We clapped for a man who had eaten four hamburgers, someone from deep in the crowd. Loko Ono’s drummer Jason Adam picked him out.

That was after vōx’s (pronounced “wokes”) opening set, which the audience gave a wide berth for. She ended on the floor after escaping from a sheer curtain, shadows of lancet arches blocking out flowers as she became a voice and nothing more.

And in the end, Jason and Kathleen Adams ended on the floor too, turned into some jumbling mess of limbs after recalling tales of a primitive world. A rhetorical question fell on self-conscious ears—most people were not willing to dance. But that didn’t undermine Loko Ono’s performance; it was quite clear they did not give a fuck either way.

By the time Miya Folick carved out her stage, fans were lining the ramparts of Non Plus Ultra. Formalities first: Folick revealed the music video for “Pet Body”, which also debuted at 2015’s CMJ Music Marathon. She watched on from the sidelines with her crew and Nick Ventura (Froth, HOTT MT), subbing in with his faded fiesta red Jaguar.

Minutes later, Folick was staring at the sea of strange darlings, head submerged in tessellations of light. We nearly suffocated on neighbors’ small talk until she cranked the fuzz way up and blew the room out. Made it sound large and vast like the ocean. She had no trouble adjusting; it was clear as the first time we saw her that the singer was in her element no matter the crowd. All she needed was a crowd.

You get a second chance next week at Girlschool Collective’s collab with San Pedro’s Third Thursdays Live, minus Loko Ono/plus Gavin Turek, Dot and DJ Suzie Strong. – Ryan Mo, photo by Rachel Collins

Folk-pop duo Dear June have a new EP due out in August and were recently nominated them in our best-of New England poll, so now’s a great time to get caught up on the pair. Their previous Fences EP nailed down the fundamentals crucial to solid songwriting.  The project hangs it hat on understated multi-instrumental arrangements, simple melodies and most notably the harmonization of Liz Ziebarth’s and Justin Kelley’s voices. The two sing together for long stretches across the LP, and form a sum that’s greater than its (already great) parts. It’s the emotional and romantic quality of their male and female voices combined that adds what either of their voices can’t contribute individually. We’re excited for their Come Around EP due out 8/18, don’t miss the release party that same night at The Red Room Cafe on, before they go on tour. —Henry Solotaroff-Webber

After moving to New York City from a small town in California, The Mystery Lights solidified their lineup and won over Brooklyn crowds with their vibrant and rough garage-psych. The band was the first to put out a release on Daptone’s rock imprint Wick Records back in June with their self-titled debut. The quintet’s vintage sound is deeply rooted in the spirited nature of garage and punk, while also bringing ’60s blues rock to the table. Album opener “Follow Me Home” features fuzzy, hypnotic guitars and rumbling drums with lively fuzz-soaked rock and roll vocals that often employ a yelping delivery. “The energetic track “Too Many Girls” (streaming) evokes the early soul and funk records with a smoother delivery,  call and response vocals, and winding guitars. The Mystery Lights will be playing Baby’s All Right on August 17th! – John Honan