KHATUMU: INTERVIEW


by kaylee pickens

photo courtesy of khatumu

Looking for new music to fall in love with? Well, look no further. Khatumu (cuh-to-moo) is reimagining music one track at a time. After graduating from Yale in 2024, the rising artist made her transition to LA with several releases in tow. With tracks like, “fire drill,” Khatumu is proof that incredible lyricism is more prevalent than ever — and that it’s okay to be in your feels. The New Jersey-native gets candid about her relationship with social media and preparation for tour. In an interview with Unclear, we sat down with the singer-songwriter to talk about the birth of her artistry, new EP, and much more.

What did the birth of Khatumu look like for you as an artist?

Khatumu: “When I first started my artist project, it was, like, it was birthed, if you will, in my bedroom, and me and four walls and a guitar. I had produced all the stuff myself and, like, my logic project and all that, and now it really has become more about the community of people around me. Which also has myself sort of at the center of that, but, I think that my artist project now is something that feels although there are more people included in it, it feels like more like home and that I have that, like, my friends playing on my songs now, my friends helping me edit my songs. Like, I've created a world for myself, you know, photos and sort of like this also visual imagery alongside the audio art.”

What does this current era of artistry look like to you?

Khatumu: “I’ve been loving the banjo. I call my music electrified folk music. I think that's a really fun way to describe it.

I was in a folk band in college, and I think a lot of my music draws inspiration from that, especially since that was one of my first introductions to music collaboration. And so a lot of the stuff, a lot of the lyrics, also deal with me sort of trying to figure out young adult life as we all do, especially post grad. I'm just having fun.”

What was the creative process like for “fire drill?”

Khatumu: “It was very fun. That was one of the first songs that I wrote after coming to LA. I remember ‘fire drill’ was one of the first ones I wrote on the EP. Walking into the room and it was: the producer, his manager, manager had his dog, and you can hear the dog running around in the back of the song. It's funny. It was one of my first times doing a proper session in LA.”

You’re opening for Mae Martin in June, how are you preparing for it?

Khatumu: “You know what's funny is I don't really have any formal training on singing. My preparation is, like, I just sort of pull up. I’m just gonna live my life as vocal training. And try not to be egregious and scream.”

How would you describe yourself to someone who’s never met you?

Khatumu: “I would say I love telling stories. Even as a kid, I would always be the person at the sleepover, workshopping some sh***y ghost story that people either hated or they loved... I would say I'm a storyteller.

I would also say, I don't take myself too seriously. I wish that I had heard someone else say what I'm saying when I was younger. Just because it probably would have helped me not feel crazy.

I'm a friend. And also from New Jersey. I can't escape that.”

How do you navigate the pressures of social media and prioritize your mental health?

Khatumu: “The way that I approach social media — I make this analogy to one of my friends. I have a lot of friends in grad school right now. I approach social media almost like homework for grad school. Like, I feel like I'm doing a grad program right now, and the grad program is me making the music, and I'm working my side job to support my rent. And the TikToks are just sort of the daily reading that I have to do, you know? I post my thing and I leave, and I don't linger, and I go outside, you know? A lot of the momentum I've had is from people showing up for me via social media. And that ebbs and flows, I think in really, really drastic ways, which I think can be another impetus for mental health.”

What are your thoughts towards collaborating with fans on merch designs through Softside?

Khatumu: “Oh, what are my thoughts on that? My thoughts are I think it's the coolest thing literally ever. I think that's such an awesome way to collaborate with an artist. I remember, I posted about this on Instagram once, and there was a girl there who was underage [and couldn’t attend the show]. I met a few of my fans in a park that were all under 21 and I received this orange sweater. It had stitched cowboy boots on it, and my name, and it was literally the coolest thing ever.”

Anything else you’d like to share?

Khatumu: “I personally think that the EP is really worthwhile, especially for people who feel like they're going through transition periods of their life. The title of the EP is Free Therapy. I think it would have really helped me a few years ago. And so, maybe there's someone that would help. Maybe more than someone.”

 

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SOUNDSIDE MUSIC FESTIVAL RETURNS


by chantel malin

Soundside Music Festival will return to Bridgeport, Connecticut, for its fourth year on September 27 - 28, 2025. Since its inception in 2022, the festival has made waves as Connecticut’s largest annual music festival, and has turned Fairfield County into a destination for touring acts of all sizes. Taking place at Seaside Park alongside the namesake Long Island Sound, the festival has hosted upwards of 30,000 fans in past years — and with this year’s bombshell lineup, 2025 is sure to be just as successful.

Headlining on Saturday are international touring artists The Killers and Weezer (including Connecticut’s own Rivers Cuomo!); Sunday will feature everyone’s favorite Irishman Hozier as well as East Coast heroes Vampire Weekend. A few of the other 16 artists to hit the stage include Djo, the musical project of Joe Keerey of Stranger Things fame; rapidly-ascending British rockers The Last Dinner Party; Westport native Chelsea Cutler; as well as Japanese Breakfast, Inhaler, Gigi Perez, Remi Wolf, Rachel Chinouriri, and more.

Tickets are already on sale with layaway plans starting at just $25 for a weekend pass. Prices range from $170 - $455 for single day passes and $255 - $805 for two-day passes. Ticket options include regular GA, GA+, elevated bleachers siting, and luxury VIP packages. Discounts are available for military, first responders, medical services, and educators, as well as for residents of Bridgeport (zip codes 06604 - 06610). The festival layout will include just one stage, meaning there will be no set conflicts, allowing attendees to see every single artist on the lineup if they so choose.

Tickets are sure to go quickly; get in the know and purchase your own at soundsitemusicfestival.com and make sure to follow their Instagram and Facebook to stay up to date! 

Get familiar with the lineup with the festival’s official playlist.

 

GET READY FOR HIGH WATER FESTIVAL


by joanna barronton

Get ready for an unforgettable weekend at High Water Festival, happening April 26th and 27th! This epic event will transform North Charleston’s Riverfront Park into a vibrant hub of music, art, and energy, where artists and music lovers unite for two days packed with non-stop dancing, singing, and pure joy. Don’t miss your chance to be part of the magic — it’s going to be an unforgettable experience!

With an eclectic lineup featuring the likes of Lord Huron, The Backseat Lovers, Arcade Fire, Easy Honey, Gigi Perez, and flipturn, this weekend promises a sonic journey like no other. From indie anthems to fresh new sounds, get ready for a soundtrack that’ll keep your heart racing and your feet moving all weekend long! 

High Water’s Beyond the Music experience offers more than just killer tunes — it’s a vibe all its own. For the 21+ crowd, there are plenty of refreshing drink stations to keep the spirits high, plus engaging activities where you can score fun prizes. And don’t miss the booth for The Green Heart Project, a heartwarming initiative that cultivates garden-based experiential learning to teach students and the community about growing food and connecting with the earth. It's all about good music, good vibes, and giving back!

High Water Fest is set to light up Charleston this weekend with unbeatable energy, unforgettable performances, and nonstop fun! It’s the ultimate celebration of music, community, and good vibes — so grab your crew and don’t miss out on one of the most exciting events of the season!

 

CARLIE HANSON: INTERVIEW


by cass guinto

photo by stefan kohli

Carlie Hanson is an alt-pop artist, songwriter, and multi-instrumentalist collecting one creative milestone after another. First breaking through at 17 years old and touring with major artists like Yungblud, Troye Sivan, and more since then, Carlie is carving an unforgettable path as a young musician. Her recent EP too late to cry, released on February 7th, was written and largely self-produced — a skill she literally picked up on her own through video tutorials. Through these seven captivating tracks, she channels the importance of shedding skin and stepping into new, more authentic narratives.

Congratulations on your new EP! It’s an incredibly sincere and dreamy record. Were there any particular messages or themes that you were trying to encapsulate through the music?

Carlie: “One, I was experimenting production-wise. I feel like a lot of my songs in the past were very pop-produced, which was amazing and what I wanted at the time, but because I was coming into producing on my own, I always go toward a more stripped-back version of myself. I tend to make more mellow music when I’m working by myself, which is interesting, so I think that’s what a lot of this EP turned out to be. A lot of them started with just me, and that’s what I was leaning towards. For themes, lyrics, and what I was going through, I had just been dropped from my first record deal. A lot of artists were going through that during COVID. I was in the headspace of, ‘I’m going to prove them wrong and I’m going to do this by myself.’ That energy is where the song ‘covering faces’ came from. As for ‘too late to cry,’ it’s about getting your head out of the funk and pushing yourself to get better at creating independently.”

What was the inspiration behind the EP title too late to cry?

Carlie: “I think ‘too late to cry’ was such a weird song with how it was written. I started in my bedroom and wrote these verses that were just me venting, asking ‘why weren’t you there?’ to people that I thought were going to be there for me. Then, I didn’t really know where to take the chorus, so I didn’t even have the lyric ‘too late to cry’ written yet. I took it to my friend Slush Puppy and he kind of just mumbled these words, and he was like, ‘I think it should be a really simple phrase in the chorus,’ and that’s when we got to ‘too late to cry.’ It’s weird how music works because that kind of just came out of the blue. It’s like magic sometimes because I really didn’t intend for it, and that’s the song that wraps the whole EP together.”

If any, which song on the EP do you feel the most connected to and why?

Carlie: “At first when the project came out, I loved ‘how many hours.’ But I think I always go back to ‘sinking’ being my favorite. I like the story behind it. As much as I was trying to be headstrong and confident about moving forward and not dwelling on what I was going through at the time, I’m a very emotional person at the end of the day. I tend to be very hard on myself. The production of ‘sinking’ gives me that nostalgic feeling I always search for in other music.”

Looking back on your musical journey so far, how has the songwriting and production process evolved?

Carlie: “It has changed a lot — it used to be more structured. When I was first starting out professionally writing music and going to LA for sessions, I was put into rooms with amazing songwriters, so I was kind of just following their lead on how to write because I was 17. I didn’t know what I was doing, I just liked singing. I didn’t know what a hook or a bridge was. We’d start with chords, then we’d riff melodies, write the chorus, and we’d kind of work from there. Sometimes that still works for me, but now I’m at a place where people who write music would probably think I’m insane sometimes. If I’m by myself, I’d probably still start with guitar, and then maybe I’ll record one lyric without knowing whether it’ll be a hook, a verse... then, I’ll kind of skip the writing and go straight into building the production. It’s so very strange and erratic now, but I think I’ve just gotten more comfortable.”

Early on in your career or even before it, were there any musical influences that shaped your sound the most?

Carlie: “The reason that I started singing was Justin Bieber. I was probably like nine when I first heard ‘One Time’ on the radio. I remember turning to my older sister and being like, ‘Is this a girl singing? Who is this? I need to go home and listen to this.’ So I got on my computer, obviously found out he wasn’t a girl... I immediately fell in love and went back to his original YouTube videos where he was doing covers. From that day forward, I was just immersed and wanted to replicate everything he was doing. I was singing the same covers. I was probably trying to dress the same as him. I just became obsessed. To this day, at least in my opinion, I have a similar style with how he does runs and uses a lot of his range. But as I grew up, I fell into a different genre of Lil Peep and the SoundCloud era, and I feel like now I have a little bit of all that.”

What are some of your proudest accomplishments as a musician? Were there any moments in your career that felt like true “I made it” moments?

Carlie: “I remember in the very beginning when I was 17 and first went to LA, even just being in a music session felt like I made it. But then I had these really insane bucket list moments, like I did a song with The Chainsmokers and I got to go play at a stadium in Denver with 50,000 people. To this day, I just can’t believe that ever happened. With moments where I’m playing a show and fans show up, that to me feels like I truly made it.”

What are two memorable experiences you’ve had — one exciting and one scary — that you’d like to share with us?

Carlie: “I’ve had a lot of exciting moments. I basically started in 2017, so a lot has happened — signing my first record deal, getting the Taylor Swift love was awesome. She added two of my songs to her favorite songs playlist and it was just really hard to believe at the time. I was like, did somebody do this for her? I remember not even believing it. Honestly, playing Red Rocks is very much up there for one of my most exciting moments ever. As for scary, I had the same team for quite a while through most of my career up until 2022. I switched management, not because anything happened, but because it was time for a change. It was really scary for me because that was all I had known for so long, and I’m sure other artists or anybody can relate to that. Being so used to working with the same people, and then you take a risk for your life and your career. That was scary, but everything else has been amazing so far.”

Your music video for “covering faces” was incredibly cinematic and beautiful, and I saw it was filmed in Japan! How did that idea come to fruition?

Carlie: “My last album that I put out was called Wisconsin, which is where I’m from. The whole last era was me taking my fans to my hometown, talking about home, and really taking them into that world. Then, I really got to a point where I didn’t feel like I was there anymore. I wanted to move forward. Like you said, I’m on this journey, always feeling different things. With this new music, it happened organically. I wanted to work with this director, and he told me he was going to be in Tokyo for the next month, so I went because I never experienced that before. So it happened naturally, but it also coincides with the music and how I was feeling. I felt like a nomad. I needed to go somewhere else and bring my listeners to a new place — to cleanse their palate from the scenery and the setting we had been in.”

Speaking of your listeners, what are some of the ways you stay connected with your fans?

Carlie: “It kind of feels like they’re growing up with me. I feel that I can’t not be myself. I can’t pretend to be anything. When I’m online, it’s helpful to show different sides of me that others may not know about. I also have a Discord that a lot of my fans are in so they can talk to each other. I love that platform. But yeah, I think just being myself and even posting embarrassing stuff is something that everybody needs nowadays. It feels like you’re more connected to them. Shoutout my fans!”

If you could go back in time and give your past self one piece of advice, what would it be?

Carlie: “The thing is that things wouldn’t have turned out the way they turned out if I did things differently. But I’d say... start producing early. It’s going to help you way more if you just do it. I would say don’t overthink, just have more fun and don’t be so cautious about what ifs.”

Is there anything coming next that fans can look forward to?

Carlie: “I don’t know what will come next genre-wise, but I know I have a lot of music in the vault. The next music is a full-length album. I’m going all the way and I’m gonna do it again. To my fans, listeners, viewers, whoever — be on the lookout for more teasers.”

 

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SHOWPONY: INTERVIEW


by alyanna m.

photo by eddi m

New Haven, Connecticut is home to a handful of cultural and historical landmarks, specialty pizza, and to the upcoming rock band: Showpony. Aaron Taos, one of the founding members of the group, is equipped to transform his solo discography into a heavier atmospheric, collaborative journey. He reflects on his earlier works that garnered further recognition from social media, the significance of The Elm City to his newest project, and his former barber turned bandmate (a new trope perhaps). From his first EP, GUITS, that racked up his reverb Indie sound, all the way to his acoustic record, juniper, Aaron Taos is no stranger to transformation, and Showpony will be quite indicative of this.

Aaron, you’ve been in the music industry for a decade now! 2015 was the year of your debut EP, Guits, a project that was self produced, recorded, mixed and mastered. Following the release of your latest single, “Copacetic,” how do you believe you’ve reformed as a musician since the start of your journey up until now?

Aaron Taos: “Crazy, right! So much has changed since then in terms of the landscape of music. Personally, I feel like after a long journey of trying, learning, writing so many different things — I’m a bit back where I started. My first experience with making music was as a teenager in high school playing in a rock band. This new Showpony project is kind of scratching that old itch, just with a new perspective on things.”

Your discography has usually had instrumental versions of your albums, all the way from your 2018 album, Night Thoughts, to 2023’s juniper. Was there a reason for releasing those secondary versions? 

Aaron: “To be honest, a bunch of fans reached out asking for instrumentals! Instead of sending people to a Dropbox folder, I thought it was just better to release them publicly. I mean, I get it — I definitely geek out on listening to instrumentals or acapellas from artists I love. I’m flattered folks even wanna listen.”

As an artist residing out of LA, previously being based in Brooklyn and New Haven, which of these cities has given you the fondest memories and inspired your work, as a musician?

Aaron: “I mean, the answer is in the question with that one [laughs]. I’ve been kind of a nomad for a while now. LA is best for weather and collaboration, so many talented artists, producers, songwriters there. Brooklyn was where I got my start with my solo project, so lots of fond memories of the early days, making music in my tiny apartment and then meeting the right people that helped begin my career.

New Haven is where I grew up, so it’s different. Playing my very first shows ever as a 16-year-old at storied venues like Toad’s Place instilled in me the desire of playing music in front of a crowd, seeing their reaction, feeling the raw energy. Again, very full circle that I’m back representing a band based out of New Haven. It’s special.”

Although your music hasn’t been confined to one genre throughout the years, you are currently expanding and starting a new band, Showpony. May you tell us more about this ensemble?

Aaron: “Yeah, for sure. I formed Showpony with my friend Tyler Lindsay who is also from New Haven, CT.  We met a couple years ago at a hair salon Tyler was working at called Skull & Combs. He cut my hair and we became friends since we both made music. We were hanging out late last year and thought how cool it’d be to start a band representing where we’re both from. Over the next couple months, Showpony was formed.”

What are the origins of the artist project name, “Showpony?”

Aaron: “So, if you’re driving through New Haven on I-95, there’s a handful of iconic pieces of infrastructure. One is the Hotel Marcel, which is a large brutalist structure. Another is the harbor itself which is littered with water towers and power plants. And finally there’s Sport’s Haven, a large cylindrical building where people bet on sports. On the outside of the building there’s a huge mural of race horses running. We named ourselves as an homage to that famous piece of the city.”

Your friend and now Showpony bandmate, Tyler Lindsay, have shared some history back in New Haven, with Tyler originally being your barber. As the friendship blossomed over the years, can you recall the very moment when either of you realized that working together was something that felt inevitable?

Aaron: “So we met back around the pandemic and then kept in touch, sharing music with each other. The first time we actually worked was in 2023 when Tyler co-wrote/produced an Aaron Taos song of mine called ‘tail lights,’ which was on my last album juniper: the long drive. Late last year, we were sending each other some tracks from the latest Fontaines DC album and both had the reaction, ‘how sick would it be to start a rock band again,’ and we just ran with it.”

A couple of Showpony’s musical heroes include older rock groups: Queens Of The Stone Age, Oasis, and Arctic Monkeys. Some modern groups that have been favorites to you both are Fontaines DC, Wunderhouse, and Been Stellar. With these influences in mind, how have these alternative rock and post-punk bands shaped Showpony in its current state? 

Aaron: “Tyler and mine’s first experience with making music was in rock bands. I know for a fact Tyler was in the hardcore scene in New Haven growing up. The entire reason I even wanted to make music was when I heard Arctic Monkeys debut album Whatever People Say I Am, That’s What I’m Not and was obsessed with writing fast paced, post-punky, guitar music. The bands I mentioned above have always been a guiding light for Tyler and I as we made music for our solo projects over the years, but I think this new wave of artists like I also mentioned have re-instilled that reminder of like, ‘oh yeah, it’s pretty awesome to be in a band.’”

Showpony’s first single for the public is out on April 14th! What can you tell us about the process of assembling this track, and how it’ll set the tone for the group’s future works?

Aaron: “Yes! It’s called ‘Shine’ —  I believe it was the second song Tyler and I wrote for the project. At first, it was more of a vibey upbeat track and then when Tyler started playing the chords on an acoustic guitar, we realized it better served as a more cinematic mid-tempo tune. Thematically, the content we sing about is a bit dark — usually stemming from lived experiences in New Haven. With this one we extrapolated a bit: it revolves around an acrobat who loves the spotlight so much that it leads to her death. As the audience we are in disbelief and horror, but at the same time can’t look away because her art is so beautiful. I’m sure there’s a metaphor in there, but let’s leave it at that for now [laughs].”

photo by eddi m

The single, “Control” from your 2019 debut album, Birthday Boy, was submitted from your distributor at the time to be part of the video game, NBA 2K20. With a new and upcoming project like Showpony, do you and Tyler have any goals of having your music exhibited to different media and art forms like the aforementioned? 

Aaron: “For sure! To be honest, that video game sync changed my life. I wasn’t doing music full time prior to that.  After the attention from the game and going kinda viral on TikTok, I got my first record deal and my whole career just sort of took a step up. It’d be amazing for a Showpony song to get in a video game, show, or movie. Since I was a former soccer player for many years, my ultimate goal would be to make it into a Fifa (Now EA Sports FC) video game. I’d die happy.”

How do you describe Showpony’s visual themes and artwork? Is it leaning towards a gothic romance genre?

Aaron: “Yeah, I’d definitely agree with that. I think what was so fun about starting a new project with all the things I’ve learned over the last decade is that it’s always better to be hyper focused about what the music sounds, looks, and feels like. Because my own solo project is literally my real name and most of the songs are real stories from 30 years of life, it feels like I have too many options of where to go with things and sometimes it’s hard to fully commit to the bit. It was very freeing to know from the outset that Showpony was the opposite. We make rock music, all visuals are black and white, and our themes/identity are based around New Haven. End of story. With that set, it’s been a preordained canvas to build on and we’ve been super inspired.”

Having toured nationally (as a solo musician) with King Princess, Charlotte Lawrence, and Weathers, who are some artists Showpony would relish in opening for? What cities and venues would Showpony place on the agenda-in terms of touring? 

Aaron: “I mean, pie in the sky? Arctic Monkeys, Cage The Elephant, The Strokes, Cigarettes After Sex. More immediately, I can’t wait for our first New Haven show once we start to roll out this first project. Toad’s Place is such an iconic venue in the city, that I feel like that’d have to be the goal.  It’s where I first got my start and now get to play with a new band 15 years later? How full circle would that be?”

Granted that Showpony is upcoming and will (absolutely) be on the rise, what are some end-of-year goals you hope to achieve for this band? Are there any future collaborations in the works that you can disclose for the fans/listeners? 

Aaron: “I think our overall goal is pretty ambitious — we want to be the best band in the world. That may sound ridiculous, but why not reach for that? Fuck it. The bands that Tyler and I listened to as a kid completely changed the trajectory of our lives. As a 14 year old listening to Arctic Monkeys sing about stories in Sheffield, England on my way to Sunday soccer practice in a random town in Connecticut, I was inspired to try to do it myself. I think I speak for both of us that if any kid has the same response and wants to start their own band, we’d both be very proud of ourselves.”

 

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