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Album Review: Church of New Orleans

Today’s hymn and choir is brought to you by Kyle Roussel, a composer and multi-instrumentalist who plays with the cultural staple and beloved institution known as the Preservation Hall Jazz Band. Thank you for joining me on this journey. I cannot help but reminisce on my Sunday morning experiences of getting a Bloody Mary and attending mass in Treme’ or the notorious Saint Louis Cathedral in Jackson Square. Kyle Roussel’s new album, Church of New Orleans, reminds me of this. And now please rise…

Our service today begins with the song “Daylight” (remix feat. Jamison Ross), a bright and angelic blend of gospel, R&B, harmony, and an infectious joie de vivre. I am immediately reminded of my first Jazzfest Experience as a young, curious soul venturing into magical musical grounds. Wandering into a sea of music amongst the serene landscape, I reached the gospel tent, a calliope of audio bliss. This smaller but impactful stage held the true spirit of unity and creative celebration. Coming full-circle, it captures everything I love about the city: its culture, spiritualism, diversity, creativity, resilience, and the mantra to celebrate not for what we have but for what we have not. “Daylight” is that jam, that song in the morning that you never knew you needed until its big band sound grabs you from the depths and propels you into a spiritual euphoria. I can’t help but get so many great vibes from this song, ranging from Motown soul, Treme’ funk, gospel serenade, and a warm Fertile Crescent shout of faith and progression. 

The appeal of Kyle Roussel’s masterpiece, Church of New Orleans, is that it continues to evolve and inspire. As we reach the second song from the album entitled “Don’t Wait” (featuring the hometown trombone extraordinaire Mr. Glen David Andrews), we hear a second line style funky beat accompanied by a tuba and a reed organ. The two are backed by upbeat percussion and follow together with short stabs as Kyle delivers the word.

Our service continues with the song “I Can Do Anything”, featuring the legendary singer Aaron Neville with an adorable cameo toward the end. Kyle’s experience and creativity as a composer shine effortlessly on this beautiful track that embodies and celebrates what I love about New Orleans. This track is exemplary of that sound with its own cultural gumbo of soul.

And now ladies and gentlemen, join hands for the melodies of Mr. Kyle Roussel and the Preservation Hall Jazz Band, as the jazz swings an instrumental beauty entitled “Pickles”. A sweeping piano piece played by Kyle presents itself as a mix of Chopin, Jelly Roll Morton, and Stevie Wonder in a cosmic masterpiece all his own. A delightful piano boogie whisks me away with funky rhythmic beats and soul that could only be conjured in a special cloud painted by pure imagination. I suddenly feel my anxiety dissolve into a blue sky above Bayou St. John, as Mr. Roussel’s hypnotizing piano illuminates this gospel. A star-studded, reimagined composition treads waters into heavenly, uncharted melody. 

We break into a jazzy gospel organ sermon for the next song, “Changes”, which features the beautiful stylings of John Boutte. The lyrics strike me to my core as the chorus triumphantly sings “Everybody wants to change the world, but nobody wants to change themselves”. It is as beautiful as it is haunting, a reminder of how far we think we have come as people while so far behind in our unity. 

“Sankofa” brings the album back to the mix of lush Caribbean and indigenous New Orleans Congo Square rhythms. Kyle once again provides us with an audible historic timeline of musical influences, spicing up the song. It’s a celebration of culture and R&B, reminiscent of a Skull & Bone Gang vibe. Adding to the rich layered musicianship is a strong harmony vocal session bellowing like a riverboat matinee’. 

The following track is titled “Close to Me”. A tribal groove sets us into the mood right off the get-go, followed by sweeping keyboard harmonies. Some of the production reminds me of old school Stevie Wonder and Hall & Oates. This composition delivers a silky bass line and mesmerizing vocals by Zigaboo Modeliste and Quiana Lynell, respectively, and will leave you in a blissful trance. This album is a much-needed breath of fresh air in every creative sense. 

Next up is “When I Feel Your Energy Moving Me”. The vocals really stand out in this one. Complementing the lyrical style is a symphonic crescendo and Sade feel. 

“Nothing is Impossible” features Tracci Lee and an undeniable dance swagger in a collective of heavenly arrangements. The message is that nothing is impossible if you believe. This chorus hits hard as a wake-up call to seize the day, love all, and be in the moment.

“African Gumbo” does not stop short at packing a fine collective of musical brilliance simmered into a well-cultivated Roux. This is a generational work of art many decades in the making, featuring work of the legendary George Porter Jr. & Charlie Gabriel of New Orleans royalty. 

The final song in our service is titled “True”. I will say this, this album has me in the pew alone, but also with so much love in my heart that I do not feel an absence in my spirit. Instead, I feel a drive to continue to be a good soul while I am in a waking life. Times are hard but when I hear this organ ring out and Miss Irma Thomas singing that angelic praise, I feel a little more blessed. I don’t have much, but I feel rich in the wealth of music that Kyle Roussel and Miss Irma Thomas provide. This should be the soundtrack to the lives of myself and everyone.

Church of New Orleans is a wonderful journey no matter what your musical tastes seek beyond the surface. The beauty of this album is its ability to capture the wide array of musical influences that New Orleans has embodied over time. Sometimes people might say to me, “You don’t sound like you’re from New Orleans”. I always smile and point them to albums like these.  Because I then reply, “New Orleans does not sound like me, it sounds like this”. Of the many themes contained within this album, two stand out, our local history of New Orleans’ global musical influences, and a worldwide celebration of joy and harmony. Both feel so prevalent in his work. At times, the album delivers a strong brass and rhythm section that gets to the boogie without wasting a beat. It is a prime example of polished song crafting that both gets you dancing in the street on a Saturday night and dancing in church the next morning on Sunday. Lord knows I’ve stumbled into mass half hungover, feeling it, and joining into the congregation of my sadness regaled. It is a prayer sent and received that we never knew existed, a dance and soul that forever changes our hearts. The Church of New Orleans is that album that ignites the candle, making sense of mysticism and unity with every note played, every word sung, every moment spent. This photo of a moment, this tip of the hourglass, Church of New Orleans confirms a magnum opus for Mr. Kyle Roussel. I wish both him and all of you a blessed day. Go in peace. 

Author: Ryan McKern

Editor: David Trahan

Neworleansmusicians.com

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The Trouble With AI: A Melodic Contaminate

Looming on the horizon has been a simulation of human intelligence that can outsmart, outpace, and outwork every one of us. Without the general population’s ability or willingness to understand and harness such technology, the necessity of a human presence will diminish. This is the popular fear. But what of the arts? What happens when Artificial Intelligence is allowed to meddle in a means of conveyance driven by human emotion? Well, we humans get awfully emotional about that. The nay-sayers claim that the loss of integrity is shameful and the larceny of authenticity is criminal. Regardless, in our lifetime we have witnessed the last moments of knowing something is real. And the inability to decipher or create something real that contends with AI will cause an inevitable shift in the market.

Data entry, customer support, and quality inspection… these are the benign casualties that were welcomed in the early days of AI. And to be fair, its presence created jobs like AI trainers, prompt engineers, machine learning engineers, AI ethicists, and data scientists. This phenom is not the first of its kind. Divisive sentiment was no stranger during the birth of the PC or during the digital imaging explosion. Computers eliminated the necessity for filing clerks, Typists, bookkeepers and draftsmen while creating occupations such as software developers, IT support specialists, system administrators, and cybersecurity professionals. Digital imaging did much the same with the elimination of physical elements and the introduction of jobs like digital photographers, photo editors, and imaging software developers. Ahh, but beyond lowering costs and improving resolution, digital imaging fronted a furtive fallacy, editing. It marked the intrusion of technology into the creative arts. As Marvin Gaye once said, “People say, believe half of what you see, son, and none of what you hear”. So, if we haven’t believed images since the early 90’s, where do you think AI’s presence in music will take us?

Overall, AI seemingly touts several advantages. It can reduce time, effort, and skill, inspire new direction, and contribute interesting representations. It can also standardize practices while removing centralized control. But if you go back and re-read those “advantages” through the eyes of the creative, all but the last fail to appeal. In fact, they degrade the very principles on which the creative arts stand. The disingenuous nature of art not born of the human mind forces a societal disconnect. Technology outpaces our comprehension and ability exponentially. In doing so, it furthers itself from the human psyche and the emotions that drive artistic expression. Music, in particular, reserves its impact in the ability of the listener to feel connected to the artist. If the intelligence of which we speak is artificial, then so are these connections. While AI may skyrocket an artists’ visibility and/ or image, it will not positively affect their impact for these reasons. It will erode trust.

You may ask what my thoughts are on all of this. And I will begin my answer by asking several questions. What are we doing? What effect will this have on empathy, creativity of humankind, the ability of the market to serve human interests; the way we think, what we think about, how we feel, or how we relate? If we cannot trust the source, and the source is not one of us, does it truly hold significance in the world of art? I believe that refusing something based on principle is not always a pragmatic approach. It is often the opposite. And I am guilty of this. I believe within the battle of altruists versus a paradigm shift, fate seldom sides with the former. Perhaps authenticity will become the underground. I believe arguing against AI on the basis of job elimination, overall, is a moot point. That paradigm shift will occur, and in its wake a slew of new jobs will be created. Besides, too many of us are guilty of ego identification. We identify with our jobs, our possessions, and our nationalities which are merely temporary aspects of the broader self and distinct from true awareness. But, and this is a big but, when it comes to the arts, the argument moves to the forefront.

Who are the bad actors in all of this? For the principles of greater good, I would say it’s anyone who distributes AI content to an unknowing public. As it stands now, there are no standards or laws I know of that mandate labeling AI content as such. And therein lies the true issue. Artificial under the guise of genuine is deception. There are federal and state statues that protect consumers like the Federal Trade Commission Act Section 5: Unfair or Deceptive Acts or Practices. This prohibits misleading business conduct and is enforced by agencies like the FTC and State Attorneys General. There are also intellectual property rights that combat counterfeits. These laws, along with the FTCA, allow for both government enforcement and private lawsuits (including class actions) against fraudulent or deceptive practices. But so much of these materials are archaic and left to interpretation. These should be expanded upon to include AI specifically, and implement consequences similar to that of the original Copyright Law and subsequent amendments compiled in Title 17. This includes penalties ranging from significant financial damages in civil cases to criminal charges (fines, imprisonment) for willful infringement for commercial gain.

Current laws pertaining to AI only protect the artists and their works, not the consumer, and are still in their infancy. Herein lies the mind-blowing conundrum. In order for copyright law to include language that protects the consumer from AI music, AI music would then have to be recognized by copyright law. And in order for that to happen, AI music would then have to be able to be copywritten. Under the Copyright Office Guidance,the U.S. Copyright Office has stated that works created entirely by AI without human involvement are not eligible for copyright. Only addressing works created entirely by AI, in my eyes, is deliberately turning a blind eye to the current soundscape. If they allowed it to be copywritten and included questions that identified what portions of the music were AI, then a special copyright could be placed on the work. In doing so, the work would be identifiable by the public and distributing platforms as AI music. With what is currently in place, we can’t make an informed decision. If we could, grass roots efforts and overall preferences might turn the tide. Protecting the people and allowing us to decide inherently protects the artist. So, I feel as though this should be provided for both in the FTCA and the Copyright Law.

If only there were a way to distinguish between AI music and human music, we could all decide for ourselves reasonably and without further context. Four days ago (Jan 13, 2026), Bandcamp introduced a ban on AI music. The platform proclaimed, “We believe that the human connection found through music is a vital part of our society and culture, and that music is much more than a product to be consumed. It’s the result of a human cultural dialog stretching back before the written word”. But their means of enforcement depend upon user flagging and a nonspecific team review. While this may seem a false sense of hope, it can be interpreted as a groundbreaking social message. Perhaps what follows will be the turning of AI on itself in the creation of tools that seek out its presence in published music. I believe we should agree upon an inaudible frequency and make its attachment a mandated feature in every AI audio generator. This would circumvent any dishonest copyright applicants that willfully answered my proposed copyright application questions falsely. With or without the help of our government, we could accomplish so much if we would all come together. I’ll leave you with a final question. If the mission of music is to promote unity and bring about a true awareness of self, what better resonator of this sentiment can there be than a human?

Author: David Trahan

Neworleansmusicians.com

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2025 Year in Review

Yearly reviews began as a standard I set to benefit myself, the fans, and the musicians that are members of Neworleansmusicians.com. Transparency is essential for letting people know what they can be a part of when joining my site. These reviews also serve as a healthy way to remind myself and let it be known to others what I have accomplished for my site and for musicians across Louisiana. Regardless of your chosen profession or hobby, taking personal inventory provides an invigorating look at your past and lends direction to your future. I highly recommend this practice to everyone. So, here is a look at year four in the world of Louisiana music on Neworleansmusicians.com.

Coverage of our music scene spanned across every podcast platform, six social accounts, my website, my blog, and my Youtube channel. Coverage included a new music label, a recording studio, a music magazine, a zydeco origin documentarian, a music television producer, several DJs, musicians of all instruments, many album releases, and complete tours. Genres stretched from funk to country to grindcore to hip hop and beyond.

Macro takeaways:

  • An infusion of a sense of unity through the honest depiction of life’s battles shared by all musicians, both on and off stage.
  • The repeated expression of desire for community and cohesion amongst Louisiana musicians.
  • The prevalence of an absence of knowledge within the realm of music business including the fear and uncertainty associated with it.
  • A simplified look at key turning points in musicians’ paths to success.
  • How crucial reflective thought really is and what we can learn from the hindsight of others. 

Micro takeaways:

  • Vocal and instrumental techniques
  • Recording studio preparedness and practices
  • Booking and marketing tips
  • Preserving your health and mental wellbeing
  • Overcoming drug and alcohol addiction
  • How to use live crowds as a resource
  • Specific pitfalls to avoid in business and personal lives

And the best part about all of this… these are all gems from Louisiana musicians and music business professionals.

Interviews:

NOM kicked off the year with radio DJ/producer/booking agent Anthony Daniels and ended it with vocalist Ghalia Volt. Also showcased were members of bands that have been in existence for decades and have toured the world many times over like vocalist Mike IX Williams of EYEHATEGOD and vocalist Jason Pilgrim of Flesh Parade. In other coverage, notable discussions included methods of experimental sound, drawing inspiration from tragedy, the demise of the rave scene, and navigating foreign countries while on tour.

Video:

I launched vertical format in the form of short videos and consistently averaged 80-120 shorts a month. I began posting on six social platforms every day. I also created an additional slot within my long-form videos. I’ve always featured a band in the intro to my videos and now I have a slot in the middle to feature more bands. This enabled me to feature 84 bands within 39 artist interview videos. Also, this year I was able to expand the variety of production to include things like behind the scenes, music videos, and a band mockumentary.

– Youtube Results:

334.5K Views (previous year 8.9K) UP 325.6K

3.7K Watch time (previous year 818.3) UP 2.8K

431 subscribers (previous year 127) UP 304

17.4K monthly audience (previous year 142) UP 17.2K 

Online Presence:

Some of Neworleansmusicians.com’s online accounts had lain dormant due to lack of a feasible way for me to post in so many locations. I spent some extra money this year on subscriptions to services that would consolidate and streamline this process. With more work and this creative and logistical edge, things not only kept moving, but they also improved! I maintained 16 genre-based playlists on 11 music streaming platforms, adding countless artists to these rosters. They contain mainly music from site members and a few artists I have interviewed.  Facebook was always a mainstay. But I also began posting content dailyto Youtube, LinkedIn, Twitter, and Instagram, including an expansion to TikTok. I was able to increase overall audiences across all social platforms. Unfortunately, LinkedIn does not serve these statistics. But my most notable strides were as follows:

Facebook: added 2,493 followers (1.2 mil views)

Youtube: added 431 subscribers (334.5K views)

Instagram: added 220 followers (52.5K views)

TikTok: added 328 followers (43.4K views)

Website:

Providing a networking website with user-generated content, video and audio streaming and all sorts of other bells and whistles has undoubtedly been my most expensive undertaking ever. But this is a passion project that, year after year, has unified so many artists with a place to converge and display their talents. And it is a place that truly rewards them for their efforts, asking nothing in return. Amid the on-site buzz and activities, I was able to add 29 new site members. With them they brought 62 songs, many of which I featured in my podcasts and videos. Honestly, there were too many music additions by existing site members for which to account. And so many of those were showcased on my podcasts and videos as well. This year undoubtedly set records in terms of new music content on Neworleansmusicians.com.

Podcast:

This year I made the decision to apply to the Audacy Podcast Platform and was accepted. Under their umbrella, Audacy has enabled me to broaden my audience and gain sponsorships. Due to the migration, annual statistics for the podcast could not be collected. But I did implement a new podcast tracking system that can finally span all platforms accurately. I look forward to discovering what a year looks like in terms of listenership for 2026. I produced and published 24 episodes, interviewing 20 artists in our scene. Some of these interviews were so interesting to me personally that I had to create part two! And I have to say this. After sitting with these musicians and hearing their life stories, I possess a love and admiration for these people that I cannot describe. I’ve stayed in touch with many of them and have always made myself available for their subsequent calls or requests.

E-commerce:

In 2025 I completely redesigned the look of NOM’s e-commerce store. I also introduced 20 new original clothing designs that can be found only on my site. Frankly, I’m jealous because I can’t afford to own them all! I added sizing charts to many, if not all, products. I also consolidated the manufacturing list to include as many domestic labels as possible, shortening shipping times and lowering retail prices. Methods of payment now include 8 credit card companies, Shop Pay, Paypal, and seven different cryptocurrencies. I am excited to offer clothing designs reflective of Louisiana’s music scene and offer them inexpensively.

Because of Neworleansmusicians.com, the thoughts and voices of Louisiana’s musicians were delivered to over 1.6 million people across the world. The reach of their albums, shows, and life experiences were amplified exponentially. Musicians were connected with opportunities, and the strength of our community was emboldened. This came at zero cost to our musicians, listeners, readers, and viewers. It is what the Neworleansmusicians.com logo stands for; community, strength, and freedom. If I were to point to a specific brand identity it would be this. I appreciate you taking the time to celebrate 2025 with me and usher in the new year.

Author: David Trahan

Neworleansmusicians.com

NOM on Youtube: https://www.youtube.com/@neworleansmusicians

NOM Podcast: https://pod.link/1617150338

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Favorite Music Podcasts

If you ever find yourself wanting to listen to podcasts about music, here’s your list! Listening to podcasts while you work, exercise or drive can be a way to feed your brain throughout the course of your day. There are so many podcasts out there from which to choose. Personally, I’ve been obsessed with music ever since I can remember. And I really enjoy learning about the lives of musicians, how music is made, what music scenes are like in other parts of the world, and music history throughout the ages. This list contains a bit of all those things and includes music from all genres. I recommend using the links to follow the shows now so that they pop up in your streaming library. The next time the mood strikes, their latest episodes will be a click away.

Music Marketing Manifesto:

Music Marketing Manifesto is a leading resource for today’s DIY musicians, hosted by John Oszajca. John is a Music Marketing Expert, a Former Major Label Recording Artist, and one of the pioneers of Direct To Fan Marketing in the Music Industry.

Apple: https://podcasts.apple.com/us/podcast/ai-workflows-integrating-ai-into-your-music-marketing/id483256618?i=1000631198051

Spotify: https://open.spotify.com/show/2FMi4GsgHzvO9mVojglQnJ?si=f811f4420ee442ea

Broken Record:

Music and storytelling meet on Broken Record, where artists across genres and generations sit down to explore the joy, chaos, and vulnerability of creating-and what it means to devote a life to music. From legendary icons to groundbreaking new voices, each episode captures artists in conversation sharing the inspirations and experiences that shape their craft.

Apple: https://podcasts.apple.com/us/podcast/broken-record-with-rick-rubin-malcolm-gladwell-bruce/id1311004083

Spotify: https://open.spotify.com/show/6UsuhRMTD9O71DznRP8540?si=36a75864d3174849

DIY Musician:

Making music and building a career is more accessible to musicians than ever before, but how do you actually get your music in the ears of real music fans? The DIY Musician Podcast features interviews with promoters, lawyers, publishers, bookers, and artists of all styles and backgrounds to bring you the all the latest in music promotion and marketing.

Apple: https://podcasts.apple.com/us/podcast/diy-musician-podcast/id253809240

Spotify: https://open.spotify.com/show/007rafxtDguQUkIhzKCW7m?si=87e834fc0bda4cf2

Fresh Era:

A guided audio journey into the lives and careers of hip hop’s pioneers, documenting what it was like on their way to the top. The podcast is a detailed chronicle that cements the legacies of the legends while answering questions fans have had for decades.

Apple: https://podcasts.apple.com/us/podcast/fresh-era/id1560521011

Spotify: https://open.spotify.com/show/17OEBipGtx9Uj6e386Oqpq?si=be2a4e8cf3474d46

Neworleansmusicians.com Podcast:

Join us as we take a look behind the scenes with the independent musicians of New Orleans and surrounding areas in Louisiana. Learn about upcoming projects before they drop. Experience the rich heritage of iconic venues and get first had accounts of exclusive events. Musicians are remarkable people. Get to know them, their struggles, and the inspiration for their art. Neworleansmusicians.com is dedicated to uplifting the artists and providing them with the tools necessary to elevate their craft. We shine a spotlight on them, as well as highlight the music scene and educate everyone with our interviews, album reviews, and music scene news.

Apple: https://podcasts.apple.com/us/podcast/neworleansmusicians-com-podcast/id1617150338

Spotify: https://open.spotify.com/show/6PB9BrQJeNHQ60LN74fblW?si=77dc602c0f564f46

No Dogs in Space:

No Dogs In Space is a music history podcast featuring Marcus Parks and Carolina Hidalgo of the Last Podcast Network. Season 1 – Punk Season 2 – Alternative Season 3 – Experimental Rock & Pop

Apple: https://podcasts.apple.com/us/podcast/no-dogs-in-space/id1495604041

Spotify: https://open.spotify.com/show/7pg4bQx8OsDIiDFZ7XtKy0?si=bf6e68b745ad4319

Tetragrammaton with Rick Rubin:

In-depth interviews that may blow your mind.

Apple: https://podcasts.apple.com/us/podcast/tetragrammaton-with-rick-rubin/id1671669052

Spotify: https://open.spotify.com/show/6ZVBi4NU0OmUT8fPomahis?si=ffa0579a0e0c4f7a

Musicians Mentor:

Travis Marc hosts conversations with working musicians, producers, songwriters and composers covering topics not commonly spoken about within the music business-including networking, band break ups, touring nightmares, songwriting splits and loads of other, ‘overcoming the struggle’ type stories from the creatives perspective. The goal of this podcast is simple – to help musicians increase their overall sense of self worth, both mentally and financially within the music industry.

Apple: https://podcasts.apple.com/us/podcast/the-musicians-mentor/id1648499364

Spotify: https://open.spotify.com/show/68E9Zwcw07GuE1t1Bapr9E?si=1d3e76e9b87b44ab

The Questlove Show:

The Questlove Show builds on the award-winning Questlove Supreme podcast, bringing listeners into intimate, one-on-one conversations with peers, influences, and friends. Hosted by Ahmir “Questlove” Thompson, each episode uncovers the unexpected – from morning rituals and hidden talents to the art and experiences that shaped a guest’s journey. Sometimes playful, sometimes profound, always curious, QLS offers rare insight into leaders in music, film, television, comedy, literature, mental health, and beyond. It’s a fresh, unpredictable spin from a trusted source – a place where randomness is encouraged, tangents are welcomed, and conversations are anything but ordinary.

Apple: https://podcasts.apple.com/us/podcast/the-questlove-show/id1485250501

Spotify: https://open.spotify.com/show/6X0ThBWpiPUplNxoaa7SMx?si=959cd7ba64a3450e

Local Riffs:

The podcast where we talk about our/your local scene, musically and artistically! Interviews and music from what’s hot and what’s not. Tune in and join us for LOCAL RIFFS!!! ENJOY!!!

Apple: https://podcasts.apple.com/us/podcast/local-riffs/id1690219887

Spotify: https://open.spotify.com/show/5pWigDXKupB4TVmNiw1VeO?si=d6da6885e73e4766

One Song:

On each episode of ONE SONG, friends Diallo Riddle (Emmy-nominated star and creator of HBO Max’s ‘South Side’ and IF’s ‘Sherman’s Showcase”) and Blake “LUXURY” Robin (Music Producer & TikTok creator) will hilariously break down ONE SONG from the pop music canon that you know – or need to know – but have never heard quite like this.

Apple: https://podcasts.apple.com/us/podcast/one-song/id1696154359

Spotify: https://open.spotify.com/show/5HHEFjbW196ymwEuDa2BAx?si=0ae953ec1f8b42f7

Author: David Trahan

Neworleansmusicians.com

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Jason Patrick X -Introspection

A Powerful, Multi-Genre Journey Through Life, Loss, and Liberation
Releasing Halloween 2025Baton Rouge’s own Jason Patrick X is set to drop his debut full-length album, Introspection, on Halloween 2025 — a bold, emotional, and sonically diverse project that captures the raw essence of Generation X rock while fearlessly stepping into new territory.
Across 12 gripping tracks, Introspection explores the highs and lows of human experience — from heavy blues heartbreak to stadium-sized rock anthems, from dark EDM pulses to haunting piano ballads. It’s more than just a rock record — it’s the story of a life examined, a soul laid bare, and a musician refusing to be confined.
The album features fan-favorite singles including “Let’s Go,” “Time,” “Awake,” and “Shades of Blue,” as well as brand-new standouts.
Blending the grit of Alice in Chains, the anthemic punch of Foo Fighters, and the modern edge of Nickelback, Jason Patrick X channels wisdom, honesty, and defiance in equal measure. With Introspection, he invites listeners into a deeply personal yet universally relatable journey — one that proves rock music is alive, evolving, and still capable of shaking the soul.
Introspection will be available on all major streaming platforms October 31, 2025.
For interviews, promo requests, or media coverage, contact:Jason Harris+1 225-773-5438jason@jasonpatrickx.com

Spotify: https://open.spotify.com/artist/4zSYTuN0zPaOUTen9miOeMWebsite: www.jasonpatrickx.comIG: https://www.instagram.com/jasonpatrikharris/FB: https://www.facebook.com/jpatrickx/YouTube: https://www.youtube.com/@jpatrickxTikTok: https://www.tiktok.com/@jasonpatrickx

Press Release via the artist:

Jason Patrick X

Photo courtesy of Seraphim

Editor: David Trahan

Neworleansmusicians.com

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“Breakdown” and More – A Soundscape Analysis

Deep Sleep Atlantic

Celebrating the band’s October 2025 release:

‘Breakdown’ – premiered on 10/29/25, which is the new single from the band Deep Sleep Atlantic, album Secret Club For The Damaged.

“Breakdown” starts with octave tremolo musical hypnosis! This sound is reminiscent of Sonic Youth and Weezer, with haunting synths and laid-back, synchronized drum melancholic beats. A frantic female voice over the phone can be heard on the bridge, and the chorus is a hook that will stay with the shoegaze fans for a long time. This all offers a new spin on the layered complexity of something found in a Radiohead or Teamsleep album; haunting and ambient.

The video is a stylistic sprawl of art and lyricism, on a canvas that Deep Sleep Atlantic has painted and branded as their very own, carving and sculpting paths amid the current state of South-based duos. 

Listening with a curious poise, the next song I discover on their socials is the track “Don’t Like You”, which also features a slick music video showcasing performance and unbridled rock. I’d venture to say it’s a rainy side of anguish in the form of a palatable audio structure.

“Bottom of the Sea” brings us back to the rhythmic side of Deep Sleep Atlantic, with a large chorus of harmonies and ethereal synths. Minor chords and tragedy are steeped like a poetic brew of fuzzy tea and dancing percussion. It gets into your skin to drain the solemn ghosts of the 1990s and will into a vibe of forward momentum.

Not a lot is known about DSA, the duo can undoubtedly layer a thick album that resonates the replay value in songwriting, a method sometimes lost at sea in the oceans of one minute pop song trends of modern day. While songs like “From My Side” showcase the range of bleak to focus, I am flooded with visuals not only of the excellent music video, but with a mental picture show of the chorus, almost hitting that sorrow and angst of melody found in early Soul Asylum or Dandy Warhols live show anthems.

“Blue” is a track that again subverts expectations in the best way possible, the soul is infectious in the groove and lyrics, this band knows how to make a hook. The song even surprises you with a noir-type of sax solo that is in par with a page out of the book of Green Thoughts.

“Hole” is a song I am just now finding online, and it nails that dreamy guitar with noir bass notes. Almost a trippy electro vibe, it is something heard perhaps to the liking of Massive Attack. Released two years ago as of the date that I am writing this interview, this song and all I have heard from DSA thus far is very well produced, well performed, and executed in a way that connects you intimately to the band’s vision, while also allowing their songs to reach a broader horizon.

Whether this new album will continue in these directions or veer to the forks in the road will be discovered by the listener. I for one will enjoy the strange and seductive dance into which Deep Sleep Atlantic dives deeply. Their word through and through could be “possibilities”. That’s at least one word that sticks with me in reference to Deep Sleep Atlantic; a refreshing sense of untethered creativity. This band is for the audio environments, while timeless and unique in a charming lost light.

Deep Sleep Atlantic Members: Daniel Perez and Travis Marc

Music Video for “Breakdown”: https://youtu.be/VbZdGsjAQp8?si=bwFu5kc2hfFHyeT8

Bandcamp: “Secret Club For The Damaged” Deepsleepatlantic.bandcamp.com/album/secret-club-for-the-damaged

Guitarist & singer Travis Marc full interview: https://youtu.be/JHQ_c1lqy2o

Follow the band on Instagram, TikTok, Spotify & YouTube for their current discography and video catalog.

Author: Ryan McKern

Editor: David Trahan

Neworleansmusicians.com

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Who Bought Napster and Why?

Infinite Reality (iR) is acquiring Napster for $207 million with plans to transform the long-running music streaming service into a next-generation social and immersive music platform. Using iR’s expertise in XR, AI, and immersive technology, Napster will evolve beyond passive streaming to focus on active fan engagement, artist monetization, and interactive community experiences.

Napster’s current CEO Jon Vlassopulos will remain in his role and also take on a broader leadership role at iR, building on his experience pioneering immersive music experiences at Roblox. The acquisition marks a strategic step in moving the internet from 2D web to 3D immersive experiences, positioning Napster as a hub where artists and fans interact more directly.

Key Points

  • Acquisition Details
    • Infinite Reality to acquire Napster for $207 million.
    • Napster remains an independent music brand under iR, with CEO Jon Vlassopulos continuing leadership.
  • Napster’s Legacy
    • Founded in 1999, Napster pioneered digital music sharing.
    • Evolved into a licensed streaming service with 110M+ tracks available in 34 countries.
    • Paid $1B+ to artists/songwriters over its history.
  • Planned Transformation
    • Move from streaming platform to social & immersive music platform.
    • Tools for artists include:
      • 3D virtual spaces for concerts and fan meetups.
      • Merchandise sales (physical + digital).
      • AI-powered fan interaction & personalization.
      • Advanced analytics dashboards.
      • Gamification for fan engagement.
    • Cross-promotion with iR’s entertainment assets (e.g., Drone Racing League, esports teams).
  • Vision & Strategy
    • Shift from passive listening to interactive, community-driven experiences.
    • Strengthen artist-fan relationships with direct monetization opportunities.
    • Brands gain new sponsorship opportunities with young, digitally savvy audiences.
    • Part of iR’s larger mission to lead transition from 2D web → 3D web.
  • Leadership Commentary
    • iR CEO John Acunto: sees this as enabling artists to thrive in the next wave of digital disruption.
    • Napster CEO Jon Vlassopulos: likens this to Napster “revolutionizing music again” in the immersive era.
    • Napster Chairman Steve Kokinos & iR executives emphasize the shift toward immersive, social, and shoppable experiences.

Full Article: https://www.napster.ai/news/infinite-reality-acquires-iconic-music-service-napster

Author: David Trahan

Neworleansmusicians.com

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Can You Relate?

If you were searching for thumbtacks and started digging through the kitchen junk drawer only to find there were no thumbtacks, the only thing you would come away remembering is that there were no thumbtacks. The drawer’s contents would typically escape most of us. What one takes away from an experience is simply the part that matters. The reason for your being there, your talent or cause, even your name… none of this can be recalled unless they walk away feeling as though something of significance occurred. Relationships are built upon this principle and are what allow us to relate to one another. Commonalities are significant. In order to form a connection with your fans, they must be able to relate to you.

For a musician, the desire for expression is typically the impetus for engagement. But the creative isn’t always comfortable or proficient in social settings. Wearing their heart on their sleeve is the price they pay for nurturing a following. The best one can hope for is a bohemian milieu and a receptive crowd. My word to the introvert would be simply, “this could go well, if you let it”.

Taste may be subjective, but musicians often live, eat, breathe, and sleep their respective genres. They hold that land sacred and can be protective or objectionable at times. Their craft is a point of pride. But remaining amiable is necessary to accessibility and like-mindedness; two essential elements of the engagement a fan seeks. In our interview, New Orleans, Louisiana lyricist Alfred banks said, “I always like to move with the culture in mind. I’ve always been the guy that is the introduction to a bunch of people that don’t normally indulge in hip hop. It’s a gift and a curse. It’s a gift because I am their intro to hip hop. And I am a pretty good variation of hip hop. I want people to hear the best that they can hear. And I am the best that they can hear. It’s a curse because people don’t know how to indulge in hip hop. Because they don’t normally encounter hip hop. So, I am in a space where people say shit like ‘I don’t really listen to rap. But if I do I listen to you.’ That is an insult. Listen to hip hop. What are you talking about?”

Being so ingrained in the culture, he took those words as a personal slight. This is a revealing look at one of the challenges musicians face. The beauty overshadowed here is this: To be the ambassador for something you love is like being the unsung hero. Because you’re sharing a piece of something you love with a person you don’t even know. Alfred, at this point in his life, is a seasoned veteran whom undoubtedly handles these situations with grace. But it pains me to know how interactions that should be received as uplifting compliments can sometimes become a discouragement.

I interviewed Chris Leblanc, a guitarist and vocalist out of Baton Rouge, Louisiana. He described the words of a friend goading him to release new music. “Why haven’t you put out another record in a while?”, the friend inquired suggestively. Chris’ immediate feelings on the matter were less than agreeable. “Go listen to my last records”, he replied. Chris later explained his perspective to me, “I’ve got to put this out because my fans are waiting on it? No! Nobody’s waiting on nothing. There’s billions of songs out there.” In his mind, he’d set the bar high up to this point and delivered. To align his releases with, what was in his eyes, a nonexistent public demand would be a compromise of integrity. He also reminded everyone in our interview, “There’s no money to be made in releasing records right now. But it still costs money to make records”.

In this instance, a friend implied with sincerity that fans were anxious to hear something new from him. But that friend couldn’t possibly know the circumstances that Chris and many other musicians face. What was once a more musician-friendly landscape governed by physical relationships and tangible products has now morphed into a digital terrain where the only thing we see, touch, or interact with is electronic devices. And to cap off this chilling stratosphere, statistics on new music releases are staggering. According to recent data, approximately 100,000 new songs are released on streaming services every day, with some reports stating the number is closer to 120,000. The majority of these come from independent artists like Chris. All musicians must reconcile with this harsh reality. But again, in that moment, the musician is supposed to suppress a dismal truth in order to remain in the good graces of a fan and friend. If any musician can find light in the “compliment”, well, that’s lagniappe.

To the musician, I might suggest disseminating pieces of yourself, enabling fans to parse out which parts of you they connect with. It serves the musician well by both retaining current fans and gaining new ones. Efficient avenues like magazines or websites are tethered to podcasts, Youtube channels and blogs. Tales From the Riff, Mixed-Alt Mag, Musicians Mentor, Local Riffs, and Paranoize Magazine are a few local examples of entities whom I have found to be approachable and genuinely interested in our local scene. There are also data aggregators like Feedspot.com that, for free or a fee, can supply you with a list of these independent media outlets cross-referenced with their respective social following and contact information. With these options, you (the musician) can curate a more personal side for the deserving. And it’s good practice in speaking with others about your day or about your life.

There’s something special about being able to connect with a musician. Before his set, I met vocalist Mike IX Williams (Eyehategod) out in the crowd at Chelsea’s in Baton Rouge. He was hanging out in the back watching some of the opening bands perform. I later went on to interview him and found him to be both passionate and genuine. He was interested to learn about Neworleansmusicians.com and thanked me for my efforts. Similarly, I interviewed metal guitarist Johnnie Lagrange who related an instance where he was approached out in the parking lot of a bar by vocalist Kyle Thomas (Exhorder). The two shared stories and spoke like old friends. These are people who have toured the world several times over, playing for thousands at a time. The gravity of such an encounter makes those five or seven minutes live on in the minds of others for an eternity. To be gracious in the moment cements musicians as “one of them”.  

Speaking personally, in my lifetime I have witnessed the collapse of all major institutions whom I was raised to trust. Our politicians, our religious figures, our leaders in healthcare, and the branches of our government have all failed us. Uncertainty has festered into an all-out anxietous infection and for all of us, I’m sure, our paths have been bittersweet. But music has never, ever failed me. Fans are people searching for truth. I believe extreme music takes things a step further in that, like the music, fans exist on the fringe. They are those that will not accept comfortability with this current Instagram filtered, untrustworthy existence. This is what makes authenticity so important to the empath. Connections shore this foundation. Being able to relate to someone, and so believing in someone, is of the highest importance.

In every profession there is an initial period known as paying your dues. It is weathered with the promise of coming out on the other side to an elevated sense of existence; one where you are seen, heard, appreciated, and compensated for your talent. Countless musicians spend their entire career in a purgatory of paying, and paying, and paying, never to see the precipice of recognition or comfortability. Over time, this can wear on whatever kinship they strive to feel with music listeners. Throughout, there is no revelation. Only the music itself is divine. And digital indicators merely serve to muddy the waters surrounding the mainland. Meanwhile, a single release-focused world is forcing the hand of true storytellers to part out pieces of their soul. If I could impart a bit of perspective to both the fan and the musician it would be this. A meeting of the minds is just as rare and precious as a random compliment. It’s hard for a fan to know the right words to say. And it’s hard for a musician to recognize a compliment for what it is. But any attempt at reaching out is a show of mutual support for the expressions of one another. Above all else, our ability and freedom to do this should be held in the highest regard.

Author: David Trahan

Neworleansusicians.com

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2024 Year in Review

After several failed attempts, two web-firm rip-offs, and a complete overhaul, Neworleansmusicians.com launched online at the beginning of 2022. It was still in beta testing and had too many kinks to cite. While addressing these issues with my programmer, I launched a podcast, a Youtube channel, a blog, and curated playlists on sixteen streaming platforms. Looking back, saying that I was spreading myself thin was an understatement. Ever a glutton for punishment, I learned e-commerce and launched a store as well. While all facets were off to a rough start, they were alive. Each began to take on a personality and attract eyes and ears to the abundance of talent within Louisiana’s state lines.

Fast forward to now, all of the technical issues have been worked out, including a victorious six month battle with Youtube permissions that has now enabled site members to upload to my site and have it simultaneously show on my Youtube channel. Many things have been redesigned and I believe I have a handle on the chaos that is this network. Or at least I thought I did. Though I was able to constantly produce media on all fronts, let’s just say the sacrificial lambs began to reveal themselves. The light bulb went off when I was editing video for posting one evening and realized the content was a year old. While life stories aren’t typically of a time-sensitive nature, it still bugged me that it had taken me a year to publish this musician’s interview. It was unacceptable. My stubborn nature had rendered me so short-sighted that I insisted on editing every video into talking points in addition to publishing the entirety. This compounded editing times and set me far, far behind.

For as far back as I can remember, I have always revered music and musicians as my own religion. Nothing has meant more to me than being able to involve myself in shoring their foundation at a local level. The catalog of work I have disseminated is essentially a hagiography filled with praise and idealizations for the beauty that is the human musician. I have done so while steering clear of click-bait and controversial tactics to inflate the vanity metrics to which the digital world has become enslaved. In order to remain true to this principle, I have had to pivot during this past year. Begrudgingly, those videos are now published in their entirety only. And the articles I write are less in number per year. This is all until I come across like-minded individuals willing to volunteer their time to cover the scene with me. 

Fortunately, the Neworleansmusicians.com Podcast has remained untouched in format and has doubled in listenership each year. Aside from the artist being interviewed, each show features a “mid-show shout out” where I take time to discuss a new member’s band and play a snip of their music for the audience. Having listeners reach out to tell me they enjoyed the interview AND discovered a new band during the shout outs has been immeasurably rewarding. I decided to change out the person who signs off on the show yearly. So, I am able to showcase yet another local artist during these episodes. Levi Clark (formerly of Misled, Southern Brutality, and currently of 1016) was my spokesman for 2022. Dalton Steiffel (of nola funk band Pocket Chocolate) was my spokesman for 2023. And Alfred Banks (solo rapper and lyricist in SaxKixAve) became the spokesperson in year 2024. Though each artist benefitted from this arrangement, their interest in contributing to my efforts has been flattering. These gestures give me hope.

I also took on a sponsor this past year, Realmushrooms.com. After much research and trial, I fully back their products for purity and effectiveness. And there is no added cost for the commissions received when listeners purchase through my professional link. In fact, they actually get discounts when doing so. There is no doubt in my mind that I have helped listeners who have made purchases because of my podcast. And I am happy that I have been able to offer the information and discounts without sacrificing those mid-show shout outs for my members.

Some other improvements I made during this past year, I feel, helped extend the reach and increase the efficacy of Neworleansmusicians.com. I connected some back-end feeds to the Events Calendar to help cover the Louisiana music scene more thoroughly. And I redesigned the player on the Music Page (I went a little artsy with that one, lol). I created an 80’s inspired boom-box that has genres instead of stations and made each band’s display during their playtime a hyperlink to their page. I envision the new design as an attractive way for fans to sample their favorite genres in Louisiana. And it has made the mission of talent buyers easier to achieve. Last, I redesigned the Neworleansmusicians.com online Merchandise Store and introduced many new garments and designs, while culling a few that I found to be of lesser quality. This past year I aimed to max out my domestic sources and make prices as low as possible. This retains business (and jobs) in the United States, lowers shipping rates and times, and ensures that more people can afford to express their support for this Louisiana music community that is Neworleansmusicians.com. Last, I created a Paypal Donation Account should readers, listeners, viewers or anyone else want to donate to my efforts.

It hasn’t all been “work” for me. There have been times when I was honored for what I had accomplished. I was chosen to speak at the 2024 Cutting Edge Music Conference in New Orleans. While there, I was reconnected with people I had worked with previously and introduced to many new faces. I was also featured in Canvas Rebel magazine and Bold Journey magazine; two publications focused on passion and entrepreneurship in various fields. The people I’ve interviewed in the past year have been such interesting human beings, that they have left me feeling truly humbled to have a moment of their time. You have to realize, by the time I leave the interview, I have learned everything about them there is to know. And I feel as though I’ve known them their whole lives. I possess a love and admiration for these people that cannot aptly be expressed. Mike IX Williams and Kirk Windstein, juggernauts in the intoxicating potion that is our own southern metal genre, were two such specimens. Jack Meile, who has far too many production credits to name, was another. And lyricist Jayarson was a man of many layers I was delighted to discover. These are several high-achieving examples that needed nothing from me, yet gave me (and my audience) everything. And I am eternally grateful to them as well as all the other people I interviewed in 2024.

A good stack of stats for 2024…

25 Articles – musician interviews and album reviews. Special thanks to Ryan McKern for his contributions during this past year.

21 Podcasts – interviews with drummers, lyricists, guitarists, bassists, vocalists, a recording engineer, a label head, and a music magazine editor, all from Louisiana. “Neworleansmusicians.com Podcast” was downloaded in 41 countries last year.

74 Youtube Videos – music videos, interviews, and a news feature. These are not counting videos uploaded to the website by members of Neworleansmusicians.com. And I point this out because videos uploaded to my site by its members automatically post to my Youtube Channel.

71 New Members – This, by far, is OUR greatest achievement! There are many of you that I owe a debt of gratitude for this fact. Paying for the elements of this network out-of-pocket and charging nothing is incredibly expensive. I cannot allot finances toward advertising and worry I am not reaching enough people. Social media and word of mouth have been my mainstay. And it has remained fortuitous through the graces of my members, followers and fans.

148 Social posts – This is the amount of posts to social media that I averaged per week throughout 2024. Some of these were advertisements for my network. The majority were about the interviews, events, and album releases within the Louisiana music community.

141 Artists Featured – Because I produced articles, videos, and podcasts, I set aside spots to feature members in places like the podcast mid-show and at the beginning of every Youtube video.

If I had to train my vision toward the site’s priorities for 2025, it would be to somehow increase the amount of published content while maintaining a healthy balance between the site and my family time. I do not make money from any of this. My job takes me out of town for weeks at a time. As I mentioned, there were several moments this year when I was forced to pivot in order to keep up with the amount of media I had amassed. In lieu of that, I would like to see more people express interest in getting involved with Louisiana’s music scene using my site as a vessel to publish media of their own. The likes, follows, shares, streams, show attendances, and merch purchases we all bestow upon our favorite local bands help them incredibly. But through mingling at shows and corresponding with others, I know for a fact there is a bevy of talent in our midst that could be put to use. Many of you possess the passion to review your favorite local album. Some of you might even have the desire to publish a performance review. Perhaps others are players in the field and see where improvements could be made. Those people might be interested in publishing a short opinion piece. I welcome these types of ideas and will work with you on getting your voice out there. Whatever means attract you to supporting our state’s music scene, I’m always available to collaborate and get your works out to the masses.

As for my site in particular, I would hope 2025 brings more registrants to the Vendor Page (music industry businesses) and more activity overall. I see too many members that join and do not complete their bio or add music to their profile. And I think members could take advantage of the Events Page to list their shows, as well as the Classifieds Page to find or list gigs and used equipment. People are quick flock to social sites to accomplish these tasks not realizing that they are contending with so many other distractions in front of a crowd that is often irreverent to their message. Neworleansmusicians.com has one mission, Louisiana music. It covers that in every way possible and tunes out all else. I would be remiss if I did not include my invitation to those interested in making videos, selling ad space, or papering their town with stickers or fliers. These are, of course, ways of furthering the ability of Neworleansmusicians.com to propel Louisiana’s music community further.

I appreciate all of you taking the time to read about what 2024 brought and I look forward to publicly raising the bar in 2025. I am making myself accessible to everyone interested in Louisiana’s music community. Contact information and further details can be found at https://neworleansmusicians.com/blog/about-nom/.

Author: David Trahan

Neworleansmusicians.com

To register as a member, visit https://neworleansmusicians.com/registration

Please consider donating to further my efforts. Thank you
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Evan Oberla’s Art 4 All

Artist: EVAN OBERLA

Album: Art 4 All

Along with being an active member of Flow Tribe and the New Orleans scene, New Orleans-based Evan Oberla, a Jazz Studies University graduate, has Recorded at the Marigny studios in New Orleans to produce his latest release Art 4 All.

Its October in New Orleans as I am writing this review, and my favorite fall activity is to drive with the windows down, get some cool fall air, and listen to new music driving around Mid-City and Hollygrove. So, grab yourself a drink, snack, smoke and Saints coozy, and ride with me as we trip out on this album. 

The opening track “Art 4 All” brings me back to those golden days of the past at the Maple Leaf bar, headfirst into a book of gonzo journalism, and enjoying the Crescent City sounds of organ funk and progressive indie rock. Setting the tone for the rest of my experience, nostalgic and futuristic notions emanate with strength in all the instruments played. The recording is pleasing to the senses by offering an audio charcuterie of warmth and contemporary production. As I approach the stoplight by Canal and Carrolton, the next track on our voyage is “Connected”, a swinging downtrodden message of life, soul, and universe. It’s connected to a root deep seeded in trials and tribulations, a child-like inner intonation, and the beauty of living in the moment. A crisp nostalgic rhodes piano & swaying summer guitar sound washes over me as I am in an utter trance to hear more. Driving down on my way to Liuzza’s for a cigarette and a beer, the third track “Only” begins to play.

This song has the production and soothing soulful foundations of a Stevie Wonder-type Motown classic. A harmonious brass section and engaging rhythmic composition are alive in this upbeat song. Cinematic visualizations come to mind upon listening; a soundtrack to a street theater in the beginning, the middle transitioning into a ceremonious New Orleans dance that overflows into the CBD. As my drive continues, the sun is just right upon my face, a slight breeze brings all the joyous smells of restaurants and the daily business grind that is Poydras Street. Time to turn up the stereo a bit louder so the commuters can jam with me as they enjoy their lunch breaks nearby.

Next into our journey is the track “What We Needed”, a compelling piano-driven narrative to which the lyrics sing “We lucked out we lost ourselves”. Orchestral cymbal splashes and timpani-esque percussion drive the mood of this song, a call out for feeling and reconciliation. 

I park my car down St. Charles near Please You restaurant, move the album to my iPhone and put in my ear buds. Time to listen to the next song from Evan’s album titled, “Movin on”. While enjoying a gyro and a big shot cola, I stare into the Lower Garden District scenery while being serenaded by this song’s 70’s groove. A musical landscape of “All 4 Love” is present throughout my mind. Incredible vocal harmonies lather in rich warmth audio perfection. It is a suitable experience for vinyl audio consumption if I ever heard. I get into my car and head back up towards the Marigny. Next up on the album, and roaring on my car stereo, is the song “Pivotal”, which brings that electro drum swank and swagger feel into the center of the singer/songwriter genre and lyrical direction that I have come to love of Evan Oberla. 

“Pineapple Juice“ brings us to the latter half of Art 4 All. Summer-laden oracles of collective sounds, whilst on a island or inland, flood me ears. Picture yourself at a Tiki Bar, the music as the soundtrack, the conversation and moment as your own, guiding into nirvana as the midnight oil burns. Finally, I arrive at my destination, Webb’s Bywater Music. Time to park and grab some guitar strings, a cigar, and hang with friends; a perfect end to an engaging vibe from this album at its core.

Art 4 All brings the funk and sophistication, all the while keeping a voice of personal exploration and celebration. The sounds of New Orleans reverberate but also become the calming waves unto a shore of new development. The album is available on the band’s BandCamp page, and I highly encourage those who enjoy layered music to give it a try. As in the essence of the band’s album, they sing “…share your gift with the world”. Thank you for being my passenger on this audio journey through New Orleans. For neworleansmusicians.com I am Ryan McKern, see you soon Mon Ami!

Author: Ryan McKern

Editor: David Trahan

evan oberla – vocals, rhodes, piano, acoustic guitar, trombone

rob hinson – bass

george wilde – electric guitar

trenton o’neal – drums

andriu yanovski – b3 organ, rhodes (1, 2, 7)

aurelien barnes – trumpet (3)

ari kohn – tenor sax (3)

joey gurwin – congas (3)

becca duggan – bongos (4)

tracked by rick nelson on June 25, 2021@ Marigny Studios in New Orleans, La.

Additional tracking by Mack Major @ Major Studios in New Orleans, La.

Mixed by Mack Major

Mastered by Joe Berg @ Cherry Creek Music

Produced by Evan Oberla

www.evanoberla.com

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