Katie Herzig live @ The Troubadour: Starting a revolution against our own confusion

Deep into Katie Herzig‘s set at the Troubadour in West Hollywood last night, as she was playing an acoustic version of the fan favorite track “Hologram” by request, two odd realizations suddenly came to me:

  1. Wow, this was the first Katie Herzig song I ever heard, and that was 10 frigging years ago.
  2. Why wasn’t this song a huge hit?!?!?!

Now, there are a ton of more-or-less independent artists I follow who seem to have a strong cult following on the Internet, and who I could get salty about in terms of the mainstream pretty much ignoring them. But a lot of them make music that might not be “catchy” in the conventional sense, so I’m cool with it not being mainstream radio fare. Katie Herzig, though, seems to be the type of unabashedly poppy singer.songwriter who should have had a real shot at some hits back in the late 2000s. I probably only think that because I’ve always been super out-of-touch with what it takes to actually make music popular, but regardless: “Hologram” was a fun, upbeat, ridiculously catchy, self-effacing song about relationship failure that should have found a much larger audience.

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Katie Herzig – Moment of Bliss: The Beauty is in the Motion

Artist: Katie Herzig
Album: Moment of Bliss
Year: 2018
Grade: B+

In Brief: Another strong entry from Katie that deftly balances immediate, hook-driven, fun-loving pop singles with more intricate and unusual arrangements on some of the deep cuts. It’s not quite the home run that her previous two albums were, but it’s pretty darn close, and her message of self-determination and pride in one’s identity feels like it’s needed more now than ever.

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Tennis – We Can Die Happy: This “little bit left” goes a long way.

2017_Tennis_WeCanDieHappyEPArtist: Tennis
Album: We Can Die Happy EP
Year: 2017
Grade: A-

In Brief: A worthy companion piece to one of 2017’s most blissful indie pop records. There’s a slight bit more bounce to a few of these, but still, the band could have slipped any of them on to Yours Conditionally and they’d have been right at home.

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Tennis – Yours Conditionally: 40-Love.

2017_Tennis_YoursConditionallyArtist: Tennis
Album: Yours Conditionally
Year: 2017
Grade: B

In Brief: Tennis has a laid-back, breezy, sunny sort of indie pop style that feels like a less gloomy, more innocent Beach House. It’s an easy sound to fall in love with, though the lack of variance in tone and tempo can start to get repetitive toward the album’s end.

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Gungor – One Wild Life: Body – We’ve come a long way, we keep on evolving.

2016_gungor_onewildlifebodyArtist: Gungor
Album: One Wild Life: Body
Year: 2016
Grade: B

In Brief: While Soul still has the highest concentration of my personal favorite songs from the One Wild Life trilogy, the sheer ambition of Body and the stylistic ground covered here is hard to ignore. It’s a brave, albeit imperfect and somewhat awkwardly paced, album from a band that continues to challenge the notion of what “Christian music” should be about.

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Gungor – One Wild Life: Spirit – Consonance isn’t always peaceful. Dissonance isn’t always evil.

2016_Gungor_OneWildLife_SpiritArtist: Gungor
Album: One Wild Life: Spirit
Year: 2016
Grade: B-

In Brief: While more upbeat and rhythmic than its predecessor Soul, Gungor stumbles slightly in the lyrics department here by being a little too vague about their spirituality at times while being a little too didactic when they get more specific. I don’t disagree with anything they’ve got to say here; I just question whether this is the best way to present these thoughts in musical form.

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Gungor – One Wild Life: Soul – You cannot love in moderation.

2015_Gungor_OneWildLifeSoulArtist: Gungor
Album: One Wild Life: Soul
Year: 2015
Grade: B

In Brief: At times immediate and delightful, and at times slow, cerebral and perplexing, the opening chapter in Gungor’s new trilogy of albums celebrates the gift of life and the sense of loving unity that should be felt when Christians are at their best, at times coming back around to embrace the “contemporary worship” tag we once applied to their music, while still challenging the norms of that genre in fascinating ways.

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