Qiling Jiang poses with a poster of Kaizen Collective Apparel. She is the founder of this brand, which was a sponsor of the Kupid Dating event on DePaul’s campus in Oct. 2025.
CHICAGO- Owning your own business is a dream for many college students. They study business and journal about future plans, but for Qiling Jiang, owning a business has already become a reality.
On October 9, student-owned businesses CUUB and Kupid Dating joined forces for a live dating show at DePaul University, sponsored by multiple companies, including Kaizen Collective Apparel.
“CUUB is cofounded by Nick, Jovan, and Vlad,” Jiang said. “We’ve seen each other around at CEO Club, and I shot them a text saying, ‘Hey, I see you guys are hosting this event, are you looking for sponsors?’ And here we are.”
I first met Qiling Jiang, the founder of Kaizen, at the DePaul Activities Board Fall Flea market in the Quad. I was captured by the quality of the shirts and the intriguing designs, and I learned that Kaizen is just beginning.
Co-founders of CUUB, Vlad Valchkou and Jovan Plavsic, pose in t-shirts from Kaizen Collective Apparel.
“I started at Innovation Expo this year, where I showed off the designs and the idea,” Jiang said. “I went off to join the Social Impact Incubator Program at The Coleman Entrepreneurship Center, and then I went on to pitch my business at Purpose Pitch, where I placed second in the student section.”
To those who dream of creating their own business, Jiang gives this advice:
“Just try it. You never know where things are going to end up,” Jiang said. “And if you don’t try, it’s always going to be in the back of your mind. Even if you try and you fail, at least you’ll have something memorable and fun. It’s a great learning experience. Even if your first business doesn’t work out, maybe your next one will, or your next two will, but the experience that you get from starting your first one will carry on into future endeavors.”
Qiling Jiang introduces the Kaizen Collective to the crowd.
Jiang represented DePaul at Pitch Madness, where she was then provided with funding to make the shirts. It has now been three months since the launch.
“We started posting a bunch on our Instagram page,” Jiang said. “We’re just trying to promote it now and get the word out there, and I believe we have a great product of great quality and great meaning and purpose.”
Kaizen can be found on Instagram under @kaizen_collective_apparel, where you can find more of their martial arts-inspired streetwear.
CHICAGO- On Nov. 5, Kevin Gates took the stage at the Byline Bank Aragon Ballroom in Chicago for a night that blended raw energy, heartfelt lyrics, and his signature personality. I’ve been a fan of Gates for years, and recently he’s been getting plenty of buzz online for both his comedic charisma and his viral song “Hard for.”
His newest project, “Amillio 2,” even features a continuation of that track, “Hard for Pt. 2.” With all the social media attention he’s been receiving lately, fans were eager to see him live.
From the moment the lights dimmed, the energy inside the venue was electric. Fans rushed to fill the floor when the doors opened. The crowd was a mix of ages and backgrounds, probably one of the most diverse audiences I’ve seen at a concert. Everyone seemed to share the same excitement, waiting to see what Kevin Gates would do.
That feeling quickly shifted once Gates appeared around 8 p.m., walking out to loud cheers and flashing lights. Some fans were expecting him to show up in one of his signature suits, but for Chicago, he kept it casual with jeans, a T-shirt and layers of chains.
Before Gates hit the stage, a lineup of openers kept the audience warmed up. Performers like Famo, DJ Chose,andRob Kazzi each delivered short sets, even performing some of the songs they had featured with Gates. In total, the openers filled about an hour. A solid pre-show stretch that gave fans time to settle in and vibe. However, there was some confusion: earlier advertisements for the tour had listed Big Boss Vett as one of the openers for the Chicago show, and her absence left a few fans disappointed.
He wasted no time opening with “Paper Chaser.” Gates’ confidence and stage presence were undeniable, but what stood out most was the genuine joy on his face as he performed.
Although some moments of the show were lighthearted, Gates made it clear that he takes his craft seriously.
While waiting to get into the venue, I overheard people talking about coming mainly for comedy, since he’s known for his funny interviews online. But his concert told a different story, one centered on reflection and motivation. Between songs, Gates often spoke words of encouragement and affirmation. Halfway through the show, he even asked the entire crowd to pray with him before performing one of his motivational hits, “Imagine That.”
As someone who’s been a fan of his for years, I’ve learned that beyond his popular songs, Kevin Gates carries a powerful motivational drive. You can feel it through his body of work and his stage presence. His words hit home for me, and I’m sure some of the people who came expecting laughs left as newfound fans.
The concert felt both personal and powerful. Kevin Gates has beaten a lot of odds and continues to grow his audience with authenticity and purpose. I left the Aragon Ballroom deeply moved and proud to have witnessed the Kevin Gates experience.
CHICAGO— On Saturday, September 27th, alternative-rock band Fleshwater took the Thalia Hall stage by storm. The jam-packed show was a stop on the band’s tour, supporting their latest release “2000: In Search Of The Endless Sky.” With Chicago’s own Si Dios Quiere and Boise-based Ingrown first on the lineup, the show was off to a brutalist harcore start that established an intense, energetic tone for the night.
Before Fleshwater even took the stage, the stage’s set design proved to be a standout element of the show. With a massive functioning windmill standing tall on stage, surrounded by realistic flying seagulls, this added a striking and unique backdrop to the noisy musical catharsis about to take place.
As the band walked on stage they quickly launched into their set with the opening track off of “2000: In Search Of The Endless Sky,”“Drowning Song.” With the first couple of songs highlighting the effortless blend of nu-metal and shoegaze displayed in the new album, the audience was enthusiastically headbanging, contributing to the sea of movement building amongst the crowd.
When the band commenced the fan favorite track, “Linda Claire,” the crowd greeted the opening riff with a wave of excited screams as the swaying of people quickly turned into pushing, starting a pit. With beloved earlier releases, and their breakout album being highlighted, Freshwater’s set served as a culmination of their entire discography throughout their highly praised career.
Despite the fact that they played for over an hour, Fleshwater absolutely ripped through their set. The band energized the rambunctious crowd with their dynamic and commanding stage presence backed by a blistering wall of sound that felt like a sucker punch of nu-gaze.
CHICAGO- On October 31st, 2025, David Byrne took the stage for one of his four performances at The Auditorium Theatre. I was lucky enough to be in attendance. Byrne is most famous for his work in the iconic rock band, The Talking Heads. With hits such as “Psycho Killer” and “Burning Down the House,” the audience was in for a stellar performance. And sure enough, we were not let down.
Byrne performed in Chicago for four nights, with his final performance being November 1st. Something was special about this performance in particular: it was on Halloween. As my friend and I waited in line, we observed audience members were all dressed up for the holiday. My friend and I are big David Byrne/The Talking Heads fans, so we decided to pay homage and dress up as David Byrne himself and the lamp that he used to dance with on stage.
Among the crowd, we received at least three “I was your age when that album (Stop Making Sense) came out” as well as a lot of compliments. It made me smile knowing that I was surrounded by people just as excited as me. Finally, we got to our seats. The first thing I noticed was that we were the youngest people within eyeshot, then a kind woman told me I had amazing energy, and then the show started– all in that order.
The lights went down, music swelled, and audience members were immediately enthralled. Opening with The Talking Heads’ hit “Heaven,” a crowd of people close to double my age all joined in harmony as they listened to the man wail. And they wailed along.
The visual effects really stood out. Both the floor and the walls were screens. There were flashes of fields, mixed with a montage of New York City life, and even an apartment tour led by Byrne himself. Keeping all the visuals absolutely hypnotizing, audience members were treated to a display of activism when a variety of slogans popped up. While some of them were funny, such as “Merry drunk, I’m Christmas,” others referred to today’s political climate. Cheers erupted from the audience every time.
Something that really stuck out was the inclusion of the band and performers on stage. Instead of having a pit or off-stage performers, they joined Byrne and his dancers in moving along with them. Despite the constant movement, they never skipped a beat.
When the concert began ending, he performed a cover of Paramore’s “Hard Time.” While the older crowd wasn’t too into it, I had no shame dancing in the aisles. He then followed that up with “Psycho Killer.” Everyone suddenly stood up and celebrated the spooky holiday with a spooky song to match it. The performance ended, but we were greeted with an encore of “Everybody’s Coming to my House” and “Burning Down the House,” a great way to end a great concert. When the lights came up, the audience was left smiling from ear to ear.
CHICAGO- On October 22nd 2025, I had the honor to be a part of the crowd at Thalia Hall to see New Zealand’s pride and joy, Balu Brigada. Being in Thalia Hall itself was a surreal feeling, the venue was incredibly beautiful, and you could almost taste the rich history its walls held.
The opener for the show was none other than Harper Finn, who took away everybody’s breath with his electric moves and his suave voice, wonderfully accompanied by Jacob Stockman on the drums. He performed some of his hit songs, such as “Conversations (With The Moon)” and “Where Did She Go,” setting a dreamy tone for the evening. He also performed some upcoming songs of his, surprising the crowd and causing a new wave of excitement among us. As he began to step off the stage, he spoke into the mic, “You guys will see more of me, just behind a different instrument,” alluding to him performing as the keyboardist for Balu Brigada.
When the two brothers finally stepped onstage, the energy in the room shifted instantly. The crowd, full of long-time fans and curious newcomers, was ready to dance! The brothers instantly jumped into the first song of the night, “Golden Gate Girl,” the beat forcing my feet to shuffle in sync. The band’s signature blend of funky basslines, sleek guitar riffs, and smooth vocals made every song feel danceable, even the ones tinged with bittersweet emotion.
Their set included other hits from their debut album “Portal,” which was released just this past August and has accumulated over 75 million streams on Spotify, including “What Do We Ever Really Know” and “Butterfly Boy.” They sang some of their older material too, like “Moon Man,” and at one point, surprised the crowd with a cover of Grimes’s “Oblivion.”
What stood out the most, however, was their chemistry. Both, with each other and the crowd. The brothers continuously made playful jabs at each other, taking many moments during their performance to hug or joke around. They made sure to share this love with the audience too, pointing out 2 people in the crowd that they had seen while at a ramen restaurant, and then showcasing their musical intellect by immediately coming up with a catchy tune, singing, “We love ramen!”
The energy spread by the duo was caught onto by the crowd, who matched it beat for beat. They sang along to every lyric, waving their hands and phones with the flashlight on, and jumping in unison when the beat dropped. When the band played their hit song “So Cold,” the entire room erupted, a moment that captured exactly what live music is all about.
Seeing Balu Brigada live was an experience that may never be topped, and I’m grateful to have shared my evening with them.
CHICAGO– Last week, I went to The Destroyer show at Thalia Hall with my co-host Paige Schiller, and our friends Eilee and Ella. Dan Bejar was a legend in my house growing up, one of the few contemporary artists that my parents kept up with (the rest of my music education from them was founded on a lot of Bruce Springsteen, Ella Fitzgerald, and whatever live sets were being played on A Prairie Home Companion weekly.) I have tried to see Destroyer live three times since moving to Chicago, and up until now I had never been successful. Either the tickets were sold out, or the shows took place at a venue I wasn’t old enough to be at. This time, I was incredibly lucky to be able to be able to attend through Radio DePaul!
My friends and I showed up halfway through the opener, Jennifer Castle. She played “Blowing Kisses” as her last song, prefacing the performance by telling the crowd that it had been featured in “The Bear’s” latest season. I just finished that season so I recognized her lilting lyrics almost immediately.
The crowd that night was pretty boisterous and talked through Castle’s entire set, (everyone was shushed numerous times by fans and staff alike) but anticipation creeped in as soon as she exited the stage and the aimless chatting was quickly replaced by an infectious buzz.
The show began with the first song off “Dan’s Boogie,” “The Same Thing as Nothing at All,” a perfect album opener, and a perfect start to the show. Even though the tour was advertised as being “Dan’s Boogie Tour,” only ⅓ of the setlist came from the new album. I was both disappointed and delighted by this. I really like the album but I wasn’t as familiar with it as I am with “Kaputt” or “Destroyer’s Rubies.”
I almost didn’t notice the variety of songs since the setlist traveled so smoothly through Bejar’s different albums and eras. His sound is so cohesive and unique that the show felt like one very long song, in the best way. Having recently bought a new camera, I brought it expecting to be able to shoot from the balcony since the lighting at Thalia Hall is always impeccable. However, this was my first time using the camera and I did not anticipate so many technical issues. Dead pixels, broken flash, sensor malfunctioning, I did the best I could to capture some coverage of the set from up above.
The show melded together in such a way that I did not get bored once, but at the same time, little stood out to me in the moment. There were certain moments that brought me back, such as Jennifer Castle re-entering to sing Fiver’s part in “Bologna,” “European Oils” my favorite Destroyer song, and “Hydroplaning Off the Edge of the World,” but that isn’t to say that the set was dull at all. It wasn’t Bejar or his band’s fault that I was losing focus, but instead it was just difficult balancing the photography and paying attention to the show since the camera turned out to be so unwieldy, and since I have never shot from a balcony before. I find that it is much easier to remain present when shooting from the floor. The crowd keeps me grounded because I feel a little self-conscious waving a camera in the air knowing that it might be blocking someone’s view, so I typically choose my photo-taking moments much more carefully. Up on the balcony, my view was definitely less obstructed but I wasn’t alone. Multiple seated attendees got up and stood in the back of the balcony aisles to dance.
I hadn’t been expecting Destroyer to inspire dance in so many Gen X couples but it was very sweet to watch. By the encore, “Bay of Pigs Detail,” one of my favorites, my friends and I got up to dance as well and we experienced “collective effervescence,” which was a term I discussed in length with Paige before our most recent show. It defines the unified feeling of enjoyment or entertainment amongst a crowd of people who are all there for the same reason, or all focused on the same cause at the same time.
CHICAGO — We live in a time where microtrends rule our aesthetic, lifestyle choices, and output. Many people and artists fall into the trap of clinging onto the hottest trend on the market and squeezing it for short-term results. French-born pop artist Oklou transcends this notion and has made a career by making her seemingly Y2K worship a staple of her brand and more than a cash-grab schtick.
On Oct. 21, 2025, Oklou performed for a sold-out crowd at the historic Metro, a venue that carries a legacy of being one of the top in the Chicago area. The French artist crossed the pond to embark on her U.S. and Canada tour for her new acclaimed album “choke enough.” The album has made a splash in alt-pop and electronic spaces, bringing a new element to the scene by introducing more ambient, stripped-back production over Oklou’s quiet and soft-spoken singing.
As I walked up to the Metro I saw the long line of fans waiting for the floodgates to open. I noticed that the aesthetics – Digicams, mesh shirts, and septum piercings – were all represented in the mainly Gen Z crowd. The few older fans I witnessed in the line dressed exactly what I would imagine a 2000’s club crowd would look like. A variety of funky hats, cheetah-printed scarves, and alien-like glasses ushered me into a world where all walks of life are accepted.
Our hivemind of Y2K appreciation eventually spilled into the main floor of the Metro. In front of us, a staggeringly tall white tarp overlooked the audience from the background. The foreground, on the other hand, consisted of a snow-white stage draped with geometric shapes scattered across it. The stage more resembled a jungle gym that was hit by an arctic blizzard than a usual setup. Some audience members and I hypothesized what could come from the bizarre setup we were witnessing. Were there more instruments under the boxes? Would the tarp reveal something spectacular beneath it? I noticed that we were being brought into Oklou’s imaginative world before the show even started.
In the midst of our baffled conversations, a bright spotlight flashed from behind the stage. To a roar of applause, the opener, umru, appeared from the abyss to perform his opening DJ set. umru looked more like a car mechanic than a DJ. The spotlight turned out to be his headlamp strapped to his head, helping the New York based DJ see the turns and knobs in front of him.
Speaking no words to the crowd, a composed umru started his set with a varied mix that ranged from bubblegum bass, hyperpop, and Jersey club, married with vocal chops from well-known EDM and trap records. This amalgamation of pounding drums and offbeat vocal selections seemed reminiscent of Dariacore, a niche genre born from the internet in the early 2020s and made popular by Oklou’s frequent collaborators.
Excited by his choice of music, I frantically looked around me to see who I could share this moment with. I was despondently met with stoic stares and slight head nods from the audience. I braced myself for what I thought would be another disappointing crowd that were either too awkward or embarrassed to enjoy themselves with the music. Though during the climax, all of the ensuing chaos from umru’s set came to a halt. An abrupt string section was met with many confusing looks around me. Then, out of the blue, the muddled audience were hit with Chief Keef’s vocals from his record “Kush With Them Beans,” and a hardstyle drum came blasting from the speakers. This sudden switch turned the once frozen-solid crowd into a frenzy. umru’s DJ set awoke the crowd from its awkwardness and prepared them for what was to come.
As the crowd anxiously waited for the performance of the night, a familiar sight of a beaming light appeared from behind the white tarp. From the screams of the fans in attendance, the light slowly made its way to face the crowd. Emerging was Oklou with the same headlamp Umru donned, resembling the famous poster from John Carpenter’s “The Thing.” The intro to Oklou’s track “ICT” started playing through the speakers as she made her way to the microphone, accompanied by her fellow musician Casey MQ, who played keys and guitar. Oklou took no time to display her musical chops throughout the show, with vocals that matched the studio quality of “choke enough,” guitar playing, keyboard magic, and even a performance with a recorder.
The star of the show, though, was everything outside of the music. The stage setup that had me and others intrigued had no secret behind it but rather gave the feeling we were in the clouds, floating with the music and Oklou. The white tarp lit up with accompanying videos featuring distorted and blended clips of characters dancing, driving through highways, and swirling shapes that looked like Rorschach inkblots. The lighting throughout the concert was calculated and displayed an intense attention to detail.
In some performances, the light glowed behind the tarp to give Oklou a silhouette-like figure, adding to the world-building she was creating right before our eyes. Two light fixtures that resembled street lamps shined onto spurts of smoke that clouded the stage, creating an atmosphere even David Lynch would appreciate. The only time the lighting strayed away from its monochromatic look was when Oklou performed “galore”, from her previous project under the same name, a clear homage to the art direction of her earlier work.
As the show entered its last stages, Oklou appeared to grab a headdress covered in what appeared to be pieces of glass taped chaotically all over it. A narrow floodlight appeared and waved left and right before carefully shining directly onto the headpiece. Immediately, the light refracted in every direction, revealing spots of light that moved symbiotically with Oklou. Within seconds, the venue turned into a disco frenzy as the rumbling synth intro of “choke enough” started playing.
The theatrical performances and dazzling display of musicianship all culminated in the climax of the show. After performing “family and friends,” a cloud of mist and smoke smothered the stage and venue. A flood of bright lights above the tarp shined onto the performers as a harpsichord rendition of “harvest sky” softly played in the background. Oklou proceeded to sing her verse of “harvest sky” over the harpsichord, transforming her club banger into a medieval-like ballad. At the end of her soft-spoken verse, the white tarp flashed with a greenish scar that bounced along the intro synth of the track. Casey MQ turned to the crowd with a boastful look, swaying back and forth with his arms crossing his body. Oklou stood on top of one of the geometric structures and swayed to the beat, standing confident and free over the screaming crowd.
“harvest sky” is a fan favorite and one of the more popular tracks from “choke enough.” Hyperpop artist, underscores, known for her seminal album “Wallsocket,” provided lush vocals on the euro-trance inspired song with Oklou. There were swirling rumors among fans in person and online that underscores would make a surprise appearance at this show. No one knew a thing. I mean, Bladee didn’t magically appear for his verse on “take me by the hand,” so it was doubtful, right?
Right before the point in the song where she sings her verse, observant fans in the crowd saw what they thought was a figure emerging behind the white tarp. From the darkness, underscores appeared to a raucous crowd that, at the sight of her, started jumping around from sheer excitement.
The trio of Casey MQ, Oklou and underscores all stood on top of their respective elevated platforms and looked upon the crowd from all walks of life. The music, lighting, art direction, dances, crowd, and atmosphere all came together for this moment. In here I felt free: free from judgement, free from the ongoing chaos in our world, to enjoy this moment. A moment like this comes and goes, but Oklou embedded herself into my memory, a memory I’ll always cherish.
CHICAGO- On October 14, the first night of Grammy Award-winning rapper Doechii’s “Live from the Swamp Tour” took place at Byline Bank Aragon Ballroom. For the uninitiated, Aragon is a historic venue in Uptown with an eclectic mix of 1920s atmospheric grandeur, a palatial Spanish courtyard interior, and 21st-century nightclub equipment, complete with galaxy murals and a lone disco ball.
Although I am a huge fan, I’ll admit I was slightly nervous. The line for entry had stretched several blocks down the road by the time doors opened at 7 p.m., and some ticket holders were anxious about whether they’d even make it inside. My fears were swiftly assuaged, though, as she delivered a musical tour de force that would leave any doubter converted to a superfan.
The self-proclaimed “Swamp Princess” took the stage at 9:30, emerging from a two-story boombox set to thunderous cheers. The setlist itself was sectioned into “Lessons” like Bars, Flow, Genre, and The Art of Storytelling, with relevant songs for each section. Doechii’s masterful flow and impeccable breath control were on display as she began with the slick rhymes of “STANKA POO,” “BOILED PEANUTS,” and the energy quickly ramped up for her viral hit “NISSAN ALTIMA.”
The stage was Doechii’s playground, and we had clearly arrived right on time for recess. She barely spent a moment in one spot as she danced, strutted, and sang her way up and down the set. (Spoiler alert: there are slides and she uses them!) Her versatility cannot be understated, as she delivered covers such as a freestyle over Beyoncé’s “America Has a Problem” as well as remixes of audience favorites- a standout being “Persuasive” with snippets of Charli xcx’s “360.”
However, the one thing Doechii emphasized the most was community. Her act was supported by longtime collaborator DJ Miss Milan, with dancing from her younger sisters Sydney and Courtney. Audience participation was welcomed- “Alter Ego” even began with a call-and-response to the audience. As the crowd was coming off the high of performing Tyler, the Creator’s parts in “Balloon,” she urged us to hold one another close. “We are your community tonight,” she declared to those who had come alone.
The encore performance was cut short, but as I followed the throngs of people down Aragon’s grand staircase on dance-sore legs, I was certain of one thing: the next visit Doechii makes to Chicago, I’ll be first in line.
CHICAGO- On October 3rd, at Wicker Park’s own Chop Shop, Caroline Kingsbury and MARIS absolutely blew me away. The energy, the enthusiasm, they had it all. For two hours, the duo poured their hearts into every note, leaving the crowd feeling liberated and possibly more queer than before.
What struck me the most about this show was how unique it felt. This wasn’t just a concert, MARIS and Kingsbury wanted to create a whole experience for attendees and build connections with them. From handing out gifts, recreating iconic MARIS stars, jumping into the crowd mid-set, and their boldest move, making the opener their fans. The two artists created an entirely dedicated space to their intergalactic personas.
MARIS and Kingsbury allowed their supporters to sign up for karaoke for the first hour of the show. At Chop Shop, two pages quickly filled with eager fans willing to sing their hearts out, with the slim chance that the two artists will come out and join them. Fans belted out songs like “Snow Angel” by Reneé Rapp, a handful of Chappell Roan hits, and more.
The excitement hit its peak when MARIS and Kingsbury joined in for a karaoke rendition of their own track, “Give Me a Sign.” Watching strangers bond over karaoke before the main show even began was magical. It proved just how powerful live music and queer spaces bonds people.
MARIS and Kingsbury then took center stage. They opened the show with a theatrical entrance, and launched into their hit, “Give Me A Sign.” Kingsbury followed with a set of her solo music, opening with three tracks from her 2021 album “Heavens Just A Flight,” a nostalgic treat for longtime fans. The crowd swayed, danced, and felt every emotion she poured into her performance, as she always does. The transitions between artists were seamless, with the two feeding off of each other’s energy for each passing.
After Kingsbury’s “Massive Escape,” the crowd watched MARIS climb on stage with an inflatable joint, passing it to Kingsbury, truly capturing their chemistry. The bit led seamlessly into “Mary + I.”
MARIS didn’t just stop there. Fans watched the Montana native break it down, shred on an inflatable guitar and even hit a costume change during “Heavenly Bodies.” She had the crowd in the palm of her hands, MARIS’ energy was infectious despite her admitting she was feeling under the weather that night. She even treated fans to some unreleased tracks, such as “Jessica,” which led to her jumping into the pit for a “mush pit,” a mosh pit but friendlier, as she described it. The crowd’s energy then took a switch during a fan-led project for her 2024 single, “Chamelion” where attendees held up hand-drawn chameleons and phone flashlights.
As the emotions settled, Kingsbury returned to the stage, tambourine in hand, instantly lighting up the room. The Florida-born artist danced, did high kicks, and engaged the crowd with props and flags. It’s no secret that her songs are meaningful to her, she packs in so many moments of her lifetime into her tracks, striking a chord within listeners. That was especially clear when performing “Funeral,” dedicating the track to her brother.
The rest of the night was a celebration of queer joy, as well as a mix of dancing and swaying. Mid-set, MARIS and Kingsbury even sat down for a quick fan Q&A, before surprising the crowd with a cover of Chappell Roan’s “Pink Pony Club.” Their bond with each other was undeniable. It was no secret they were having fun that night at Chop Shop. To close the night, they came full circle, returning to where the show began, their hit “Give Me A Sign,” paying homage to the tour and the wild ride they just put attendees through.
Together, MARIS and Kingsbury proved that live music can be more than entertainment – it can be a form of liberation. Their co-headlining show at Chop Shop was a celebration of individuality, creativity, and queer joy, leaving fans buzzing long after their final notes.
A few weeks ago, I had the absolute honor of meeting Leith Ross and hearing about their new album, “I Can See The Future.”
During that time I got to listen to Ross not only share thoughts and ideas about the new album, but also learn more about them as a long term fan. “I Can See The Future”is not just an album of connecting to what is yet to come, but also a reminder that even in the current state of our world, hope, positivity, and love are things that will continue to occur and even prosper long after we are gone.
The album itself features songs like “Grieving” and “Stay,” both which discuss the many different forms that love can evolve into. Ross states that the songs are supposed to be a intertwining of reality and hope. A rejection of the current cynicism and doomsday feelings conquering people’s minds today. However, Ross’ intentions with this album was not to say that everyone should put on a smile and endure the tragedies occurring worldwide, but to remember that the world can and will always return to goodness because they, me, and anyone reading this are good people.
While listening to Ross’ answers to many of my fellow interviewers, the concept of “good people” equaling a “good world,” came to me many times. It’s something that Ross clearly believes in very much, I mean just hearing them speak filled me with hope. That concept wasn’t something I truly believed in before, but it actually makes sense.
The songs “Grieving” and “Stay,” both released before the full album, depict this sense of energy or potential being left behind when you’re gone, but also being cultivated while you’re still alive.
For example, “Grieving”discusses this deeper feeling of grieving what could’ve or could be. It also focuses on grieving real people. Love, as mentioned by Ross, gives way to grief. It’s choosing to love someone or believe in something that gives love the power to hurt you, but also to heal you. I, myself, love many people, but one day I won’t be able to laugh with them or hug them ever again, but I would never trade my time with them. And each time I laugh with them, I realize that not only do I love them, but that I will also one day lose them and that I have to prepare myself for that day.
This is what “Grieving,”to me, is about. It’s about realizing what will be lost and loving it or believing in it anyway and honoring what it was or what it felt like before it’s gone. It was a great reminder to stay present and to realize I’m in the process of making great moments, but that they’re only great moments because they will one day come to an end.
“Stay”is the other end of this feeling. It’s a song about community and making these moments that are and will one day be grieved. Ross inputs this cyclical feeling to the album as well. A life, death, and rebirth of sorts in my opinion.
While in the conference, I also had the honor of listening to the teaser for “Point of View”on the album, which I will say has been on repeat since it came out. The song not only rocked me and my fellow peers into a happy stupor, it set me at ease. I had waited in anticipation of its release because it spoke to this feeling of uncertainty I have when it comes to relationships, platonic or romantic. It speaks to wanting to understand people’s perspectives on you, but never fully being able to experience yourself through someone else’s eyes.
It however doesn’t succumb to this melancholy feeling of “never truly knowing someone,” it instead reminds us to focus on knowing, deeply understanding, and empathizing with what’s shown to us. I will never fully understand why people do what they do or how they view me, but I can connect with what they share with me. If someone genuinely laughs at a joke I tell, I don’t need to dwell on whether they think I’m funny or not. “Point of View” says to focus on the fact that this person is experiencing genuine laughter and that this is a moment of connection with a fellow human being, no matter how small.
In my opinion, it’s a reminder to stay present and honest about how you feel. Each moment, good or bad, happy or sad, is a moment of connection with someone else. A moment to foster understanding. “Point of View” asks the question, “how beautiful is it that we will never truly know what’s in someone’s head, but that we can get to genuinely know them anyway just by connecting.”
It was truly an honor getting to meet Ross and hear their words of wisdom. I, too, feel like I can finally see what the future will be like for my descendants. I’m a good person. My friends and family are good people. And Ross says that you are a good person as well, and as long as we all exist and share that goodness and kindness from generation to generation, no matter what occurs in the world, goodness will exist— because we are good people.
