By Josh Svetz
Amir Miles believes he’s the next great pop star. This thought doesn’t come from a point of arrogance; he just knows that to survive in the ever-evolving music industry, you must believe you’re up next.
“In the local scene, I’m no Jimmy Wopo or Hardo, but I’m not a no-name,” Miles said. “I’m just confident in my abilities and my team.”
Miles, 22, is just one of many hopeful musicians trying to catch their big break in the business.
The Pittsburgh singer has already hit several milestones. In the past two years, the alternative-pop singer opened for GZA, Oddisee and Migos just to name a few. He also reached over 800,000 plays on Spotify for his song “Bad Habits.” And on June 6th, he’ll finally get to open for a singer that’s much closer to his music scene than Migos when he warms up the crowd for Kali Uchis at Stage AE.
But to get to the come up, Miles had to make a lot of mistakes.
Born in Chicago and raised by a single mom, Miles moved to Virginia at age 11 where he began to take interest in music, forming a band with his friends in junior high school for simple reasons.
“We thought it’d be sick to play shows and get girls,” Miles said. “That’s what you expect to happen when you’re a kid.”
What came from that experience would act as the building block to his career in music. Miles played bass guitar and eventually transitioned into vocal work. The band itself disbanded after a year, but he continued to play bass and sing on his own. He started by playing covers of songs he knew, gravitating to rock and R&B music. But after not wanting to be a “copycat,” he started to play chords and make his own lyrics, changing his inflections and words depending on what the melody sounded like.
While the building block to his career laid in place, Miles didn’t believe he could make it as a musician. He originally attended Pittsburgh University to learn business and economics. He figured that getting into the world of music marketing or being the band manager would give him a good chance to get involved with the industry.
Fate had other plans.
His freshman year, he won a rap battle contest along with his resident assistant, Tory Hains, securing an opportunity to open for Chicago rapper Lupe Fiasco. He then started to make songs like “On a Dime” and the musician bug bit him fully.
“People were just fucking with it,” Miles said. “And I enjoyed making it. I was set—I’m going to be a musician.”
As he continued to grow as an artist, his grades slipped. He felt misery every time he went to class. School just didn’t feel like the right path. So, he dropped out.
Returning home to Virginia, he struggled in the job market. After receiving two consecutive pink slips, Miles found a home at Zara, a retail company that he described as a European H&M. There, he met his current producer Nxfce (pronounced ‘no face’) and nothing would ever be the same.
Nxfce and Miles talked music regularly on the job, but Nxfce had reservations about working with Miles until he showed him his music. The first studio session, Miles said they didn’t get anywhere. The second studio session, they made “Bad Habits,” Miles’ most popular song to date and a turning point in his career.
Soon after, he returned to Pittsburgh because of the youthfulness of the city and already having a fan base intact.
Originally, he mirrored acts like the Weeknd, Frank Ocean and Miguel. Now, with Nxfce’s more dance-infused and rhythmic beats, he began to cultivate his own sound.
Trying to describe Miles’ sound would give even the greatest music critic problems.
At times, he brings an energy and vigor reminiscent of Michael Jackson. Not to say he matches the king of pop, but when listening to the opening of “Neon//Love,” it’s hard to not hear the inflection of late ‘80s MJ. On “Fade” he sounds like a more exuberant and upbeat Chet Faker. On “Bad Habits,” he inflects the soul of a Sampha, with the vivacious catchiness of “Can’t Feel My Face” Weeknd. No matter what track you play though, he keeps an atmospheric and sexy vibe intact, reminiscent of Ginuwine and Usher.
All these comparisons have one thing in common: it’s music that makes people move. It just so happens that Miles’ biggest concern when he makes music is if it makes people move or not. He used Drake as an example.
“People hear ‘God’s Plan’ and they’re willing to give themselves up (to the song),” Miles said. “They sing, dance, act a fool, because they know the song. They trust the song. They know where it’s going.”
While he may not be Drake, Miles’ recognizes that the buzz he’s obtained from projects like Faceless has made people more comfortable with his music. In turn, he’s starting to get the action he desires from the crowd — dancing.
“That’s what I get most excited about before I go on stage,” Miles said. “Watching people bop, jump, get rowdy. That’s what I love about making music.”
Of course, he’d be the first to tell you that there’s a love/hate relationship with the live show, especially as an opening act.
“Sometimes it sucks,” Miles said. “Yeah, you get to open for these great acts and be like, ‘Yo, I’m a part of the show, I’m a part of the experience.’ But, you’re usually performing for people that don’t know who you are, don’t know what you’re about, don’t care what you’re about and don’t want to learn what you’re about in 30 minutes. They just want to see the main act.”
Miles said he believes this mindset has spread due to the internet.
“I feel like in the ‘90s and ‘00s, people were more artistically curious at live shows because that’s how you found new music,” Miles said. “But now you find music on Spotify, so if you go to a show and haven’t heard the opener’s music on Spotify or SoundCloud, you’re less likely to care about their music.”
But Miles’ biggest concern comes from capitalizing during the come up. He knows he has buzz now and reflects on how people are watching him. Before the come up, he could do whatever the hell he wanted. Now, he has labels making decisions about distributing his music, concert venues considering if they should book him and most of all, people waiting for him to fail.
“It’s do or die,” Miles said. “The next singles have to hit, because if not, then there’s stagnation and that’s the kiss of death in the music industry.”
Again, Miles said the internet has changed the time window. The turnover rate due to social media has become so fast that you need to find a way to stay relevant. Otherwise, people forget you exist.
That’s just the double-edged sword of the modern music industry powered by what’s shareable and viral.
Miles obsesses over music. He soundtracks his life with Gus Dapperton and Rex Orange County. He sings when he gets ready to go out. Hell, even as he’s brushing his teeth, he’s working on his craft.
His conversation topics always include music. One minute he’ll talk about the intricacies of Migos, explaining what creates the draw to the triplet flow. Another he’ll dive into the mystery of Frank Ocean and why his aesthetic matches his art.
The unwind period for Miles comes from watching anime and being around people. He has a complex of wanting to be liked but doesn’t work hard to please. Genuinely, he just wants a good energy and for people to enjoy themselves.
In his dingy, lowly-lit apartment Miles plays Madden as he reflects on his career. He’s using the Seahawks, his favorite Madden team. In the time we’ve talked, he’s won one game but lost the other off a two-point conversion against the New England Patriots, of course.
Unlike the Seahawks though, he sees the end zone.
He’s planning to move out to Los Angeles in September to push his music more and work with other artists. He also plans to write for record labels. Going to LA may lead to one of his biggest fears: fame.
“I’m worried about turning into a commodity,” Miles said. “I don’t want to lose myself. I’ve seen enough people crack. One slip up and people pounce. They’re waiting for you to fail.”
He also worries about his relationships if he indeed becomes famous.
“They’re not going to be natural,” Miles said. “They’ll always be skewed, and people have agendas. Like, do they fuck with me for my music, for me? Do they want something? Do they truly just want to connect? That’s always going to be in the back of my mind now.”
Miles still has a way to go before reaching that point, but it still scares him. He’s not in the business for the money or the fame, or even the girls. He just wants the experience few will ever know.
“When I’m on my death bed and I think about where my life went, I’ll be able to say it went everywhere,” Miles said. ”I’m here for the adventure. I want my life to be a fucking movie.”
Tickets for Kali Uchis with opening act, Amir Miles, are still available here: https://www1.ticketmaster.com/kali-uchis-pittsburgh-pennsylvania-06-06-2018/event/1600546DDA6EB60E
By: Matt Mackenzie
If you have not heard of the SAMMYs or what they represent, it is an award show for local musical acts that have made large strides in their musical journey and released exceptional works that deserve recognition. Held at the Palace Theater in Syracuse, NY, dozens of artists gathered under one roof to see if they would be the one to take home the award for the best in their genre. Hosted by Dave Frisina, a lifetime achievement award winner for his work with Syracuse radio and his constant support of local music, and headlined by bands throughout the night such as DOVE, The Merry Pranksters, and Count Blastula.
With hundreds of submissions for the collective 15 categories coming in, each category was narrowed down to the top five best for the major genres like Hip Hop/Rap, Pop, Rock, and Indie, along with top two or three for wide groupings such as country and electronica. All nominees filled the theater waiting for the moment their name would be called. Even if you were not the winner, it was constantly mentioned that being nominated meant you were a front runner and should be proud for all that you had accomplished up to that point.
As the winners for the genres we called, there were uproars of their name being called, collective cheering and shouting in joy. It seems that the largest amount of cheering occurred while the Hip Hop/ Rap nominees Sophistafunk, Supa Satty, Seth Dollar, Wigs, and Steve Cook were listed. Of these five Sophistafunk came out on top with the album Real Vibration and won the Hip Hop/Rap SAMMY. Jack Brown of Sophistafunk stated upon accepting their award “I would like to thank God and Dave Frisina… oh wait, they’re the same thing. Just kidding, we know God is a woman.”
Per every award show there is usually one winner who steals the night with how many awards they can win. That night the individual guilty of this was Sera Bullis. Sera Bullis, age 15, was nominated in the Pop category alongside BEA, Ben Mauro, All Poets and Heroes and Nate. Nominated with her EP The Road to Marcellus, it holds an incredibly strong and passionate voice with a determined energy. Later in the night the Brian Bourke for Best New Artist was given to Bullis and she deserves it entirely. On Friday, March 16th there will be a record release party in Bullis’ name at the Funk n’ Waffles Syracuse location.
Other winners through the night are as followed:
Best Alternative: The Action! “5”
Best Americana: Austin Macrae “Keeper”
Best Blues: Bad Mama’s Blues Band “There Goes the Rent”
Best County: Floodwood “Till I Die”
Best Electronica: Mazedude “American Pixels”
Best Hard Rock: Between Hope and Fear “With the Water”
Best Jam Band: Barroom Philosophers “Barroom Philosophers”
Best Jazz: E.S.P “Zero Gravity”
Best Other Style: Leo Crandall “The Art of Swimming”
Best Rock: Flashcubes “Forever”
Best R&B: Diana Jacobs Band “Good Metticine”
Best Singer/Songwriter: Amanda Rogers “Heavy Blue”
To end the night, three people’s choice awards were handed out to the favorite band, the favorite venue to see live music, and the favorite festival or music series. For the favorite band, a group called Infinity was given this honor. Infinity is a 70’s and 80’s cover band lead by Rick “Rocks’ Wilson for vocals. As for favorite venue to see live music, Wildcat Pizza Pub of 3680 Milton Ave, Camillus, NY, was given this title. Upon their acceptance they talked about how we all need to do our part to support local music by attending their shows and talking about them. For the final award, the favorite festival or music series award was given to the famous Taste of Syracuse. If you do not know what this is, dozens of restaurants and vendors come together around Clinton Square in downtown Syracuse to give their food out at low prices while the customer can also sit down at a few venue locations and listen to music while they eat. It is a free event to attend.
Dave Frisina closed out with one last talk on supporting local music and trust me, with what I heard throughout the days leading up to the SAMMY Awards I will most definitely be going to tons of shows when the summer rolls around.
By Ashley Gallagher
Under Atoms is a band from the New England area, so it seems fitting to give them a review with the Super Bowl right around the corner. They are categorized as Alternative Rock, which is evident as soon as you listen to them. They note their influences as artists like Tori Amos and Porcupine Tree. They pulled from Porcupine Tree’s ability to mellow out the rock genre, but kept the influence from Tori Amos as a way to keep 90’s rock in their sound. I would also note the similarities between them and Flyleaf. The lead singer, Heather Taskovics’s, vocals are very similar to those of Lacey Mosley. Their newest EP is called “105 Grams” with just three songs on it, but I feel that these songs give you what the basis of the band is about.
In the first song, “DJ,” it starts with a guitar riff and soft, almost haunting, vocals. As the song goes on, Heather Taskovic’s voice begin to become more powerful as the guitar and drum parts begin to pick up and the rock influence becomes more evident. Though the only thing I feel could be a little different was the fact that the song kept repeating the same sentence over and over again, it became very boring around the halfway point.
“Halogen” is the next song on the album is heavily dependent on guitar. There are ad-lib words and a very prominent lead guitar, but overall it was an easy listen. Unlike the first, this didn’t seem to drag out at much and the vocals came in at the beginning, stopped, and then again, but more powerful later on.
The third and final song, “Demon Wave” was probably my favorite song on the album. The guitars are clean and the drumbeat isn’t overwhelming. This one lyrically and musically stood out the most to me. I saw clear influences from Tori Amos, but also sounds of Flyleaf. The back and forth between female vocal and male slightly reminded me of something you could possibly see on an Evanescence song, but not as powerful as Amy Lee’s vocals. This song was the longest on the album, but it was very lively and kept moving forward instead of dragging behind, so it didn’t feel as long. It felt very entertaining.
All in all, I felt these were a really good three songs and I think that if you like female fronted bands and rock, it is worth a listen.