically, vocally, as your own producer. There are more electronic burbles, psychedelic sounds, an expansion of the range of your singing voice. What was your mission statement? I try to consider myself an artist that's only in competition with myself. I want the next record to be better than the last, and better can mean production, can mean songwriting, can mean anything, but it’s always intentional. I feel the mark when I hit it and I feel like for this record, what it meant to be better than Proof of Life was to increase the moment to moment, present vulnerability that I could bring. You also still love a big pop hook even as you’re experimenting with other moods. I sort of think of myself as a carpenter of songs. I’m not making an art piece that you watch go by and don’t participate with. I'm building a table for people to use, that you interact with every day. That's why I lean on catchy melodies, because it's part of what helps people remember. I hope that someone goes around and sings “Am I” and starts asking themselves, "Am I the only one who's losing the race, looking for grace?" I want people to have something musical that they can latch onto when they feel that way. There are two tracks on the album that seem to address you potentially moving on from Nashville, “Letter From a Blackbird and “The Birds.” Do you plan on leaving? I just wanted to be honest about what it was like to be Black and gay in Nashville in a time where everyone's saying that they're doing better, they're trying to be better, where I'm the face of progress that Nashville is supposed to be making, but a lot of those people have done everything that they can to make sure that I couldn't even get to this point. I have thought about leaving, but if half of my music is about how we all belong to each other, then part of what I'm doing throughout this album is challenging myself to say “I have to have the uncomfortable conversations too. I have to be in a room and bring these things up. I can't just sit in my house and smoke weed and hang out with the dogs somewhere in the woods.” What do you hope people take away from the album? That if they feel like feel like the world has gotten weird, that they are not alone in that. That is the overarching theme, specifically for this record. “Does anybody feel like it's getting hotter under the sun?” I do also feel that way and I'm just opening the conversation.

thu30jan8:00 pmthu10:00 pmSoccer Mommy8:00 pm - 10:00 pm EST Brooklyn Steel, 319 Frost Street

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(Thursday) 8:00 pm - 10:00 pm EST

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Brooklyn Steel

319 Frost Street

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Soccer Mommy is the stage name of Sophie Allison, a singer/songwriter who channeled the sound of 1990s indie rock into her own distinctive, conversational, and confessional style. Allison developed her voice on a series of self-released bedroom recordings, which she then parlayed into a record contract with Fat Possum. The label released her critically acclaimed debut album, Clean, in 2018. Color Theory -- the 2020 sophomore set released by Loma Vista/Concord -- found Soccer Mommy continuing to mine guitar-heavy indie rock, yet it also displayed some synth textures in its margins. Allison ventured down this atmospheric path on Sometimes, Forever, the 2022 album she made with Daniel Lopatin of Oneohtrix Point Never. Working instead with Ben H. Allen III (Deerhunter, Belle and Sebastian), she peeled back some of those layers in an effort to go more organic on 2024's Evergreen. While still guitar-centric, it incorporated instruments like strings and flutes. Born May 27, 1997, in Zurich, Switzerland, Sophie Allison relocated with her family to Nashville, Tennessee, when she was two years old. Drawn to music at an early age, she studied guitar while attending the Nashville School of the Arts. Upon her graduation, she adopted the Soccer Mommy moniker for the original songs she uploaded for online streaming, beginning with the Songs for the Recently Sad EP. While attending New York University, Allison continued to self-release Soccer Mommy music. Songs from My Bedroom arrived late in 2015, followed quickly by Songs from My Bedroom (pt. 2) in early 2016. Orchid Tapes released For Young Hearts in 2016. The mini-LP reached five on Billboard's Heatseekers Album charts, helping to pave the way to a contract with Fat Possum. For her first album for the label, Allison tweaked several of her early songs for Collection. After its release in August 2017, Soccer Mommy headed out on the road as a support act for the Drums and Jay Som. Allison teamed with Gabe Wax, a producer and engineer best known for his work with the War on Drugs and Fleet Foxes, for Clean, the first proper studio album by Soccer Mommy. Released in March 2018, the record garnered strong reviews and placed on several best-of-the-year lists. She promoted the album with tours supporting Stephen Malkmus, Paramore, and Vampire Weekend. Soccer Mommy moved to Loma Vista/Concord for 2020's Color Theory. Working again with Gabe Wax, Allison expanded her aural palette on Color Theory, drawing inspiration from old cassette tapes. The record reached 142 on Billboard's Top 200, peaking at seven on its Alternative chart. She switched producers for her third album, recording Sometimes, Forever with Oneohtrix Point Never's Daniel Lopatin. The change in collaborators resulted in an adventurous record that occasionally echoed dream-pop and shoegaze. Upon its June 2022 release, Sometimes, Forever reached 137 on Billboard's Top 200 and topped the Heatseekers chart. After collaborating with Sub Pop act Bully on "Lose You," Allison turned her attention to recording a set of cover songs released in 2023 under the title Karaoke Night. The five-song EP featured Soccer Mommy's take on songs by R.E.M., Sheryl Crow, and Pavement. For her fourth long-player, Allison dialed back the layers of atmosphere present on her previous album in an effort to shine the spotlight on songwriting. While still more textured than her debut, 2024's Evergreen favored more organic sounds, including acoustic guitars, strings, and flutes. Recorded in Maze Studios in Atlanta with producer Ben H. Allen III (Deerhunter, Belle and Sebastian), Evergreen arrived on Loma Vista that October. - Biography by Stephen Thomas Erlewine

thu30jan8:00 pmthu10:00 pmZach Fox8:00 pm - 10:00 pm Union Transfer, 1026 Spring Garden Street

thu30jan8:30 pmthu11:00 pmThe Suitcase Junket8:30 pm - 11:00 pm World Cafe Live - Philly, 3025 Walnut Street

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(Thursday) 8:30 pm - 11:00 pm

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World Cafe Live - Philly

3025 Walnut Street

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The Suitcase Junket is multi instrumentalist Matthew Lorenz. Solitary on stage and on the road, Lorenz' mind is crowded with characters, narratives, voices, imagery, sounds as wide and varied as mountain throat singers and roadhouse juke boxes, plus newsreels of the planet's destruction and salvage. A master of musical imagination -- NPR World Cafe The overall sound lands somewhere between the Avett Brothers and early, dirty Black Keys. There is a Tom Waits vibe in the fuzzy megaphone reverb mic, and something ancient, near tribal, in his whistles and moans -- The Boston Globe A living, breathing, throat-singing, road-tested, avant-garde, one-man-band who is in a state of perpetual motion… gutsy, fuzzed-out, groove-laden psych rock – NPR This guy's a maniac — a one-man band, dumpster-guitar-playing maniac. Strumming a salvaged guitar, banging on a box of cutlery, and releasing a dynamite voice, The Suitcase Junket is the real deal — and one of the most electric souls we've ever seen on stage – Mass MoCA's FreshGrass Now this is the shit I'm talking about, Jack. The Suitcase Junket is a lo-fi, low-tuned, low-down blast of end-times folk blues. It's crude; it's magnificent. With a stage set-up that resembles a junkyard foley stage or Fred Sanford's living room, The Suitcase Junket — one man band leader Matt Lorenz — incants and intones like a cross between Hound Dog Taylor and a Tuvan throat singer who has swallowed a bird. Take the singer-songwriter idiom, give it a low grade fever and a guitar and this is what you get. Captivating, mesmerizing, and gone ... real gone – Rochester City Newspaper Jaw-dropping... It’s the biggest sound I’ve ever heard come from a solo performer. Matt is definitely his own thing and it is something. The live experience is pretty, darn unforgettable — Beale Street Caravan Bluesy guitar riffs, tenacious melodies and a singing voice both weathered and nimble. You don’t need to witness his physics-defying performance to be captivated; the music stands on its own... astonishing – WBUR Boston

fri31jan7:00 pmfri10:00 pmJoy OladokunThe Blackbird Tour7:00 pm - 10:00 pm The Stone Pony, 913 Ocean Ave N

Time

(Friday) 7:00 pm - 10:00 pm

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The Stone Pony

913 Ocean Ave N

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fri31jan8:00 pmfri11:00 pmHotel Mira8:00 pm - 11:00 pm Kung Fu Necktie, 1248 N Front Street

fri31jan8:00 pmfri11:59 pmReal EstateMore Tour8:00 pm - 11:59 pm White Eagle Hall, 337 Newark Avenue

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(Friday) 8:00 pm - 11:59 pm

Location

White Eagle Hall

337 Newark Avenue

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A band for 15 years now, with a half-dozen records to its canny name, Real Estate knows how the press cycle inevitably goes: Someone somewhere at last had a realization about what their songs needed to say and how they should sound, so (at least according to brief biographies like this one) they finally made the best album of their career. But here’s the thing: Real Estate has been so consistently compelling for those 15 years, with their coruscant indie rock shuffles perfectly reflecting the spellbinding glow of suburban ennui, that they know when they have done it. That is, they know when they have written songs that shimmer and fetch and radiate despite or because of the gloom lurking in their grooves. It is the gift and curse of self-awareness, of sticking together since childhood. So Real Estate, in turn, needs you to know that Daniel—their sixth full-length album, recorded in an ebullient nine-day spree in RCA Studio A, in Nashville with celebrated producer and songwriter Daniel Tashian—is quite possibly their best album. In 11 compulsively tuneful songs, they connect the uninhibited wonder of their earliest work with the earned perspective of adulthood. What more could you need from Real Estate at 15? Martin Courtney knew he wanted to write a pop record, a set of instantly accessible songs where the chorus arrived in, say, the first 40 seconds. During the last decade, or essentially since making Atlas, Real Estate did what was only natural for any beloved and freshly aging indie rock institution: They gently pushed back against praise as an effortlessly melodic and quietly radiant band. Colors darkened. Textures curdled. Songs stretched toward the six- and even seven-minute mark. But what if, as Courtney and cofounder Alex Bleeker often say these days, they again just “Let Real Estate be Real Estate,” to shimmer and fetch and radiate without hesitation or second guesses? Courtney actually learned of Tashian through his daughter, who adored an album he’d produced, Kacey Musgraves’ Golden Hour. The band reached out and spotted an instant connection despite their distinct wheelhouses—the Grammy-winning Nashville country-pop guy who’d helmed several smashes and the Northeast indie rock quintet with narcotic guitars. Real Estate had never really worked with anyone who wasn’t already a bud. There in Dave Cobb’s famous Nashville lair, Tashian was not shy with his outsider advice about how to boost this song or that one, even playfully throwing the occasional candy bar to emphasize he wanted to hear more. Real Estate had been thinking about R.E.M.’s Automatic for the People and ’90s “soft-rock radio,” the background music of their youth. Tashian helped lead them back toward it, toward an improved edition of the less self-conscious band they’d been at the start. Daniel certainly sounds like classic Real Estate, simply leveled up with the subtle but unabashed touches of a producer who has actually lived inside pop powerhouses. The chiming guitars and plaintive verses of “Haunted World” summon the band that first emerged to acclaim in 2009, with Courtney doing his best to sing his way around existential confusion. But in the chorus, dexterous instrumental harmonies (that’s Nashville ace Justin Schipper on pedal steel) and faint backing vocals propel the song anew, its tight hook snagging in a second. Tashian suggested they fortify the refrain, and he was right. Or there’s the marvelous thrum of “Airdrop,” with Bleeker’s busy bass and Sammi Niss’ insistent drums pushing Courtney into the wistful chorus as if he’s riding a hang glider. “The sun went down/We let it,” he sings four times to end the song, the lines essentially built to be cooed back at him from a crowd. “Never been so contented/I won’t ever forget it.” That’s Real Estate’s long-relatable smiling sadness, lifted in proper Music City style. Listen, too, for Real Estate’s squiggly versions of classic Nashville licks during “Flowers,” where the mercury of pedal steel and the twinkle of a Wurlitzer illuminate acoustic strums like stars in the night sky. A song of dislocation and constancy, it’s a reminder of the common way we use music no matter the genre or scene—to find our way forward. Daniel is a complete string of these compulsive moments: the crisscrossed harmonies of “Water Underground,” the delightful sway and rise of “Market Street,” the enchanting but deceptive simplicity of “Interior.” Real Estate manages the rarest of pop tricks here—to sound effortless but be artful, with all the flourishes and tricks tucked so smartly into songs that you only spot them when you unpack what makes all the tunes so winning and sticky. But this, of course, is not the Real Estate of their MP3-blog salad days. Four members are married, with Niss in a long-term relationship. There are actual kids in the equation now. And the world outside has darkened considerably in 15 years, in all those ways that require no recounting here. Time and again, Daniel wrestles with that juxtaposition—external alienation and madness, internal responsibility and hope. These are songs of confusion, of trying to find a way to be present and better in broken times. “Now and then, I can pretend the sun is shining,” Courtney admits during “Freeze Brain,” the keys of Matthew Kallman and guitars of Julian Lynch framing a lambent haze around him. “Let’s let some light in.” Ain’t that the struggle, to find some joy despite all the forces that filch it from us? In Nashville, all five members of Real Estate shared a rental, cutting up in close quarters after the imposition of separation of these last few years. Several days into recording, they were discussing album titles when someone suggested “Daniel,” simply because it seemed funny to bestow a human name upon a record. Was it for Daniel Tashian? Maybe. Was it a nod to The Replacements’ Tim? Possibly. Was it the sign of a band that has now been around long enough to take its music seriously without taking itself or its perception too seriously? Absolutely. Daniel is a record of wonderful pop songs, its string of hooks and stream of worry irresistibly connected in the way few bands have ever done better than Real Estate. But perhaps just as important, it is an expression of the self-acceptance that can come with maturity, with realizing it’s enough to be who you want to be. “What is it that you want to hear? There’s only so much time,” Courtney croons during “You Are Here,” Daniel’s ingenious and strutting finale. “Best we can do is be happy here/Sing another line.” It is a mission statement for Real Estate at 15, a reminder that they are the band of their childhood dreams and that is cool. To that end, they’ve never been better at being Real Estate than they are right now, on Daniel, their new best album yet.

fri31jan8:30 pmfri10:00 pmMolly Lewis8:30 pm - 10:00 pm World Cafe Live - Philly, 3025 Walnut Street

fri31jan8:30 pmfri11:00 pmShyGodwin8:30 pm - 11:00 pm MilkBoy, 1100 Chestnut Street

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(Friday) 8:30 pm - 11:00 pm

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1100 Chestnut Street

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ShyGodwin, a punk and hardcore punk artist from Philadelphia, is a force to be reckoned with. They have established themselves as a force to be reckoned with in the punk scene with their raw and unapologetic sound. Intense and combative melodies that stoke the listener's passion are delivered by ShyGodwin's music, which represents the rebellious spirit of punk. Their lyrics address issues of societal unrest, individual adversity, and the need for change, striking a chord with listeners who yearn for authenticity and a voice for the marginalized. ShyGodwin incorporates ferocious guitar riffs, piercing percussion, and passionate vocals into their music, drawing influence from punk pioneers like The Ramones and Bad Brains. Every note exudes their unfettered passion and shameless attitude, enthralling audiences and leaving them wanting more. The music of ShyGodwin has an even more violent edge when it enters the hardcore punk genre. It is impossible to ignore the electric environment they create with their unrelenting energy and searing auditory onslaught. ShyGodwin has cemented their position as a key player in the hardcore punk scene with their electrifying concerts and unwavering devotion to their craft. A rallying cry and an anthem for individuals who defy convention and challenge the status quo, ShyGodwin's music is a call to action. In the punk and hardcore punk genres, their unrelenting passion and unwavering dedication to their work make them a formidable force to be reckoned with. ShyGodwin's powerful performances leave a profound influence on everyone who has the opportunity to hear their unadulterated sound.

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