By: Matt Mackenzie
Amazing. Marvelous. Superb. All words I would use to describe my first thoughts coming off this album. The past year has been a ride for Mac Miller. Originally making headlines for his time spent dating pop icon Ariana Grande, he then held a negative social view for when the relationship ended and dropping a single the day Grande released a single of her own. He was accused of trying to sully her important day out of bitterness. I hope that was not the case. Either way, we the listeners got a taste of what Miller was preparing to release. Weeks later on August 3rd, Swimming was released to the general public and boy did it blow me away. Listeners have come to the conclusion that the entire album is a dedication to his time in the lime light with Grande.
Their time together is hinted at within ‘What’s the Use‘ when the lyric “Time we don’t waste much, **** and we wake up; They have her sing just like Celine Dion; catch me if you can, you never catch me damn” since Grande has a Celine Dion impression she does. The following track ‘Perfecto’ seems to be about the break up and the possibility of missing her with lyrics such as “Bare feet, runnin’ late, her car started; Even though the only thing that she driving a hard bargain; More important is I’m kinda sorta out the door; But she put me back together when I’m out of order.” Fans are crediting his relationship with Grande for such a power piece of work.
For myself however, the tracks that are the best of the album would be ‘Self Care’, ‘Ladders’, and ‘Small Words’. I hear very soulful pieces that attempt to emphasize his true feeling in the three tracks. Making it more possible to communicate his thoughts to us, the listener. There may be portions of the album where he would sound whiny or groaning about the past, but in those instances he has his best sound. The entire album manages to keep my attention upon every listening. Having an artist manage to do that should be a top priority for everyone, and not just myself. Swimming is an amazing listen and is such a pivot from Mac Miller’s roots as we also saw in 2016 with The Divine Feminism. I will continue to support Mac Miller in anyway because his music has been a huge part of my life and is always a reliable listen.
by Ashley Gallagher
During the middle of July, what is better than a concert by the water and on the sand? That is exactly what Festival Pier in Pennsylvania has to offer. On July 28th, Taking Back Sunday and Coheed and Cambria took the stage with a little help from The Story So Far. The trio was a perfect arrangement of different styles of rock. The Story So Far played a newer version of pop punk that catered to the younger audience that found their way to the show. The crowd responded well to their style by crowdsurfing and singing along to their music. As they were finishing up, the venue was slowly becoming more packed with people who either decided to stand front and center or even decided to enjoy the music from the side near the merch stands.
Wherever you were during Taking Back Sunday’s set was enjoyable. The band was lively on stage with a backdrop catering to their most recent album, Tidal Waves. But what would a Taking Back Sunday set be without Adam Lazzara’s signature mic swing? The fans showed up for a performance and Taking Back Sunday sure did deliver. Aside from the band itself, I found that one of the most enjoyable parts was watching the people in the audience. The ages varied from people in their twenties, their thirties, their teens, and even parents’ who brought their children to the show. There was one little kid who danced to every song while wearing headphones and a few people would stop to dance with him before rejoining the crowd. In addition to that, I saw people running from the merch and food lines the second “Makedamnsure” began, a clear crowd favorite. Coheed and Cambria carried the same energy in their set and the crowd was far from slowing down.
Not only was this one of the most enjoyable concerts I have been to in a long time, I could tell the energy was unmatched on this summer night. It was a perfect concert and I look forward to getting an opportunity to experience a Taking Back Sunday Set again.
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