As a city steeped in Southern hospitality, it’s only appropriate that Savannah built a festival to accommodate artists passing through on their way to SXSW. Aptly named Savannah Stopover, the three-day music festival not only aims to give artists a space to play before tackling the beast of a music conference, but also to give consumers a unique opportunity to stumble upon new artists.
Attendees will take advantage of Savannah’s open container laws, venue hopping all weekend to catch over 80 acts, beers in hand. And while one of Stopover’s core values is music discovery, it’s still easy to gloss over the bands listed in small fonts at the bottom of the lineup poster. As part of our running festival series, we’re magnifying the fine print of Savannah Stopover to highlight the artists you can’t miss at this year’s fest, which kicks off Thurs., March 7.
Atlanta electro-punk trio Shouldies plays Savannah Stopover to celebrate the March 8 release of their first full-length album, :), via Savannah’s Graveface Records. Frontperson Yancey Ballard has contributed numerous projects to the Atlanta music scene, but with Shouldies, Ballard has found their stride. Alongside John Pierce (Post Hunk) and Daniel Eberlein, Ballard has mastered their brand of dusky synth-pop, accompanied by vocals that at times stylistically border on spoken-word. Shouldies’ music is honest in ways that poke and prod at you, forcing you to look inward, while also inviting you to bust your weirdest move. — Erin Patrick
Following the release of her single “Room Temperature,” — and announcement of her forthcoming album Atlanta Millionaires Club, due out May 24, — Atlanta-based singer-songwriter Faye Webster will softly command the Stopover stage. The single incorporates Hawaiian-influenced slide guitar and Webster’s twangy vocals, producing a unique country-meets-islands vibe, which Webster translates into the accompanying self-directed music video for the track.
Her artist eye formed during her brief time at Belmont University, and was then furthered along with the help of the Awful Records family; Webster has shot lush portraits for Atlanta hip-hop royalty, like Killer Mike, Migos’ Offset, Lil Yachty and more. This passion for visual composition has bled its way into Webster’s aural work, such as the silky visuals for the album’s lead single, “Kingston,” which bounces from scenes of delicate flamingos to a trio of sequin-decked skaters in matching blond bobs. Webster’s two island-inspired singles point not just to the impending warmth of summer, but also to more sunny tunes this year. — Katie Lipsiner
One of the traits that makes Chicago standout from other Midwestern cities is its grit. Sure, much like their heartland neighbors, Chicagoans are kind and patient people, but their city can also be callous and unforgiving. If you soften the bitter edges of punk with Midwestern charm, the result is a Deeper song. The Chicago-based quartet released its self-titled debut last year, an album which boasts pinpoint instrumental precision and monotonous speak-singing vocals. Despite forming in 2014, Deeper’s live performances rival those of acts who have been together for decades, echoing the tight knit nature of the friend-group-turned-band. The post-punk outfit shapes jagged sonic renderings of afternoons stuck in gridlock traffic and the chasmic gap between liberal millennials and modern American ideology, descending listeners into profound introspection. — KG
After playing supporting roles in Charleston’s SUSTO for three years, Jenna Desmond and Corey Campbell decided to set off on their own and create Babe Club. The duo recorded and produced their most recent single “Hate Myself,” which roughs up dream pop vocals with fuzzy guitar riffs. The single is somewhat of an ode to Babe Club’s Charleston roots, featuring collaboration from fellow Chucktown artists, like the vocal harmonies from Camille Rhoden (She Returns From War) and percussion from Julius DeAngelis (The High Divers). Although Desmond and Campbell have years of experience honing their sound together, the best is yet to come for the duo via Babe Club. — KL
Influenced by the sky of their hometown, Winnipeg’s Living Hour whisks soft clouds against vast blues skies with three-part vocals, guitar, trombone and brushed percussion. The dreampop five-piece released their sophomore full-length album, Softer Faces, on March 1, pushing the already seemingly endless bounds of Living Hour’s sonic landscape. Lead vocalist Sam Sarty (vocals, trombone, keyboard) pulls listeners in with nebulous melodies akin to those of Japanese Breakfast’s Michelle Zauner, creating the perfect aural pairing for a sunset over the Savannah River. — KG