Sun Seeker and Duncan Fellows
Johnny Brenda's Presents

Sun Seeker and Duncan Fellows

Sun Seeker
Duncan fellows
Sixteen Jackies
Ages 21+
Sun Seeker and Duncan Fellows with Sixteen Jackies & Carriers at Johnny Brenda's in Philadelphia
  • 8PM - Doors
  • 9PM - Carriers
  • 9:45PM - Sixteen Jackies
  • 10:30PM - Duncan Fellows
  • 11:15 PM - Sun Seeker


Sun Seeker has drawn applause for their unhurried breed of Cosmic American Music and with BIDDEFORD (Third Man Records), their 2017 debut EP, the Nashville-based band more than affirm their promise. The EP – which follows Sun Seeker’s widely acclaimed Third Man debut single, 2016’s “Georgia Dust” b/w “No One Knows” (TMR322) – sees Alex Benick (guitar, vocals), Asher Horton (bass guitar, vocals), and Ben Parks (drums, vocals) exploring nostalgia, melancholy, and emotional turmoil via laidback psychedelia pollinated with tight harmonies, classic folk songcraft, and country rock spirit, an ageless approach that is simultaneously archetypal and now utterly their own. Sun Seeker has toured extensively, supporting acts such as Rainbow Kitten Surprise, Peach Pit, The Districts, and Jessica Lea Mayfield. 2019 will see their long awaited full length album release (produced by Pat Sansone - Wilco, Autumn Defense), accompanied with much more touring and festival plays soon to be announced.


Duncan Fellows, Eyelids Shut EPThe music of Duncan Fellows explores multiple vibes, feelings, tempos, andperspectives—and often in the same song. With the new EP Eyelids Shut , thefive-piece from Austin explores that dynamic balance while concurrently toeing asimilar line in their own lives.Named for the address of a ramshackle house inhabited by several of thebandmates in their formative years, they’ve now—with everyone firmly in theirmid-20’s—traded a life of piling into various bedrooms for piling into a tour van,creating a mobile Duncan Lane of sorts by staying true to that era’s sensibilities ofshared adventure. Fronted by Colin Harman (vocals/guitar) and Cullen Trevino(guitar/vocals), the lineup is rounded out by Jack Malonis (keyboards/backupvocals/guitar), Tim Hagen (drums), and David Stimson (bass), with musical inputcoming from all corners.Typically, Harman and Trevino do most of the songwriting—alone ortogether—and once a song’s bones are in place they bring it to the larger group todevelop the arrangements and individual parts as a band. The live-in-a-roomcollaborating is an integral part of the process, and oftentimes tidbits from othermusic the band members are listening to will find their way into the works. But thesonic details are decided first and foremost by the emotions that push each songalong. As Malonis says, “We believe heavily in trying to serve the spirit of a song,so when we’re arranging as a band we really want to bring that out as best we can.”Following the release of two EPs—2013’s Twelve Months Older and 2015’sMarrow— while the band members were in college, the Duncan Fellows debutfull-length Both Sides of the Ceiling dropped in 2017 and put the band firmly onthe map. Featuring the good-time earworm of a single “Fresh Squeezed” and anentire album’s worth of upbeat rhythms, head-nodding riffs, and playful, pleasantharmonies, the record was championed by local radio, leading to a bevy of Spotifyspins. Audiences fell in love with the Fellows’ passionate approach andcharismatic energy, flocking to see them onstage in action with acts likeHoundmouth, Middle Kids, The Drums, Whitney, and Wilderado, as well as atslots playing festivals like Austin City Limits and SXSW. But while the bandembrace their reputation as a fun-loving band of buddies making feel-good indiejams, they also acknowledge that this perception only represents one side of theircoin.“We tend towards the deeper stuff you have to chew on longer,” Harman says.“Our tendency is to sing about the more difficult things we encounter in life, andas we’ve gotten older we’ve experienced heavy things that have added moreserious layers to what we do. But at the same time our most popular song is largelyabout waking up and making breakfast. We definitely talk about straddling thatline.”And with the release of the new Eyelids Shut EP, the band is establishing thatdouble-edged identity even further. The four songs here are doused in maturity,both thematically and sonically. “Loss” and “reflection” are the words the bandpoints to when discussing what the songs are about, and how aging lends freshperspective to such topics. “As you get older, your perspective on things like losschanges but you still live with everything that’s happened to you,” Trevino says.“Be it the loss of a person, or even the loss of a version of a person,” Harman adds.“Death is definitely a part of it, but change and a part of someone being lost issomething we are singing about as well.”Malonis finishes the thought: “I also resonate with losing a version of yourself,how as you’re experiencing these losses you’re losing the more naive parts ofyourself. A lot of it lines up with the theme of our first album: becoming an adultand growing wise to the ills and parts of the world that aren’t so pretty.”Though the sonic spirit of Eyelids Shut varies from track-to-track, and evenmoment-to-moment, the songs’ common bonds propel the band to new heights.The EP begins with “Deathwish Fish,” a somber, steady number that ascends withits heavy thrum of climbing keys and guitar and a constant, powerful thump. Thesong details the journey of pain from a loss throughout the better part of a decadeand the repercussions of that healing process over time. Next is “Cursive Tattoo,” atwo-step stomper that plows through its swinging tempo with chiming, dirge-yguitars and twinkling piano rolls as Harman sings, “You swore I was everythingyou wanted and more/but I’m not quite sure if I’m what you need.” “Aliens” has asurfed-out, sunny vibe replete with high tremolo tone and a stop-start, clip-clopbeat with matching fuzzy power chords, as if Parquet Courts traded the weed for asunrise set of waves. Trevino’s soft vocals turn into aggro howls in the samebreath, and the effect is mesmerizing. The reverb-heavy Vox organ recalls classicheady garage tracks like “96 Tears” and the whole song has a dark, pushy,in-your-face feel. The EP ends with the title track, a heavier head-nodder that callsto mind the tempo and guitar lines of Weezer’s “Undone (The Sweater Song)”meets the moodier work of Local Natives and serves as a bookend to the record.Recognizing that the song’s lyrics and story encapsulated the bigger themesspanning the EP—from the reflection on mundanity it presents to lines like “Iwoke up my eyelids shut/Forgot my dream and what I want to be”—they gave therecord its title as well.“‘Eyelids Shut’ is us saying, ‘Hey, this is life now, I still have to wake up and gointo work on Monday whether I’m changed or not,” Trevino says. “Life goes onregardless of what has happened.”Harman echoes, “That concept connected all the songs together; they’re aboutreflecting on loss, coming to terms with it, and changing perspective. When youget older, you realize it’s very chaotic being a human being, so this record is ustrying to make sense of that.”In all they do, Duncan Fellows strive to be honest in their music and as people,leaving positive experiences in their wake while expressing themselves and, yes,having a good time. Driven to evolve and grow as artists while never takingthemselves too seriously, their sense of adventure and commitment to their craft issure to serve their spirit well for the long, long haul.


Philadelphia-based rock band Sixteen Jackies make music that is often nostalgic, yet defies easy categorization. Pulling influence from glam, new-wave, early alternative (Sonic Youth, Pixies), and horror movies, they've crafted a unique set of torch songs for weirdos and misfits of all kinds that tie together into a tight and theatrical live show.


Having played in several bands and touring throughout the US since, skipping college in the process, Cincinnati-based artist Curt Kiser has been meticulously crafting his proper debut as a songwriter in step with his own personal development. Adopting the moniker Carriers back in 2014, Kiser has worked with a collective of friends, including Bryan Devendorf (The National) and John Curley (The Afghan Whigs), to bring his sweeping rock visions to life.

Carriers’ debut LP, Now Is The Time For Loving Me, Yourself & Everyone Else, is a testament to the power of self-reflection and is carefully layered, leaning on strong core songwriting, hypnotic synths and lush guitar tones from Kiser, mesmerizing percussion delivered by Devendorf, and nuanced, dynamic bass lines from Curley. The 9-track album evokes the same guitar-led grandeur of The War on Drugs as Kiser takes stock of life, death, relationships and gratitude for another day.

As Kiser details, “Overall it’s about appreciating what we have and remaining present, while still being able to have an honest perspective of the past and our future. I’ve personally found a lot of peace in just working hard and staying focused on what I’ve got going on, trusting, rather than being consumed with striving. This record process has taught me a lot about patience. Life will continue to teach me to have more. I’m just trying to accept what happens and handle it the best I can. Patience is forever.”

Be sure to follow Carriers wherever you listen and look for Now Is The Time For Loving Me, Yourself & Everyone Else out August 23rd via Good Eye Records.

Venue Information:
Johnny Brenda's
1201 N. Frankford Ave
Philadelphia, PA, 19125