• Articles
• Photos
• Our Team
• Contact
• Apply

---

FEATURED STORIES

SACE6 TURNS AN OPENING SLOT INTO A MAIN EVENT AT GRINDERS KC

Even as an opener, sace6 already had fans singing along to nearly every word, with the front few rows moving from the second the set began until the final note rang out. That kind of connection is difficult to manufacture, and it speaks to how quickly the band’s following continues to grow. With a headline tour less than a month away, sace6 proved they have the stage presence, musicality, and confidence to command a room of their own.

• Read More

“LK99” FINDS ITS STRENGTH IN RAW, GENRE-BLENDING SOUL

Calvin Letterman | May 10, 2026

MEI SEMONES TAKES THE STAGE AT RECORDBAR

Calvin Letterman | April 20, 2026

DON BROCO EVOLVES INTO HEAVIER TERRITORY

Kaihli Mitts | April 10, 2026

• Articles
• Photos
• Our Team
• Contact
• Apply

---

"GUARDIANS OF THE GALAXY" REDEFINES WHAT MUSIC MEANS TO MOVIES

By: Kaihli Mitts

The Marvel Universe has played a huge part in our culture for decades. The Guardians of the Galaxy franchise is a big part of that universe, director/writer James Gunn's carefully curated soundtrack is a big part of the Guardians galaxy.The conceit of the film is that the hero, Peter Quill (Chris Pratt) carries a mix tape of ancient pop tunes wherever he travels in space. His Awesome Mix tapes have broken out of the film series and become a staple in pop culture.Quill's Awesome Mix Vol. 1, a gift from his long-deceased mother, is the soundtrack to his life. It helps him navigate loss, homesickness, and love. It also helps Pratt's Quill connect with the audience. The songs convey his thoughts and emotions, which can run deep even though these films are comedies.

When I think of Awesome Mix Vol. 1, my mind jumps to “Come and Get Your Love,” by Redbone, and “Escape (The Pina Colada Song),” by Rupert Holmes. When I hear these songs on shuffle or on the radio, they take me right back to the first movie, in which they play big roles. Each song bridges the gap between Peter’s past, present, and future. Quill ties most of the songs to his mother and his feelings of loss. But he also shares these tracks with his new friends as he looks to the future and their adventures together.Fans, critics and movie insiders loved Awesome Mix Vol. 1. It won Best Soundtrack in November of 2014 at the Hollywood Music in Media Awards. It was nominated for Best Soundtrack at the American Music Awards that same year, and for
Billboard Music Awards in 2015 and 2016 and a Grammy 2015.The success of the first soundtrack drove Gunn to curate something even better for the sequel. Gunn's selections -- of diverse songs everyone already knows and loves -- for this film uncovered emotional layers of Quill and of some supporting characters.Awesome Mix Vol. 2 brings us tracks such as “The Chain,” by Fleetwood Mac, and “Mr. Blue Sky,” by Electric Light Orchestra. These songs pile on top of the nostalgia established in the first Guardians of the Galaxy movies, even as they deepen the emotional challenges the adventurers face while fighting enemies on another planet.In the most recent film, Guardians of the Galaxy Vol. 3, music takes on an even more prominent role. In the first movie, music was near and dear to Quill. As story arc unfurls over all three films, the musical arc takes in the whole team. These songs express the emotions, themes, and growth of the guardians in both in their personal lives and in their group dynamics as they work to overcome whatever challenges they encounter. “In The Meantime,” by Spacehog, and “Dog Days Are Over,” by Florence + The Machine, for example, reflect the feelings of redemption and unity the characters experience redemption and unity on their journey.

In addition to the pre-existing songs, Tyler Bates composed underscoring for the film. Bates and Gunn joined forces to use the power of music to appeal to a wide range of audiences across the globe. They mixed popular and niche artists and new material to cover all the bases when curating the soundtrack and producing the score.Without the soundtrack, Guardians of the Galaxy wouldn’t leave its mark the same way. Sure, it would still be an award-winning film, but the emotional impact of each scene would be significantly different without the musical support it.The Guardians of the Galaxy soundtrack has served its purpose: To enhance the films' nostalgia, connections among characters, connections between characters and audience, sense of adventure, and humor. I watched all three films to understand the value of music to the franchise. Fans love the soundtrack, and I can see and hear why.

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

---

EVOLVING SOUNDS AND EXPANDING VOICES WITHIN THE WORLD OF PUNK

By: Kaihli Mitts

Punk has always been a timeless classic when it comes to style, culture, and music. Known for its grunge sound and confrontational lyrics, this genre of music has always been known to push boundaries while amplifying the voices of both artists and fans.Punk has transformed and grown as new generations have emerged but stayed true to its 1970s roots. Bands such as Pierce the Veil, Paramore, Bring Me The Horizon, and Spiritbox have gained popularity spanning from 2010 to now. They have shaped and created the many sub-genres now beneath the punk umbrella. Today’s punk scene is experimental, inclusive, innovative, and paving the way for future decades.Pop-punk, metal, and emo are just a few sub-genres that have emerged over the years. They vary in instrumentation, levels of aggression, and structure of melody. These sub-genres are experimental. They have reflected cultural shifts and movements and taken on such topics as mental health, identity and inclusivity.

In recent years, electronic elements have become increasingly prominent as the genre expanded. Current bands have tended to add more effects and layers to their music, and that's a sign of the times. It demonstrates growth since punk's inception in the 1970s. Modern punk has adopted autotune and heavy production, which have freshened the 50-year-old genre, and kept it far from withering away into something we used to know. The experimental aspect we have seen happen right before our eyes proves that punk is limitless, letting artists have freedom to create whatever they want with no boundaries, but can still call punk their musical home.Increased female representation within punk (and more general rock culture) has also driven this traditionally male-dominated punk to evolve.It turns out that women can, indeed, deliver the intensity that some believed to be beyond female musicians. Hayley Williams, of Paramore, and Courtney LaPlante, of Spiritbox, are two of the most influential women in rock music. Both have not only taken the stage by storm, but have led the genre down the road of inclusivity. They have pushed boundaries in ways that would have been impossible 20 years ago. Hayley Williams has shown, over several years, albums and projects, that women can be powerful and authentic in the punk world. Courtney LaPlante has shown that metal screaming and powerful vocals aren’t reserved for the men of rock. In doing so, they have shown that punk has a future.

These two women (and many more) are prime examples of punk opening its arms to inclusivity. Female fans and artists can now see themselves represented within the genre and feel more comfortable embracing the punk scene, which is now rich with a wide range of voices, personalities, and experiences.The future seems wide open. Since its birth in the '70s, punk has become a common genre across the globe, reaching listeners worldwide instantly each and every day. The growing popularity of the social media app TikTok has allowed for emerging artists and growing fanbases, making it incredibly simple for small artists to gain traction and for fans to find them with the click of a button. Social media will likely play a huge part in what the future means for punk culture.

Sub-genres will continue to emerge, as artists strive to include niche instruments and elements within their music to push boundaries and break down any barriers. As social issues grow and change more every day, younger generations will take advantage of this. Whether it be grunge, pop-punk, emo, or metal, younger generations will continue to use music as an outlet to project their experiences and opinions, just as past generations have.From the 2010s to 2024, punk has gone through a whirlwind journey. The genre has opened its doors even more to inclusivity and innovation, while still remaining rebellious and confrontational. As fans and artists continue to redefine what it means to be punk, a path is being paved for the future of the genre and its community of artists and fans.

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

---

• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

MEET THE TEAM

Kaihli Mitts

Founder & Editor-in-Chief

Camryn Elliott

Social Media Manager

Calvin Letterman

Staff Writer

Samia Fouché

Staff Writer

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

ABOUT Samia Fouché

Samia Fouché is a recent grad of the University of Missouri, currently participating in the Disney College Program and working in Disney’s Animal Kingdom. She’s a lover of all things music, entertainment and writing; the perfect combo for a Volume Ctrl Media writer! In her free time, you can find her vlogging, reading fanfiction and streaming ATEEZ <3

coming soon

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

ABOUT BLANK

ABOUT

coming soon

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

ABOUT CALVIN LETTERMAN

Calvin Letterman is a Freshman at Metropolitan Community College - Blue River who is studying Political Science. He is passionate about hip-hop, hiking, and the New York Knicks. Calvin enjoys spending time at the gym and playing pickleball.

“LK99” FINDS ITS STRENGTH IN RAW, GENRE-BLENDING SOUL

Calvin Letterman | May 10, 2026

MEI SEMONES TAKES THE STAGE AT RECORDBAR

Calvin Letterman | April 20, 2026

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

ABOUT CAMRYN ELLIOTT

Camryn Elliott is a current senior at the University of Missouri studying Strategic Communication. She enjoys reading, traveling, all things social media, and is likely to be holding an iced coffee every time you see her. In her free time, she loves listening to music, hanging out with friends, and shopping.

coming soon

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

ABOUT KAIHLI MITTS

Kaihli Mitts is a music journalist and concert photographer passionate about capturing the stories behind the sound and moments that make music feel personal.She holds a Bachelor of Journalism with an Emphasis in Strategic Communication. She has bylines in Her Campus Media, covering artists, albums, and live music across genres.

SACE6 UNVEILS DARK-POP SINGLE AHEAD OF DEBUT ALBUM

Kaihli Mitts | March 12, 2026

LIVEALIE AND THEIR JOURNEY THROUGH THE STATIC

Kaihli Mitts | April 15, 2025

WHAT HAPPENED AT THE BAND CAMINO'S HALLOWEEN SHOW?

Kaihli Mitts | November 14, 2025

DON BROCO EVOLVES INTO HEAVIER TERRITORY ON "NIGHTMARE TRIPPING"

Kaihli Mitts | April 10, 2026

CAL IN RED BRING INDIE POP TO MID-MISSOURI

Kaihli Mitts | March 5, 2026

CHLOE STAR KEEPS THE MOMENTUM GOING WITH "EMERGENCY CONTACT"

Kaihli Mitts | March 31, 2026

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

---

WHO WE ARE

From in-depth reviews and artist interviews to concert coverage and live photography, VOLUME CTRL highlights both emerging talent and established acts shaping today’s music scene.This platform serves as both a publication and a collective effort, showcasing work by individuals in music journalism, photography, and digital media.Whether you’re an artist, publicist, or fellow music lover — welcome to VOLUME CTRL.

• LinkTree
• Email
• Home

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

SACE6 UNVEILS DARK-POP SINGLE "COVET" AHEAD OF DEBUT ALBUM

By: Kaihli Mitts

This week, alternative duo sace6 has been anything but quiet on social media. Between Monday and Wednesday morning, the band shared two teasers hinting at a new track set to release Wednesday night. Previously performed during their set at Warped Tour in Orlando, fans had been eagerly waiting for the studio version to arrive.Titled “covet,” the song leans into a dark-pop sound that fits seamlessly into the duo’s evolving discography. While rock elements still appear throughout — most noticeably in the chorus — the track feels noticeably softer than songs like “said & done” and “ego,” their January release.

Following the release of “ego,” the band announced it had signed with Sumerian Records, a label home to artists such as Poppy, Bad Omens and I See Stars.Shortly after the new track appeared on Spotify and other streaming platforms, the duo went live on TikTok to answer fan questions — and ended up revealing more than expected. During the livestream, a fan pointed out that a full tracklist had appeared online, asking if it was “meant to be there” before the band confirmed the news nonchalantly.

The album, titled Brutalist, is set to release May 8, just a week after the band returns to the road. sace6 will join Dayseeker as a support act on the nearly sold-out The Pale Moonlight Tour throughout May 2026. If you’re already attending a show, be sure to arrive early. It might be your first chance to hear what the duo’s next era has in store, before headlining a tour of their own.

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

Chloe Star Keeps the Momentum Going with “Emergency Contact”

By: Kaihli Mitts

Breaking into the industry in 2023, Chloe Star has steadily established herself as a rising presence in the alternative pop scene. The independent artist’s latest single, “Emergency Contact,” released March 30. This marks her third release of 2026 and signals a continued period of creative momentum. With each track, Star has further defined a sound that blends introspective lyricism with polished production.“Emergency Contact” opens with a steady backbeat paired with guitar, immediately setting an understated tone. Star’s vocals enter with an emotive delivery, supported by subtle layering that adds depth to the track. The arrangement allows each element to breathe and contributes to the track’s cohesive, intimate feel.

The chorus stands as the song’s focal point, driven by a melodic hook that is both immediate and catchy. Rather than relying on dramatic shifts, the track builds through consistency, creating a sense of emotional resonance that lingers beyond the first listen. Additionally, a track that you can’t help but sing to yourself throughout the day, making it simple but unforgettable.As a whole, “Emergency Contact” highlights Star’s growing confidence as both a songwriter and performer. Its balance sonically sets itself up comfortably within the alternative landscape while maintaining a distinct identity. As her third release of the year, the single reinforces the sense that Chloe Star’s upward trajectory is only just beginning.

Photo by Kai Dickson

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

---

Don Broco Evolves Into Heavier Territory on "Nightmare Tripping"

By: Kaihli Mitts

For 18 years, Don Broco has bounced across several genres, proving that their sound will continue to evolve as they do. Their reputation is built on being unpredictable, not only between albums but within a single song. The UK based band began their journey with pop-rock energy on their first album “Priorities” before evolving to the groovy polish showcased on “Automatic”. They later began to blur genres in their third and fourth albums, “Technology” and “Amazing Things” proving that their sound has never stayed in one place for long. The newest edition to their discography, “Nightmare Tripping” doesn’t only continue that evolution, it pushes it into its darkest and heaviest territory yet.Serving as their first album since signing with Fearless Records in 2025, “Nightmare Tripping” stands out immediately for its tonal shift compared to past albums. This record leans into heavier production, sharper edges, and is more aggressive vocally. Rob Damiani (lead vocals) showcases harsher screams and scratchy vocals into the tracklist. The chaos that runs through the entire album makes it feel less polished but more raw and immediate in return.Sonically, this album feels like a mix of everything the band has experimented with over the years. Their signature mix of funk, rock, pop, and electronic is far from unnoticed but is filtered through a darker lens and supported by more metal elements. The 11 tracks bounce between hooks, melodies, riffs, and breakdowns, thriving on the push-and-pull energy that keeps the album unpredictable with each minute that plays. Don Broco has always had a genre-blending identity, using this record to prove that there is no boundary.

Opening with the scratchiest guitar rift you can think of, “Cellophane” serves as the opening track. Presenting itself with confidence, Damiani shifts between a catchy chorus and gritty vocals before growling in the breakdown. The last ten seconds of the song fade into a build up, before cutting off completely as we move to the second track on a cliffhanger.“Disappear” is closer to what Don Broco listeners may be used to hearing from previous studio releases. With clean vocals starring front and center, up until the last minute and a half of the track. Quickly we transcend into a dark buildup before being hit with a sharp one liner, an element that the band knows all too well.The features on the record were unexpected but fit seamlessly in their respective tracks. Nickelback shares the stage with Don Broco, integrating their sound and familiar vocals into the title track, “Nightmare Tripping” further adding to the excitement around this release. The song is five and a half minutes, and doesn’t have a single boring second embedded inside. Nothing repeats too often, and there isn’t a phrase that lasts too long. Not to mention the guitar solo that takes the spotlight opening the bridge that’s polished and clean, carrying emotional resonance into the alternating vocals between Damiani and Chad Kroeger (Nickelback).

Sam Carter, known as the lead vocalist for Architects, is featured on the sixth track of the album. The track spends 30 seconds building up to the first verse, where chaos ensues by showing us what to expect for the rest of the song. As Carter comes in for his part in the second verse, his signature growl is immediately present, making the song even heavier. His emotionally charged delivery drops off before the second half of the song, leaving us with a choir of background vocals layered by Damiani’s coarse voice breaking through the static. Of course, it wouldn’t just end there. The breakdown hits hard, incorporating a “blegh!” and solidifying this collaboration as a staple in this era of Don Broco.The isolated vocals opening “Euphoria” are reminiscent of Bring Me The Horizon in the delivery and inflection. The track sounds like something metalcore fans know all too well, while still offering a sense of renewal within the verses. The bass line on this track noticeably stands out, shining on its own when it isn’t complimenting the other elements of the song.Quickly we get whiplash from the beginning of “Pacify Me” when we are met with muted instrumentation and a staccato vocal pattern that sounds like the music is holding its breath. The short runs performed by Damiani in the chorus are nothing short of satisfying to listen to. Overall, this song feels cohesive in itself. There are no major turns or surprises, and though it’s not the softest song on the record, it still feels like a breath of fresh air and stability within an album that is otherwise unexpected.

“Swimming Pools” showcases the spoken rhythm verses that Don Broco does so well. This time, each chorus adds more than the one preceding, highlighting the dynamic contrast between the verses and choruses overall. The waveform alone looks intense but you can’t help making a “stank face” for most of the listen.Serving as one of the more introspective songs on the project, “The Corner” closes the band’s fifth album. It leans into more reflective lyrics, accompanied by a tender sound. The last track feels similar to a breath of fresh air after you step inside from the pouring rain. With an album full of twists, turns, and chaos, track 11 ties together the emotional loose ends left scattered throughout the rest of the record.Ultimately, “Nightmare Tripping” feels like a mix between reinvention and full-circle for the band. It pulls from every era of their career thus far, while adding something that’s never been done before, proving that they can grow while taking risks unapologetically. It’s their most honest album yet, showing the trajectory of where they want to be as a band. After nearly two decades of music, their willingness to evolve without losing their identity is exactly what keeps Don Broco interesting.

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

“LK99” finds its Strength in Raw, Genre-Blending Soul

By: Calvin Letterman

Leven Kali might not be a familiar name to most R&B and Hip-Hop fans, but he has been a frequent collaborator for some major artists over the past decade. He appeared on Playboi Carti’s “Flex” and earned writing credits on Drake’s “Do Not Disturb,” Skrillex’s “Still Here (With The Ones That I Came With),” and Beyoncé’s Grammy-winning album “Renaissance” in 2022.While he has stayed busy working with some of the world's most notable musicians, he has taken a nearly six-year hiatus since releasing his last full-length project, “HIGHTIDE.” With “LK99,” Kali looks to rekindle the momentum from his impressive earlier solo works, balancing nontraditional R&B production with lyrical themes of dependency and romantic uncertainty.

“LK99” starts very strong with one of my favorite tracks, “BREATHE!” True to the song title, it opens with Kali taking heavy rhythmic breaths before quickly transitioning into the melody of the song: “Just breathe/Nothing left to do but go deep/Just breathe/Nothing left to prove/you got me/Just breathe.” He relies on this incredibly catchy hook throughout the song. He first uses it to transition into lyrics about convincing a lover to give their relationship another chance and later, after a slowly developing bridge, to add a sense of finality to the end of the song. The layered guitar, keyboard, and drums on the track set the tone for a project that relies heavily on mixing these sounds.Next, a short interlude, “Stars, Stripes and Credit Card Swipes” sees Kali showcase his vocal talent as well as some satirical commentary on the nature of consumer culture.“Are U Still” begins as a smooth R&B track before moving into a more disco direction. Originally released as a single, it marked Kali’s debut with Def Jam Records. The first half of the track reminds me a lot of Steve Lacy’s “Gemini Rights,” especially in the drum sound that takes center stage. You can feel the yearning in his voice; the same emotion that is often missing from modern R&B records. The track ends with an impressive horn solo from Keyon Harrold, which adds a jazz feel to an extremely solid record.“Redmedy” is a more low-key and simple cut, focusing on themes of deep commitment. “When there’s no more words and I’m left in silence/You are my pen and page and writer.” While it features some sweet lyricism, the instrumentals don’t particularly stand out, making it a forgettable track on an album with so much competition.I feel similarly about “Starlet” and the repeated “Aye-ya-ya, aye-ya-ya” background vocals definitely took away from what enjoyment I did have. The outro is the strongest part of the song, especially the beautiful vocal layering when Kali repeats “Starlet, starlet.”“Grab It” combines elements of both funk and R&B, and Kali is again urging a lover to “feel the fire” and live life to the fullest. It’s not one of my favorites on the album, but it acts as the blueprint for the themes explored throughout “LK99.”The album's final five-track run is its strongest stretch. To this point, Kali has delivered a solid but not necessarily memorable project, which changes with “Jus a Lil’ Bit.” The emotionally raw vocals and writing on the chorus are one of my favorite points of the project, as Kali repeats “One kiss, one night/I don’t need much/Jus’ a lil’ of you.”

“Pieces” sees him explore whether an ex-lover ever truly considered his feelings. “Ah, Picking up the (pieces on the floor)” is repeated in the hook, and the later addition of “You wanna make love/You wanna get high.” Kali reflects on what this lover's true priorities really were, again showcasing some raw, rock-influenced vocals.“Sleepwalking” has garnered the most streaming attention from “LK99,” and while it’s a fan favorite, it’s probably my least favorite track from the back half of the album. Kali largely repeats his hook, “I’ve been sleepwalking and daydreaming,” with very minimal adjustment in lyrical focus or production. It’s a relaxed, carefree track, but the lack of depth makes it feel like a song where Kali truly is sleepwalking instead of being fully committed to his sound.I hear some really significant shades of Childish Gambino’s “Sober” during the first half of “Raining Sun.” As the title suggests, it’s a track that feels like a beam of sunshine. The robotic, futuristic background somewhat disrupts an otherwise warm groove, but the energy Kali brings to this song makes it a powerful listen.
A lot of the most impressive moments on “LK99” come from the rawness in the vocal performances. Meaning, the final track should be the rawest yet. On “Without U,” Kali explains how, despite all his cars, clothes, and money, he still feels like a part of him is missing without a past lover. This song is a massive change of pace from the rest of the album, as a more acoustic track. Kali ends the record with “All these crowds with strangers smiling/I'm on an island, in silence/Something's still missing without you/Without you,” capturing his message to his lost lover and ending the project on an intimately personal note.“LK99” is a memorable reintroduction to the mainstream for Kali. His soulful energy, captivating instrumentals, and catchy vocal performances result in a project that feels like a breath of fresh air in the modern R&B scene. Even when the lyricism blurs the tracks together, the emotional vulnerability keeps the record warm and engaging. The dance, funk, neo-soul, and R&B elements combine into a project that transcends genre with ease.Ultimately, creating an album that is ambitious and groovy. The talent is undeniable throughout this project, and Kali’s soul, funk, and electronic influences clearly separate him from his peers. I can’t wait to see what he releases in the coming years.

Rating: 8.5/10

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

MEI SEMONES TAKES THE STAGE AT RECORDBAR

By: Calvin Letterman

I was first introduced to Mei Semones’ album “Animaru” at the end of 2025. I saw it come up on several lists as a top album of 2025 and decided to check it out. I was far from disappointed with what I found. Semones’ debut album beautifully combines jazz, chamber pop, and J-pop. The soothing vocals, idiosyncratic delivery, and unconventional song structures create an extremely dynamic listening experience.A few short days later, I saw an announcement for Semones' spring tour, including a stop at recordBar in downtown Kansas City. I knew this wasn’t a show I wanted to miss. I sent the “Animaru” album to my friend Ash, telling him to check it out and let me know if he wanted tickets to go see it live. He was in.Later that same week, I miraculously found an “Animaru” vinyl on sale at Cargo Largo, a discount store in the Kansas City area. I was shocked to find it surrounded by Taylor Swift records and Marvel movie soundtracks. $20 later, it was mine. In just over a week, I had gone from never having heard of Semones to counting her among my favorite artists. “Animaru” quickly became my go-to album for studying, and I would recommend it to anyone who enjoys artists like Laufey and Beabadoobee.

RecordBar reminded me much more of the DIY venues I’ve seen, rather than the larger theaters and arenas I’m used to attending concerts in. I arrived around 40 minutes after the doors opened and claimed a spot in the corner right in front of the stage. It was an intimate setting for a concert, especially for a show that featured an artist with such mindblowing vocal talent.The opener, Brooklyn-based singer, guitarist, and songwriter John Roseboro, took the stage solo at 8 p.m. Without a band, Roseboro’s vocals and guitar ability put on a strong opening set. I had checked out his discography briefly before the show. I really enjoyed “80 Summers” and “Gethsemane,” which translated into a captivating live performance. Roseboro’s crowd work on “Crumb,” asking the crowd to repeat the chorus “One of one, one in a million…”, was a standout moment from the set. You could really feel the crowd support growing throughout the show, which reflects really strongly on Roseboro’s ability as a solo performer. I’ve heard Roseboro compared a lot to Steve Lacy, and he certainly has the same soft, lullaby vibe.Oddly, he was joined on stage by Semones at the end of his set to perform their duo songs “Johnny,” one of my favorites from the night, and “Waters on March.” When the set ended after a memorable 35 minutes, Roseboro left the stage to a much warmer reception than when he initially took it. I found the decision to have Mei join the end of Roseboro’s set a little odd. Having the headliner appear for two songs only to head quickly backstage created some confusion from the audience that could have easily been minimized by just having Roseboro join Semones later for a brief cameo.

Mei Semones and her band, featuring Noah Leong (viola), Claudius Agrippa (violin), Noam Tanzer (bass), and Ransom McCafferty (drums), took the stage at 9 p.m. I was somewhat surprised to find that Semones wasn’t a solo act.The set began with a series of songs I didn’t know. I made the mistake of not listening to Semones’ EPs “Kabutomusi” and “Tsukino.” The first third of the show featured a lot of solos for each member of the band, which really helped the pacing. The onstage connection of the band was on full display in these moments, and it really felt like Leong and Agrippa in particular leaned on each other to keep the energy up. While I didn’t know many of the songs, this chemistry, paired with Semones’ beautiful vocals and bilingual lyricism kept me invested.Around halfway through, Semones introduced the audience to some unreleased tracks. The band played two tracks, each running an impressive eight minutes. Both were extremely drum-heavy compared to the rest of the night, which may be a sign of what future releases from Semones will sound like. I always enjoy hearing unreleased or unpolished songs at shows, and this was no exception.The final third of the set was by far the highlight of the night. Songs like “I Can Do What I Want” and “Rat With Wings” all culminated in beautiful, intimate performances. My favorite track of the night was “Dumb Feeling” which features a really epic build-up that allowed all members of the band to shine. After an impressive hour and a half show, the band left the stage to thundering applause before predictably returning for an encore of “Sasayaku Sakebu” one of my favorite songs from “Animaru.”Between Semones’ striking vocals, the tight chemistry of her band, and the intimacy of the recordBar stage, the show felt less like just another tour stop and more like a rare, up-close glimpse at one of music's fastest growing stars. I’ll make sure to attend any future dates. It took Mei Semones just a week to go from a new discovery to a must-see artist for me, and this show made it clear she won’t be playing in venues this small for long.

• Arrow Left
• Home

• Articles
• Photos
• Our Team
• Contact
• Apply

SACE6 TURNS AN OPENING SLOT INTO A MAIN EVENT AT GRINDERS KC

By: Kaihli Mitts

With the sun beating down on hundreds of fans lined up outside, the anticipation surrounding Dayseeker’s Kansas City tour stop was enough to keep the energy high long before doors opened. Bringing their The Pale Moonlight tour to Grinders KC on May 16, Dayseeker arrived with a stacked four-band lineup that practically guaranteed fans would leave the night with at least one new artist added to their rotation.The sold-out crowd stretched across all ages and backgrounds. While many attendees were local to Kansas City, others had traveled several hours — some even flying in — just to make the Saturday show. After speaking with a handful of fans before the night began, most admitted they were there primarily for Dayseeker. Still, opinions on the supporting acts were split almost evenly, with each opener already carrying dedicated fans of their own into the venue.As the night unfolded, each set seemed to mirror the changing atmosphere outside. Wind Walkers took the stage during peak golden hour, giving their set a warm, almost dreamlike haze. Northlane’s performance carried through the final moments of sundown, while Dayseeker ultimately closed the night beneath cooler temperatures and the long-awaited “pale moonlight” Kansas City had been waiting for all evening.

But rewinding back to 7 p.m., broad daylight was still fully in control. The heat wasn’t unbearable, but it lingered just enough to leave the crowd restless before the music began. When sace6 finally took the stage, some fans immediately locked in to scream along, while others watched with curiosity, waiting to see exactly what the band had in store.Opening with “nepenthe,” the first track from their debut album brutalist, the band left a killer first impression. Sonically, it stands as one of the strongest songs on the record, showcasing the contrast between Sace’s clean vocals and the harsh instrumentation delivered by Noah Thomas on guitar and Tyler Saxz on drums. There could not have been a stronger introduction for a new audience, immediately setting the tone for the next four hours of music to come.The Long Island-based band continued through several singles from brutalist, including “ego,” the release that announced their signing to Sumerian Records alongside artists such as Bad Omens and Poppy. Following the heavier opening moments of the set, “covet” gave the crowd room to dance, pairing a catchy beat and melody that has remained a fan favorite even after the album’s full release on May 8.At the midpoint of the set, the band revisited early 2025 with “devotion,” the lead single from their June 2025 EP Limerence. The song acted as a turning point in the performance, reconnecting with the band’s earlier sound while giving longtime fans a chance to scream along to an older favorite. Throughout the set, sace6 continuously raised the room’s energy with every song. By the end of “devotion,” spins, kicks, and headbanging had fully taken over the floor.

The band wrapped up their set with “allured” and “perfidy,” two more tracks pulled from brutalist. While “allured” delivered one of the more restrained moments of the night, it still carried a strong emotional weight both lyrically and instrumentally. Meanwhile, “perfidy” reinforced why many fans consider it one of the standout tracks on the record. Across just six songs, sace6 managed to showcase the full range of their genre-bending sound while keeping the set cohesive from beginning to end.Even as an opener, sace6 already had fans singing along to nearly every word, with the front few rows moving from the second the set began until the final note rang out. That kind of connection is difficult to manufacture, and it speaks to how quickly the band’s following continues to grow. With a headline tour less than a month away, sace6 proved they have the stage presence, musicality, and confidence to command a room of their own.By the time the stage cleared for Wind Walkers, sace6 had already transformed the atmosphere inside Grinders KC — setting the tone for the rest of the night before Dayseeker ever stepped onstage.

• Arrow Left
• Home