LOS ANGELES, CA- Nestled in the beating heart of Downtown Los Angeles, Resident served as the canvas for a musical tapestry woven by an eclectic mix of artists on an otherwise unremarkable weekday evening. On February 8th, the cool embrace of a school night transformed into an electrifying confluence of sound and soul. A varied line-up beckoned: the layered complexity of Fox Violet, the heartfelt resonance of Whitney Tai, the refreshing innovation of Child Seat, the raw emotion of Dolly Dagger, and the vibrant tenacity of The Egos. Each artist brought music that resonated with the pure essence of live rock music.
As Fox Violet took the stage, the air in Resident seemed charged with anticipation. The transformation from their last stripped-down set was stark; they were now an ensemble that commanded the room with a full band’s might. Thea Juliette, a figure of constancy, had an intense connection with the crowd. Entreating the crowd to rock with her this evening, Her vocals rose and fell like the tides against the shore, eliciting a visceral reaction that only grew as the set progressed.
The pulsing lights cast long shadows as their music painted a vivid picture of emotional upheaval and resolution. It was as if they conjured a storm within the confines of four walls, with Thea as the eye, calm and in control amid the whirlwind she orchestrated. Each chord struck was like lightning, and the thunderous drums rolled in sync with the hearts of an audience that was wholly absorbed.
In an unforeseen twist, Whitney Tai took the stage. Her recent trials, notably her father’s passing, seemed to infuse her performance with a profound depth. Although the specific song slips my memory, the power in her voice was unmistakable, offering a cathartic release not just for her but for all present. Whitney’s performance, adorned with just a guitar, was a testament to music’s healing prowess.
Child Seat’s performance was like stepping into a time machine with the destination set to both the past and the future. The indie rock group, with their roots firmly planted in the nostalgia of new wave, sprouted shoots that reached out to touch the essence of modern alt-rock-pop.
Madeleine Mathews, the embodiment of punk’s not-dead ethos, was a spitfire on stage, her presence as commanding as her vocals. Josiah Mazzaschi, a musician who I’ve seen in a handful of other local acts, is an equal force, providing the sonic depth that made each song resonate with the crowd. Their performance of “Money” was a tour-de-force, melding retrospective synth vibes with an edge that is sharply contemporary. The set was a balancing act, hearkening back to the sound of an era gone by while offering a fresh twist that commanded the attention of today’s generation.
It feels like only yesterday that I saw Dolly shred a stage. Late last year, I saw her kill it at The Paramount. The did the same at Resident. She took to the stage with the confidence of a queen in her court and with every note sung, every string strummed, she drew us into a world woven of gritty lyrics and the raw power of grunge.
The set felt like a narrative, with highs and lows that mirrored the struggles and triumphs of life itself. Her music, particularly tracks from her latest EP “Nightmare,” echoed with the ghosts of grunge past yet stood firmly in the present, speaking to the souls of a new generation. The performance was more than just a showcase of musical prowess; it was an emotional odyssey. The track “Swerve” was a siren call, leading us down a path that culminated in a cathartic release so intense it was almost spiritual.
The Egos erupted onto the stage with a presence so powerful it felt like a physical force. Sherif Serag led the charge, his voice a beacon cutting through the cacophony of daily life to resonate within the soul. Their set was a balanced concoction of high-octane performances and moments of poignant melody that left the crowd in a state of ecstatic suspension. The synergy between Brent Bauer Butler and Terrence Wilde Mahier was magnetic, their instruments speaking to each other in a language of riffs and rhythms that was nothing short of exhilarating. Graylen Eastwood, on drums, was the backbone of the performance, each beat a testament to the band’s synchronized energy.
I dig this band, and their music lingers with. I’ve only heard the song “Honestly” at their live show, but I can’t get it out of my freaking head. I think the song is titled, “Honestly” and the hook, “Honestly. I’m sick and tired of all of this tragedy” just draws me in every time. It’s not just a song, but an anthem.
They still don’t have any music up on Spotify… they really need to get on that ASAP!
From the dynamic surge of Fox Violet, through the poignant echoes of Whitney Tai, the retro-modern pulse of Child Seat, the grunge-infused passion of Dolly Dagger, to the earnest rock soul of The Egos, the night was a mosaic of the raw and the refined. The air buzzed with a sense of shared humanity, as each performance peeled back layers to reveal the core of what it means to feel, to live, to be moved by music. As we stepped out into the wet night once more, the echoes of the evening lingered, a melodic reminder that the right chords can resonate within us long after they’ve been played,
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