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Artist: Sister Sparrow & The Dirty Birds

City Attended: Fall River, MA

Venue: The Narrows Center

Concert Date: 01-25-19

The Reason We Went: With a mesmerizing, grandiose voice that can transport you into any song, original or cover, Sister Sparrow, aka Arleigh Kincheloe, has wowed us with her studio recordings – including 2018’s Gold – so we made it our mission to observe her in the wild, uncaged and set free to fly above an audience.

What We Thought: Those Dirty Birds can chirp! While Kincheloe is clearly a star who effortlessly commands your attention, the band that surrounds her is flocking fantastic. Each member of the seven-piece musical ensemble had their individual moments to shine, including a rousing trumpet solo by Phil Rodriguez that brought the crowd to its collective feet. Keyboardist Nat Osborn also oozes star quality, which shined through as he handled partial vocals on a cover of Toto’s “Rosanna” while remaining an enchanting focal point throughout the set. Kincheloe meanwhile didn’t disappoint, moving us with her wide-ranging vocals and entertaining us with her natural stage presence. One thing was made clear by the end of the night… see this band live because they will exceed every single expectation.

Bonus Takeaway: The venue was fantastic for soaking in the sound of a live performance, including the opening act, Boston-based GA-20, who played a spirited blues set that inspired us to listen to some Buddy Guy on the ride home following the show.

And that’s why we’re giving this show…

Check out our interview with Kincheloe here.

The featured photo is not from the actual show. Courtesy of the Sister Sparrow Twitter page @SisterSparrowDB.

Chilling Out is where TrunkSpace talks all things horror and genre with those who work in the projects that give us the thrills and chills to keep coming back for more. This time out we’re chatting with Chris Conner, star of the new film “The Harvesting,” which is available now on DVD and Digital HD.

We recently sat down with Conner to discuss the horror of isolation, playing in the fantastical worlds he loved as a child, and inventing Edgar Allan Poe.

TrunkSpace: The isolation of farmlands has been terrifying us since we first saw “Children of the Corn” way back in 1984. When you initially read the script for “The Harvesting,” what was the potential that you saw in it? Was it psychological? Was it jump scare-based? Something else entirely?
Conner: Yes, psychological. I think it was the feeling of isolation. It seemed that this family was at a breaking point and instead of communicating and working together, Jake retreats to the country. The farmland should be a place of quiet solace…

TrunkSpace: In the film you play that man, Jake, a husband and father who is enthusiastic about the idea of getting “away from it all” as he heads out to the country with his family. Is part of the terror in a film like “The Harvesting” the idea of helplessness as a parent to protect the family, because as parents ourselves, that’s certainly the vibe we felt in watching the trailer?
Conner: Sure. And the need to reconnect with our own childhoods through our children. If they can see where Dad grew up maybe they will understand him better. If everyone could just slow down and listen, the family could be saved.

TrunkSpace: Isolation certainly increases the creep factor in a horror film, but how does it impact production? In shooting the film, were you just as “away from it all” as the fictional characters themselves?
Conner: We weren’t too isolated as a production or as actors. It was made on a shoestring so we all were a big messy family shooting it. Dan (Shultz), our producer, was a little like Jake in the film, just keeping the family together.

TrunkSpace: What was it about Jake that you wanted to help bring to life? What aspects of him did you have the most fun inhabiting for the duration of the production?
Conner: It’s fun to play in the horror genre in general. Playing into certain tropes or against them is always a good challenge. And young dad roles are a new thing for me, so it was fun with the kids as well.

TrunkSpace: For the viewer, the final product is always what’s memorable when it comes to a film or series, but for those working on the project, we have to imagine that it is the experience that stays with you. For you, what was the most memorable aspect of getting to work on “The Harvesting?”
Conner: Lancaster, Pennsylvania is a beautiful part of the country. I’ll always remember the rolling hills and the kind folk there.

TrunkSpace: Horror as a genre seems to have a built-in audience. Is it appealing working on a project knowing that, in a way, you’re going to have eyes on it based on the interest in the genre as a whole?
Conner: Totally. I recently wrote a western and that is exactly why I did it. You watch things growing up and you want to play in those worlds. Sci-fi, horror, westerns – all those genres are places I want to play. They have an audience AND I’m a big fan.

TrunkSpace: We loved your character Poe in “Altered Carbon” and we were sorry to see him – spoiler alert – go. Is that one of those roles that comes along and you instantly know it has the chance to be special from a performance standpoint?
Conner: Yes and no. Poe wasn’t in the books and we had to “invent” him as we went along. Really great writing helped with that. And it seemed to click for me.

TrunkSpace: What has been the highlight of your career thus far?
Conner: Poe in “Altered Carbon.” It’s a really special character. And my first time getting to contribute more of myself in something that ends up on screen. You mostly get that in the theater, but I got a chance to do it on a really big Netflix show and that is just awesome.

TrunkSpace: Is there a character that you portrayed – perhaps even in a guesting capacity – that you wished you had more time to spend with and explore further?
Conner: Most everything I have ever done! A lot of TV and film gets rushed and I always think about how I would have done it differently. But then you gotta move on and be in the moment for the next story to tell.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Conner: Naw… I think being surprised along the journey is so cool. I turn to my wife all the time and say, “How did we get here?!” It’s been a helluva ride so far and in 10 years I’m sure I’ll be shocked at where I am.

Hopefully, in a good way.

“The Harvesting” is available now on DVD and Digital HD.

Artist: Kevin Devine

Song Title: “Only Yourself”

Single Sentence Singles Review: Reminiscent of Jim Croce and his ability to infuse relatability into both the surface and the depth of his songwriting, Kevin Devine delivers the best three minutes of our day in a song that fully carried us away.

Beyond The Track: “Only Yourself” appears on the Devinyl Splits No. 11 (a split with Cavetown), set to drop on February 1 from Bad Timing Records. The song first premiered at BrooklynVegan. Tour dates are available here.

After reading the script, Josh Cruddas fought hard to be a part of “Polar” – the new Netflix film based on the graphic novel by Victor Santos –  so hard in fact that he worried that he may have come on too strong when he first met with director Jonas Åkerlund and producer Jeremy Bolt. Calling the screenplay the most “exciting, badass, funny and promising” he had ever read, the Nova Scotia native’s tenacity paid off and he was cast as the assassin Alexei, proving that talent, when mixed with passion, is a powerful combination.

We recently sat down with Cruddas to discuss the universe he’d sell his car to be a part of, the terror of being trained in terrifying weaponry, and the unexpected benefits of his career as an actor.

TrunkSpace: “Polar” is based on the web-comic/graphic novel of the same name. Comics continue to be a well that Hollywood taps, both for film and television adaptation. As an actor, what is it like having that source material (and existing audience!) available to you, but at the same time, not having the pressure of stepping into a brand that the masses have been exposed to yet, like a Spider-Man or Batman?
Cruddas: To me, it’s incredibly exciting. New, quality IP in film is hard to find these days, with the traditional studio model less likely to take big-budget risks on content without a big built-in fanbase. I think Jeremy (Bolt), Keith (Goldberg) and the other brilliant minds at Dark Horse and Netflix have really stumbled upon a gold mine in Victor Santos’ graphic novels; here’s a fantastic comic world begging for a film adaptation, compete with some die-hard fans, but underground enough that the rest of us can still be surprised by everything when we see the movie version. And for me, as the actor, I can rest a little easier knowing that nobody’s comparing my version of the character to, let’s say, Daniel Day-Lewis’ 1994 Oscar-winning version, you know? That all being said, I’d sell my car for a chance to be in a Marvel movie.

TrunkSpace: The original comic was very stylized, and what’s great about the film adaptation is that a lot of that is carried over in terms of how it’s shot and the use of color. Visually, what makes the work you did on this project unique in comparison to previous roles?
Cruddas: I got VERY lucky in this film to work with Jonas (Åkerlund), who’s a visual maestro, as well has his team of Pär Ekberg, Susie Coulthard, Lea Carlson and Emma Fairley. These people have created this brilliantly vibrant world that myself and the other actors get to live in. I think it’s a welcome rebuke of a lot of the grey, so-dark-and-shaky-you-can’t-even-see-the-fight-scenes cinematography style we see in certain big action movies and TV these days. The TV show I’m shooting right now is also very colorful too, but I’ve never done anything as stylized and sleek as “Polar” before. Usually the most colorful thing onscreen with me is the four strands of ginger hair I have left on my head!

TrunkSpace: The trailer definitely has that bad-ass, pump-you-up feel to it. Upon first glance, it’s sort of “Taken” meets “A History of Violence.” When you first read for the project, what excited you most about it and did it meet those first impression expectations when you called wrap?
Cruddas: I thought I had made a mistake, reading the screenplay before meeting Jonas and Jeremy last winter – it was one of the most exciting, badass, funny and promising scripts I’d ever read. So when I went to meet with them, I loved the role so much and was so desperate for the part that I thought I went completely over the top in my excitement for the job. Thankfully they gave it to me anyway, and I think the whole team (including our huge, incredible crew who worked longer hours and longer nights than I ever had to) really captured the magic I found in the script as we shot the film.

TrunkSpace: For the viewer, the most memorable part of a film or television series is the end product, but for those involved in it, we would imagine it’s the experience. For you, what aspects of working on “Polar” will you carry with you through the rest of your career and life?
Cruddas: Good point! There were a lot of memories I’ll take with me from shooting “Polar.” The A-Team (assassin squad) really bonded over the months, so we would go sing karaoke till the wee hours and post the results to our group chat… Johnny Knoxville once sank me in a game of pool by looking me dead in the eyes while he pocketed the 8-ball, and that kind of humiliation is something I’ll never forget. Also, being trained on the weapons was a terrifying and humbling experience – regular people like myself should have no access to those things! But more than anything, it gave me the confidence to play more action-oriented, stunt-heavy roles like this one in the future.

TrunkSpace: The film is a Netflix original. You also worked on “Cardinal” for CTV/Hulu, and will be appearing in “Wayne” for YouTube Premium. With so many platforms producing such incredible, character-driven content these days, how has that landscape opened things up for actors? Are there more opportunities today than there were even a few years ago?
Cruddas: Definitely. I was lucky to pop by on “Wayne” last summer and being in North Bay during the autumn for “Cardinal” was one of the coolest experiences of my career so far. It reunited me with my buddy Billy Campbell who was my first on-screen “dad” in “Copperhead” for Warner Bros back in 2012. So I don’t know if it’s just that I’ve finally figured out how to not be the world’s worst actor, or if there’s just more opportunity with Netflix’s incredible investment in Canadian productions and all these new streaming services (my next show is for another new streaming service) – but I’m just grateful to be working!

TrunkSpace: You’re also an award-winning music composer whose work has appeared in numerous projects. How do you balance your creative interests and do you view them as separate paths or one continuous path with different stops along the way?
Cruddas: I was super lucky that my parents decided to enroll me in piano lessons when I was six. I had an incredible teacher named Diane Krochko who didn’t punish me for not wanting to just play Mozart all the time. She actively encouraged creativity, along with a lot of other mentors in my early life, including my parents who home-educated me and my sisters who appeared in short films myself and my friends used to make. I think all of those experiences and people guided me to where I am hopefully going now, by giving me the chance to play – both musically and onscreen.

TrunkSpace: Creative people are always their own worst critic. Are you harder on yourself as an actor or as a musician?
Cruddas: Probably as an actor. But it’s fairly equal. I often think while I’m working on something that I’m the worst actor who ever lived and I’d be better off switching careers as soon as the cameras stop rolling. It’s only when I get up the courage to watch my work after it comes out that I realize it’s not abhorrently bad and I convince myself to keep at it. Musically, sometimes I’ll spend hours on four bars of a theme because it’s just not feeling right, but then I’ll often get carried away by the emotion when I’m writing – if I can make myself cry with a few notes, then I hope it can do the same for the audience.

TrunkSpace: What has been one of the most unexpected benefits of a career in the arts that you’ve experienced, but could have never anticipated when you first set out to pursue your dreams?
Cruddas: Cool question. Probably passing along the few things I’ve learned along the way. One of the greatest privileges of my life is my role volunteering at SickKids hospital in Toronto, reading stories and singing songs in the library there. I’m also very lucky to teach at a children’s performing arts/triple threat school called Stagecoach in Canada, and I never thought I’d enjoy that job as much as I do. I had turned down numerous teaching gigs in the past because I thought I’d be rubbish at it, but my talented friend Emma Smit convinced me to take over her class one day five years ago, and I’ve never looked back. I’m quite sure teaching acting has made me a better actor, and the kids keep me grounded – anytime I have to cut my already-receding hair for a role, I step into the classroom and get roasted more thoroughly than a Thanksgiving turkey.

TrunkSpace: What has been the highlight of your career thus far?
Cruddas: That’s a difficult one! “Polar,” “Cardinal” and “Copperhead” are up there, as well as a film called “Duet” that I made a couple years ago with my best friend since age six, Andrew Coll. When I heard a violin section play music that originated in my head for the first time on a film called “10000 Miles,” that was insanely special too. And the project I’m shooting right now is extremely close to my heart but I’m not allowed to breathe a word about it or I’ll be dragged through the streets by my hair.

Hmm. I think more than anything, just being able to do what I love for a living is one of the greatest feelings in the world, and it’s not lost on me how lucky I am to be able to do that.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Cruddas: Great question. I think I’d want to keep my career a surprise for future Josh (hopefully I still have one), but I would love to see the state of the world in 10 years. We’re in a scary, pivotal spot right now, with social media, fear-mongering and gerrymandering the enemies of truth, democracy and our planet at large. I hope more than anything that in 10 years, we’ve invited empathy and facts back to the table, and we’ve started letting smart and compassionate people make the decisions again.

“Polar” premieres Friday on Netflix.

Name: Sebastian Carrillo (BACHAN)

Website: I’m all over the place. Probably best to just go here. You’ll see there my two active webcomics and my Patreon. Other than that, my Instagram is here.

Favorite Comic Book Character Growing Up: Asterix the Gaul. (Followed by Valerian and Lucky Luke. My mom was into French comics.)

Favorite Comic Book Character Now: Never really had one. I’m a fan of artists and authors – characters never were that important to me.

Latest Work: 2018 was really active. I did two comics for Marvel: Monsters Unleashed #10 and Hulk #11 with Mariko Tamaki. And I did the backup ‘light’ story in Boom’s Power Rangers. Plus, my two webcomics.

TrunkSpace: How would you describe your art style?
Bachan: Too European to be American, too American to be European. Nuveau-Mexican? Whimsical?

Not totally cartoony, not totally realistic. Whenever I try to do “serious” stuff it looks sort of “light.” I’ve given up trying to define my work.

TrunkSpace: How important were comic books in your life growing up and is that where you discovered your love and inspiration for drawing?
Bachan: VERY important, even before I knew exactly what they were. I was fortunate in that both my parents were into comics. My mom was into French Bande Dessinée and my dad into Charlie Brown (Peanuts) and OLD MAD Magazine. (Kurtzman) I grew up watching all those things and trying to draw what I saw. And I say “watching” instead of “reading” because back then I didn’t understand either French or English. It was just a totally visual experience.

TrunkSpace: Was there a particular artist or title from your childhood that you remember being drawn to and inspired by?
Bachan: Really early on I was both creeped out and fascinated by the old Harvey Kurtzman MAD, particularly the Wally Wood stories. Then, as a kid, I got Spanish language translations of French comics, and loved those. I spent a lot of time drawing but I didn’t think I would DO comics. I always thought I would end up as an architect or engineer.

When I was 15, I came across superhero comics for the first time – DC mostly – and got really impressed, particularly with the work of John Byrne, Alan Davis and later, with Arthur Adams and his old stuff like Longshot. That’s when I decided I wanted to do this for a living.

TrunkSpace: How did you decide to approach your career in comics? Did you formulate a plan of how you wanted to attack what is known for being a hard industry to crack?
Bachan: Not really. I didn’t think I would get to enter the American industry. Back then there was no internet and no real contact with the business outside of my country… Mexico, by the way. So all I wanted was to do comics here. I got my first job when I was 18 drawing in Novedades publishers here. I was nowhere near competent, but they produced so many comics back then, that they had really low quality standards, so I got in relatively quickly.

TrunkSpace: What was your biggest break in terms of a job that opened more doors for you?
Bachan: I’m not sure I’ve had a big break as such. It’s been more like a very long list of better opportunities that start and then stop. But the next time I start again, I somehow end up in a better place. It’s been extremely gradual for me. And it still feels like a struggle sometimes.

TrunkSpace: A lot of people say that breaking into comics is the hardest part of working in comics. How long did it take you before you started to see your comic book dreams become a reality?
Bachan: I think the big thing for me was coming to the realization that I don’t need to convince anybody for me to do comics. Comics are just printed paper joined together with staples. I stopped trying to convince people that I was good, and just did fanzines. Those fanzines then became my portfolio and that work ended up opening doors, sometimes without me even trying. It’s the same thing today, only it’s webcomics instead of fanzines. I never spent a lot of time in the public relations part of this.

TrunkSpace: Is there a particular character or universe you always find yourself returning to when you’re sketching or doing warm-ups?
Bachan: Yeah. Bulbo. He’s just too easy to draw.

TrunkSpace: Is there a specific title or character that you’d like to work on in the future and why?
Bachan: I’d love to do Judge Dredd some day. I love the tone of that universe. Again, not quite so realistic or serious, but not that cartoony either. I’m really attracted to that in comics.

TrunkSpace: What is your ultimate dream when it comes to your career in comics? Where would you like your path to lead?
Bachan: Basically, I’d love to just do comics and live off of that instead of splitting my time doing storyboards or animatics for advertising. (That takes about 75 percent of my time drawing.) If I could do that with my own characters, and stories to boot… that would be THE DREAM!

TrunkSpace: What would you say is the greatest strength as an artist?
Bachan: The two things that kept me working all this years are speed and adaptability. And I think I can make my characters ‘act’ convincingly.

TrunkSpace: How has technology changed your process of putting ideas/script to page? Do you use the classic paper/pencil approach at all anymore?
Bachan: Not really. I went full digital back in 2006, and haven’t looked back since. I even still draw on an Intuos Wacom tablet. I developed the skill to draw looking at the screen while my hand is drawing out of my sight. I don’t think that’s needed anymore, but I still do it.

TrunkSpace: What advice would you give another young aspiring artist who is considering a career in the comic industry?
Bachan: Based on my experience, to just start. Do a webcomic, produce a LOT. Don’t worry all that much about getting permission from anybody to do what you love. Let the work develop and then let it find a place for you.

TrunkSpace: Making appearances at conventions: Love it, leave it, or a combination of both?
Bachan: Used to love it, now I’m a bit tired of it. But I love the opportunity conventions give me to meet peers and learn different ways to do stuff. Nowadays it’s the social element of conventions that keep me going to them.

TrunkSpace: What is the craziest/oddest thing you’ve ever been asked to draw as a commission?
Bachan: Two of my characters (male demons) kissing each other. (In my mind they had always been brothers – it never crossed my mind that readers would see them as lovers!)

TrunkSpace: What else can fans of your work look forward to in 2019?
Bachan: I’m finishing the third part – and final – of Nirta Omirli. A science fiction series I’ve been working for AGES for Humanoids Publishing in France, written by the amazing JD Morvan. That should come out before the year ends.

Oh! And the second Bill & Ted book is about to come out in less than a week… I think!

Scene stealer Chantal Thuy has left a lasting impression on fans of the CW series “Black Lightning” since joining the ensemble cast in its first season. Not only is her character Grace Choi inspiring young girls to embrace who they are, but in return, those viewers are educating the Montreal native on proper comic book care.

“They are not only super encouraging but also teach me things like not to fold a comic book in my back pocket, ever.”

We recently sat down with Thuy to discuss Grace’s influence on the LGBTQ community, watching her develop season to season, and why the joy of the journey may lie in the mystery of what comes next.

TrunkSpace: What would 10-year-old Chantal think about her future self getting to play in the DC metahuman universe? Would she be surprised?
Thuy: Ten-year-old Chantal could not have dreamed that she’d be in this fortune position – it’s a dream come true! And maybe also 10-year-old Chantal was too busy playing on monkey bars and building snow forts.

TrunkSpace: Your character Grace Choi is a comic book fangirl. What has the experience been like of getting to interact with the real world fangirls and fanboys who follow the series?
Thuy: I’ve been incredibly lucky to have the most supportive and loving “Black Lightning” fans that I’ve grown incredibly fond of. I talk to everyone on social media but look forward to meeting them in person. They are not only super encouraging but also teach me things like not to fold a comic book in my back pocket, ever. The girls also make really great fan art, and write lovely letters.

TrunkSpace: Grace seems like such an important character in that she represents the LGBTQ community and is not bogged down by cliches that other series tend to fall back on. Does it feel like your portrayal of Grace is giving young people who identify as part of the LGBTQ community a cinematic role model that they can relate to?
Thuy: Yes, a million times yes. One thing I hear a lot is how much it means to the girls to have Grace take ownership of the word “bi”, and having it specified and spoken in a throw away, non-apologetic way. And I love that I can make them feel seen and acknowledged, because that has always been a primary motivator for me as an actress, was to help further representation across the board.

TrunkSpace: As far as your own personal journey with the character, what have you enjoyed most about getting to inhabit Grace and see her develop further over time?
Thuy: I love that week by week, I get to discover more about Grace through the eyes of the writers and showrunners; they don’t tell me much in advance, so I am always wowing and awing at the character development. It’s all very, very exciting.

TrunkSpace: Has Grace taken on a life of her own in a way that wasn’t originally intended? Are there aspects of the character’s personality that exist now that weren’t there when you first signed on to play her?
Thuy: Yes, there’s definitely really interesting developments happening for Grace in Season 2 that I didn’t know were coming last year. And as the story develops, I am digging deeper into Grace’s own life story, which is very full, dark and complex.

TrunkSpace: You’re playing the lead role in the theatrical production “Linda Vista,” which premiered recently at the Mark Taper Forum in Los Angeles. Does performing on stage give you a different creative thrill than working in front of the camera?
Thuy: This is actually a Steppenwolf ensemble play with all the original cast members, lead by the fantastic Ian Barford. Performing on stage is a whole difference experience because you get the audience as a thrilling component in the storytelling process. It’s been incredible to work with such an amazing cast, Dexter Bullard (director), Tracy Letts (playwright) and the Center Theatre Group.

TrunkSpace: What is the most challenging aspect of taking on “Linda Vista” for you as a performer? Where do you feel you will be stretching yourself the most?
Thuy: It’s stretched me in some aspects of my physical comfort zones, as I have never done an intimacy scene like the one in the play. And I’ve also never worked a space like the Mark Taper Forum (which, I think, is 739 seats), so there’s a fun challenge.

TrunkSpace: Speaking of challenges, what are the biggest challenges of pursuing a career in the creative arts in 2019 and do you think those who were working 30 years ago faced the same set of challenges?
Thuy: There’s still a limited number of roles for Asian American actresses, and the depth and complexity of the roles available are varied. So I feel very lucky to be exploring the characters I am currently portraying, and I hope that the richness and amount of roles available for women of color will continue to rise as we continue to more accurately represent our current society. But we are still fortunate in our present day circumstances because I know it was even tougher for Asian actresses 30 years ago.

TrunkSpace: What has been the highlight of your career thus far?
Thuy: I think this past year has truly been a blessing. I’ve been praying to be able to make an impact as far as representation, and also hoping to work in theater more. Being able to do both these things this year feels surreal.

TrunkSpace: Time machine question. If you could jump ahead 10 years and get a glimpse of what your career looks like a decade from now, would you take that journey? If not, why?
Thuy: I think I’d always like to know, out of curiosity. But I most likely would say no, because I’ve learned that part of the process of life is having to surrender to the good and the bad. I think not knowing makes you have to develop more faith, more strength. And maybe not knowing makes the journey that much more fun and rewarding.

“Black Lightening” airs Mondays on The CW.

Artist: Ph4de

Socials: Twitter/Instagram/Facebook

Hometown: Jacksonville, TX

TrunkSpace: You began recording music when you were 13 years old. Would the 13-year-old Ph4de be surprised by how the rest of your musical journey has gone since you began it back in your bedroom?
PH4DE: Oh man. No question. In soooooooooo many ways too. I grew up super poor with very low expectations for life until I got a bit more matured. I would say my biggest aspirations at that age involved actually making my music sound good technically since I was my own engineer, producer, writer, etc.

TrunkSpace: You grew up in Jacksonville, TX. How did your surroundings help to shape you as an artist and sculpt your artistic point of view?
PH4DE: The city was a major deterrent from wanting to be like the average guy who lived there. Success doesn’t drive down the street and give you the motivation of what is actually possible to be achieved there. I have nothing but love and respect for the city of Jacksonville, but it doesn’t offer opportunity. I think THAT aspect of growing up in the city sculpted my artist influence to be darker and more of a harsh reality. I wasn’t born into dreams, I was born into nightmares.

TrunkSpace: It was recently announced that you were signing with InVogue Records. Do you feel like this is a new chapter in your musical journey and what do you hope comes out of the relationship with the label, not only for your music, but for you personally as well?
PH4DE: Definitely! InVogue offered a proposal that kept me in charge of all creative dynamics while investing in the brand and movement that the fans have helped me create! Network = Net Worth so I’m only hoping to strengthen my core team, and provide a better product for the fans.

TrunkSpace: You also have a new single out. While it’s called “Don’t Say Much,” we think it does say much (or a lot) about who you are as an artist. For those who are being introduced to you for the first time through that particular track, what do you think it tells them about your music, both now and in the future?
PH4DE: DSM is to let everyone know that we will earn our position at the top through the energy that we bring to the stage, studio and our content overall. As an introduction it’s perfectly true to what we represent – in terms of energy. I’m not a one-lane artist, and you will see plenty of other styles from me, BUT, the energy will always influence change.

TrunkSpace: Singles seem to be far more popular with artists than full albums these days. What are the benefits to releasing singles over a record, and do think this is a trend that will continue, particularly as technology continues to advance?
PH4DE: I definitely can see why artists have went towards singles. More than anyone, the up and coming artists. It’s hard to get one song heard, much less a collection of 12. Dropping an entire album over 12 weeks (as singles) is 1200 percent more beneficial to a struggling artist, as their fan base will get a fair listen to every song.

I still love albums. Can’t wait to start working on a debut.

TrunkSpace: Looking over the social media landscape, it seems like it takes more and more for an artist to stand out and be heard/noticed. What are the keys to finding success with your music, and does it change track to track with each single you release?
PH4DE: Social media isn’t producing near as many musical artists as it’s producing actors. It’s simply become the new casting call for industry plants. (Not in all cases, but it’s obvious when a viral personality magically starts doing music.) To me, it’s still about the music. Fuck the stunts, fuck the trolling.

TrunkSpace: What do you get writing and performing music that you can’t experience by being a listener alone? What keeps you writing and creating?
PH4DE: Challenge, competition, adversity. Hip-Hop, to me, is still about it’s core elements, and that is still what keeps me creating. When listening, music can give you the key to your destiny. When writing, you hold all keys.

TrunkSpace: Can you envision a day when music is not a part of your life?
PH4DE: Never.

TrunkSpace: Where are you hardest on yourself as an artist?
PH4DE: Lyrics. Period. You will always find metaphors, double entendres, similes, etc. in my music. I’m a lyricist and emcee first. The singing, melodies and beats are extra.

As one of the few rock bands to top the various “Top” charts in recent years, You Me At Six has been relentlessly writing, recording and touring since first forming in Surrey, England back in 2004. For bassist Matt Barnes, the hard work that is required to maintain a career in the music industry feels a lot less like a job and more of a chance to share incredible, life-changing experiences with his best mates.

“Touring is holiday and studio is just a hang out, so do what you love and never work a day in your life.”

We recently sat down with Barnes to discuss the health of the genre, how their albums were directly impacted by outside musical influences, and the factors that forced the band to consider walking away from it all.

TrunkSpace: You guys are out touring in support of your latest album, “VI,” with stops in the States starting on February 21 in Boston. Do you find you’re still experiencing “firsts” out there on the highways and byways? Does it still feel fresh?
Barnes: I think this is our 14th time touring the U.S. now, so I wouldn’t say it feels fresh. (Laughter) However, now that we know all the good spots and have friends all over the country it is even better, as we know where to go and what to do.

TrunkSpace: A lot of people use writing music as a form of personal therapy – a way to work out whatever demons they have. Does performing have therapeutic benefits as well? Can you get in front of a crowd and come off the stage a different person than as you went on?
Barnes: I would say sometimes if you are having a bit of a bad day it can completely change your mood into a positive mindset. However, sometimes it can be tricky if you are not in the right mindset right before you play to try and get into the vibe. If the show is going really well and the crowd is loving it, there is no better feeling.

TrunkSpace: You Me At Six is one of the few rock bands who performs well on the charts, and yet, outside of the mainstream, rock and all of its sub-genres seem to have very thriving scenes. As one of the few rock bands cracking the mainstream in 2019, what’s it going to take to see the genre as a whole find its footing again?
Barnes: We have always been lucky to cross over into a few different genres. We have always written and played music that we want to play and have been lucky to be acknowledged as a crossover rock band. I also think the genre ‘rock’ never lost its footing, so to speak. Yes, the radio is full of songs that sound the same – (laughter) – but there have and will always be rock fans coming to gigs and loving the scene. Especially in the UK, there are some amazing new rock bands coming up, which is so good to see.

TrunkSpace: Six albums is no easy feat for any artist in this industry. What has been the magic recipe to the longevity of You Me At Six? What has kept you engaged both creatively and personally in the band?
Barnes: We are all still best mates so hanging out and writing music has always been so much fun – it has never felt like a job. Touring is holiday and studio is just a hang out, so do what you love and never work a day in your life.

TrunkSpace: What do you get from writing and performing in You Me At Six that you can’t access from a solo mindset? What are the benefits for you personally in having a group of people fighting the fight alongside of you?
Barnes: Well, you have your best mates to your left and right that you trust with your life!

TrunkSpace: Do albums become a bit like chapters of your life? Like: “These were my ‘VI’ years and those were my ‘Cavalier Youth’ years?”
Barnes: You can hear that we are listening to specific genres at certain points of records, which I find quite interesting. We loved pop punk for our first two albums, then strayed a bit heavier for “Sinners Never Sleep,” then went a bit more pop for “Cavalier Youth.” Then we were listening to a lot of rock and hip hop for “Night People,” and on our latest album “VI,” we listened to so many genres it is an amalgamation of everything we have ever done.

TrunkSpace: You Me At Six has experienced a lot together over the years. After everything you’ve been through and the point of view changes that come with age, do you see the band differently now than you did when it first came together? Does it serve a different purpose for you in 2019 than it did when you came together in 2004?
Barnes: Nope, we still just turn up, play gigs and get pissed. Just these days the gigs are bigger.

TrunkSpace: What has been the highlight of your musical career thus far; what is the moment that you will carry with you through the rest of your life?
Barnes: We have played the Reading and Leeds festivals quite a few times, but last time we played, it was on the Main Stage and we must have played to 80,000 people. It was a life-changing moment.

TrunkSpace: How have your own experiences – the journey that made you who you are as a person – shaped your musical POV?
Barnes: Over the years we have all been through a lot personally that changed us. There have been points where some of us haven’t wanted to do this anymore for many reasons, be it the label trying to mess with us and screw us out of deals, or family issues – but we have always gotten through it.

TrunkSpace: What do you personally get out of music through writing and performing that you couldn’t get through being a listener alone?
Barnes: Well, you can project thoughts and feelings that can only be expressed in creative ways. It’s a magical thing to have an outlet where people are listening to and feeling what you are writing about and we feel blessed to have the outlet.

“VI” is available now.

You Me At Six tour dates are available here.

Artist: Dizzy

Song Title: “Bleachers”

Single Sentence Singles Review: Layered and multidimensional, there’s a lot to love about “Bleachers,” though the most memorable aspect of the song lies in Katie Munshaw’s playful and hypnotic vocals, which, if given the chance to continue to shine this brightly, will be destined for greatness.

Beyond The Track: “Bleachers” is the latest single off of the Canadian quartet’s debut album Baby Teeth, released in August from Royal Mountain Records/Communion Music.

She has a voice that has inspired generations of pop culture fans, including those reading this, whether realized or not.

For Grey Griffin, who has applied her talents as a voice actress to everything from “The Fairly OddParents” to “The Loud House” and all animated points of interest in between, getting to work on such memorable brands while still maintaining a level of anonymity is her favorite part of the job.

We recently sat down with Griffin to discuss leaving her mark on viewers, why she lives in fear or angry tweets, and being pleasantly surprised by the popularity of “Supernatural.”

TrunkSpace: First off, we’re getting some serious street cred at home with our kids for this chat because they’re massive “The Loud House” fans. What is it like working on a project that has such a lasting impact on the next generation of pop culture lovers?
Griffin: Aw! That’s so flattering! Gosh, the success of the show has been such a pleasant surprise! I knew it was good when we did the short but I never DREAMED we’d dethrone Spongebob in the ratings! (Incidentally, my grandmother thought Spongebob was a little piece of cheese.)

TrunkSpace: Over the course of your career, you’ve worked on a number of series that have influenced different generations, from “The Fairly OddParents” to “Foster’s Home For Imaginary Friends.” You’ve also given your own take on iconic characters from established universes like “The Transformers,” “Curious George” and “Batman.” Do you feel like you have left your mark on the world of pop culture, because from the outside looking in, it sure seems like you’ve had a hand in entertaining young and old alike?
Griffin: It’s so crazy when I meet ADULTS who say I was their CHILDHOOD! When you’re all by yourself in a booth, you forget how many people your voice will reach and the longevity of those characters! It’s overwhelming to imagine!

TrunkSpace: Is there something nice about being able to have such a successful career and be involved in so many high profile projects, and yet still maintain a level of privacy in your personal life because your voice has led the creative charge?
Griffin: It’s my FAVORITE THING about this job!!!! I can take my kids to Disneyland and nobody bothers us! (Even though I’m the new voice of The Redhead on “The Pirates of the Caribbean!”)

TrunkSpace: There are a number of interesting things about your work on “The Loud House” that we’d love to touch on. For starters, you juggle multiple characters on that show, including siblings Lola, Lana, and Lily. Parents say that they never have favorites when it comes to their kids, but when it comes to characters, do you have a favorite? Is there one Loud who is more fun to inhabit than others?
Griffin: I have a soft spot for Scoots! The old lady on the scooter? Grumpy old ladies are fun to play… because I AM one! (Laughter)

TrunkSpace: The other fascinating thing about that particular project is that your son Tex voices Lincoln Loud, making it a true family behind the scenes as well. Two part question. Is Tex named after Tex Avery, and, if so, was it his destiny to be the voice of future animated characters?
Griffin: Well his daddy is a country rock musician (he sings and plays bass for the Old 97s) so his name was a tribute to Tex Ritter and Tex Avery!

My son caught the acting bug early. Even observing him as a toddler, I knew we’d be acting together someday!

TrunkSpace: On a live action series, a set often becomes a second family. Is animation more isolating, at least when it comes to costar interaction?
Griffin: It truly depends on the project. Sometimes there are a lot of on-camera people in a cast and they tend to like to work alone, but we are like REAL sisters on “The Loud House!” We go out for meals together. The ladies brought food over when I had my babies. We laugh and squabble just like any family. I still text my “T.U.F.F. Puppy” castmates and we meet for drinks…

Voice people are a tight-knit community!

TrunkSpace: Is your approach to discovering an animated character the same as you would take with a live action character? What does that process look like?
Griffin: I have such a limited amount of on-camera experience but I will say that doing so much voiceover has made my brain extra lazy when it comes to memorization, so when I’m doing a live-action project, my approach is pretty much, “DON’T FORGET YOUR LINES!!!!”

TrunkSpace: You’ve given life to iconic characters like Captain Marvel, Betty Rubble and Daphne of “Scooby Doo” fame. Is it more difficult voicing a character with such a rich history because you’re having to walk in their animated footsteps as opposed to establishing them for the first time?
Griffin: I think it truly is because I think, as actors, we want so much to please everyone! When I take over an iconic character like Daphne, Betty, Captain Marvel or most recently, Jane Jetson… I just live in abject fear of angry tweets and blog posts! (Laughter) Please LIKE ME!!!!

TrunkSpace: Speaking of Daphne, you starred in one of our favorite hours of episodic television of all time, the “Supernatural” cartoon crossover, “ScoobyNatural.” Was that experience a different one for you with that character, because tonally, it seems like it had some fun moments that you’d never find in a standard “Scooby Doo” episode?
Griffin: Misha (Collins) is actually a fellow parent at our school so I was used to seeing him in “dad mode”! I honestly had no idea what a huge show “Supernatural” was or what an impact that project would make! It was awesome!

TrunkSpace: What has been the highlight of your career thus far and are there any bucket list items that you’re still hoping to put a check mark next to?
Griffin: I’m a big Disney nut so doing a voice on The Pirates ride was pretty amazing…

I’d also really love to tackle one of the princesses someday. Not literally of course.

“The Loud House” airs on Nickelodeon.
Her stand-up comedy special, “My First Comedy Special,” is available now on Amazon Prime.
Griffin can also be heard as Arcee in the new “Bumblebee” film.