Emei, an alt-pop artist from LA, returned to Boston in March on her “RABBITHOLE” tour. A Chinese-American musician with a growing following, Emei is no stranger to Wellesley College — she performed at the Chinese Student Association’s Culture Show in Spring 2023. However, as my friends asked “What is Emei?” to my plans to see her show, she seems to be still under the radar to many, despite her past string of viral singles.

When she was just 15, she competed on “Chinese Idol,” a Chinese reality/singing competition show, later releasing her first songs in 2021. These songs went viral on TikTok, launching her music career. Since then, she has released three EPs, her latest being “Rabbithole.” Her songs range from electropop earworms to pop-rock headbangers to acoustic ballads. Emei’s music covers a wide range of topics beyond the typical romance-related pop anthems, speaking to friends, family and her personal growth and struggles with anxiety, stress and ADHD. 

For her VIP experience, Emei performed a short acoustic set featuring two of my favorite songs, one of them being her song “Dear Emily.” During her following Q&A and fan meet-up, I noticed that many attendees were decked out in white, black and red –– the main color themes for Emei’s tour. After the VIP experience, the crowd grew exponentially for her sold-out show. 

After watching openers Ashley Mehta and Haiden Henderson, the stage went dark as red lights slowly flashed and illuminated the stage. Emei was here. She opened the show with her viral hit, “Love Me Not,” a catchy pop-rock hit about overthinking. She followed with non-stop jumping songs like “Cynical,” “Irresponsible,” “Crazy Stupid Love,” and “That Girl.” 

During a set filled with fan surprises (such as launching merch into the crowd) Emei performed a host of newly-released songs including “Rabbithole” and “9 Lives” –– two tracks which are on opposite ends of the energy spectrum, but encompass the range of sounds she brings to her discography. 

Emei’s set concluded with her anxious, fun and vibey hit “Scatterbrain,” the title track from her previous album which characterizes her personal experience living with ADHD. However, having had access to the VIP setlist before the show, I knew the show wasn’t over without an encore. Returning to perform “711” –– a favorite of mine which questions Emei’s anxieties and emotions, Emei brought the show to a compelling end. 

After bearing witness to Emei’s energy and song lyrics live, it became clear how she utilizes music to tackle others’ perceptions of her. She unabashedly makes fun of what others may think; and as a Chinese American woman, she brings visibility to living with ADHD in a fun and digestible manner. Commonly seen as a “white boy disorder” and misunderstood in Chinese American women, ADHD can be a contentious topic –– especially when brought to the spheres of arts and music. However, Emei turns her internal monologue into fun and catchy music which can help listeners understand their own inner selves. A bold, colorful and stylish artist, Emei is a stand-out, and certainly one to watch out for.

Contact the editors responsible for this story: Ivy Buck, Nita Kelly

The duo began their performance with the first track on their EP, titled “Cómo Fue.” Zenón began the piece with a saxophone solo that demonstrated his dulcet tone and wide range of dynamics, while Perdomo joined on the piano. It’s clear Zenón possesses phenomenal control over his instrument, employing highly advanced scalar manipulation — the kind that elicits admiration from instrumentalists and untrained onlookers alike. The two performers complement each other extremely well, together having established a harmonious relationship that simultaneously showcases individual talents and their shared, unique blend. Perdomo played the piano with such grace, lightly grazing the keys with dexterity, but maintaining a strong command over them. The two musicians have mastered the opposing ends of their dynamic ranges, even making seamless transitions from pianissimo to fortissimo, very soft and very loud dynamic markings. The piece left me in awe and with a single question: how creative of a mind does it take to generate so many melodic ideas from one scale?

Zenón and Perdomo moved onto a medley of songs, which of course continued the night’s theme of unimaginably creative composition. Although my favorite aspect of Zenón’s playing is his ability to gracefully prance through scales, all the while ensuring each note works perfectly, he also excels at sustaining notes. This skill may sound simple, but its employment had, in fact, caused me to look up from my notepad several times in pure astonishment. Perdomo and Zenón both integrated runs into their melodic ideas perfectly: never showy or self-indulgent, but always supplemental to the art, supplying any given portion of a piece exactly what the audience didn’t know it needed. Additionally, it’s worth noting that neither musician had any sheet music in front of them. Still, both played with such confidence and expertise that, having never heard their music before, I had no way of knowing what was being played as written or completely improvised. 

The artists played another assortment of pieces that was tender, very poignant, and just screamed “soul.” At risk of sounding like I’ve seen “La La Land” too many times, this is the kind of music that makes you appreciate jazz more. Zenón and Perdomo seemed to be in musical conversation with each other. Perdomo casually spanned half of the piano in approximately two beats and Zenón played with the tonguing and articulation every saxophonist dreams of (No, really, I will be booking a practice room after this). During “En La Soledad,” a dreamy, whirring piano introduction led to a controlled chaos in the middle portion of the piece. By the conclusion of the piece, urgency gave way to tranquility, all while maintaining the same passion that defined the night. The concert ended with “Silencio,” a groovy piece with a lively, fanciful feel and a funky time signature — boy, did this piece make me wish I paid more attention in MUS 220!

In between pieces, Zenón thanked the audience for “supporting live music,” and I couldn’t agree more. These kinds of concerts are what keeps music alive, as it’s not just notes on a page, or a song downloaded to a phone, but an experience with palpable energy shared among everyone in the room. Being able to visually see the music flowing through artists is rare, but I can say without a doubt that I saw it in Miguel Zenón and Luis Perdomo.

A surprise to many who may know him only from television, Keery’s music career did not start with ‘becoming’ Djo, or even as an actor on Netflix. He was originally the guitarist for the “Post Animal” rock band from 2014 to 2019, but decided to leave the band due to his acting commitments with “Stranger Things.” Keery continued his career as a solo indie rock artist while acting. He released his first official album, “Twenty Twenty” (2019) featuring 12 songs, including “Chateau (Feel Alright),” which drew many of his current fans into what is often referred to as ‘retro psychedelia meets modern indie rock.’ His songs often explore the themes of personal transformation and reflections on identity, and have been described by reviewers as a “nostalgic and retro synth-pop style that transports you into another realm of funk.” His newest releases explore similar themes but his style has transitioned more upbeat compared to “Tentpole Shangrila” and “Roddy” from his “Twenty Twenty” album. Although it might sound different from his previous albums, his music still has a retro charm. 

During the release of his debut album, Keery performed six concerts, many of which occurred during music festivals, including Lollapalooza and the Boston Callings Festival. Djo reappeared at the end of January 2025 for a surprise show in New York City, where he teased his newest release, “Basic Being Basic” from the Crux album, as well as several other songs from “Decide” and “Twenty Twenty” albums.

Djo’s “The Back on You” World Tour started on Feb. 6 in Auckland, New Zealand, and will end in Amsterdam in June after a North American loop. He will perform in Boston on May 2 with his old bandmates from “Post Animal,” who will open the show at Roadrunner. Fans should expect an exciting mix of his older music and some songs from his newest album. Although Djo’s presale and general admission tickets are sold out, resale tickets are still available for a relatively reasonable price.

Contact the editors responsible for this story: Ivy Buck, Anabelle Meyers

The 75-person choir filed out onto the risers in their rich, purple velvet robes, which the audience would soon learn are a visual reflection of their polished and professional sound. The concert began with the first portion titled, “We Sing of Praise and Supplication.” I was immediately struck by the choir’s uniformity in their pronounced constants and dynamic range all while holding hands and swaying in rhythm. Each section contributed a unique sound: the basses had a round warmth, the tenors a sweet and bright sound, and the altos a rich, resonant depth. As an alto at heart, I typically listen for the inner harmonies, but I was stunned by the sopranos’ ability to land on their high notes with ease and remarkable intonation, never overbearingly or shrilly, but with a supreme blend and dolce resonance. The alto section balanced out the sopranos well, adding warmth to their vibrancy, while the tenors and basses grounded the sound with tenor harmonies and bass pedal notes. The choir tackled suspensions and dissonance effortlessly, proof of their hard work and scrupulous rehearsing.

The second segment, “We Sing of Birth, Peace, and Grace,” included “The Lord is the Everlasting God,” by Kenneth Jennings, which the choir executed perfectly and with great intonation, even despite the crunchy chords and tritones. They followed that with what became my favorite piece of the night, “This House of Peace,” by Ralph M. Johnson. This piece featured oboe soloist Lily Mitzel ’24, who exhibited a clear and beautiful tone with impressive pitch accuracy on such a demanding instrument. The soprano and tenor soloists told the story of the piece brilliantly and commanded the attention of the audience with the soprano’s graceful high register, and the tenor’s rich vibrato. This piece would not be what it was without the contribution of the orchestra, specifically the crisp pizzicato by the violas, cello and bass. The ensemble ended the first half of the program with F. Melius Christiansen’s energetic and hopeful arrangement of “O Day Full of Grace.”

In the second half of the concert, “We Sing of Consolation and Hope” began as brightly as the first half ended, with cheerful choreography and percussion in “Isondo Liyajika” by Sabelo Mthembu. I was astonished by violist Charles Gray in “Before I Go My Way,” during which his precision and passion brought the entire chapel to a stillness, filled with only the steady vibrato of the viola and the gentle entrances from the choir which never overpowered the soloist’s voice. Following this, “Prayer of St. Francis of Assisi” reintroduced Lily Mitzel for a duet solo with Phoebe Joy ’24, accompanied by Leif Olsen ’27, who supported both the soloists and choir beautifully. The third segment ended with “For the Sake of our Children,” accompanied by Julian Colville ’25 and student percussionists, during which the tenor section shone with their poignant, strong singing.

The concert’s final song,  “We Sing of Joy, Compassion, and Unity,” was an uplifting conclusion to the night. Armstrong claimed he wants St. Olaf’s music to “transform those who perform and those who will hear the message.” Consisting of a lively spiritual with vivacious choreography, and a piece with a touching message on fading memories, this segment fully achieved  Armstrong’s expressed intention: a message of hope and light in dark times. 

Contact the editors responsible for this article: Norah Catlin and Ivy Buck 

Such talent was certainly visible at Thomas’s  sold-out concert  at Brighton Music Hall in Boston. The small space was packed with people squeezing close together, trying to get the best view of Thomas when he came out. Although the chosen venue was smaller than other concert halls in Boston, it was a smart choice to host the show in such an intimate space: the experience felt more personal, and the chance to share the music with other concertgoers in such a setting was one that can’t be duplicated. 

DJ Toney Handsome opened the show with a unique blend of music that left no dull moment for the crowd –– particularly when he chose to start the night with various theme songs from childhood TV shows, including the aforementioned “Victorious.”  Even if you weren’t a fan or didn’t know DJ Toney Handsome before attending the “MUTT” tour, it was easy to leave with a new favorite DJ. Toney Handsome has a one-of-a-kind ability to create music that doesn’t seem to go together, but makes perfect sense when blended. 

When Thomas came on stage, he hyped up the crowd with the first song on the “MUTT” album, “How Fast.” Thomas immediately followed “How Fast” not with the rest of the album, but with songs across his discography. He also showcased his range of talents –– including guitar-playing and percussion –– allowing the audience to see a range of his talents. That Thomas is a successful writer and producer in addition to his performance talents is no surprise;  his vast knowledge of music and instrumentation shines through  in everything he does. 

Thomas’s multifaceted qualities as an artist were on full display during his performance of “Blue Hundreds,” which was a shift away from Thomas’s usual R&B into Psychedelic Soul.  A combination of soul and rock that was popular in the 60s and 70s, Psychedelic Soul isn’t typically represented in the music industry today. Thomas’s choice to display it was bold and educational, and paid homage to the  genre that has roots in African American communities. 

As the concert ended and Thomas left the stage, the crowd yelled for an encore. A minute later, Thomas re-entered the stage with a “We got something else for y’all” and performed one final song. It was clear that Thomas cares for his fans, and he curated a brilliant experience for everyone in attendance.

Unfortunately, all of Thomas’s concert dates are currently sold out. However, “MUTT”  probably won’t be his last tour. If you get the chance to see Leon Thomas in the future, I would suggest taking it –– the night truly felt like a special experience.

Contact the editors responsible for this story: Ivy Buck, Norah Catlin

These are all the instruments present in The Rockwell on Oct. 22 as ZaZa & the Psychedelic Orchestra take the stage. The crowd buzzes with excitement as the instrumentalists take their places, all dressed in sharp black suits. Once they’re settled in, they begin to play “The Phantom of the Opera,” setting a brooding and dramatic tone as the audience continues to murmur. But when the band’s frontwoman, Berklee College of Music student and superstar in the making ZaZa emerges from behind a curtain, the room falls silent. She is dressed in a gold and black-feathered masquerade mask and a fringed red robe covering a chic vest and miniskirt, with thigh-high red leather boots and a plethora of accessories. 

She struts up to the microphone as a spotlight falls over her, closes her eyes and begins her rendition of “Feeling Good,” made famous by artists such as Nina Simone and Michael Bublé. She sings the first verse acapella, her breathtaking voice putting the crowd under a trance. As she nears the chorus, there is a palpable tension in the air as the audience waits for the rest of her band to join in. At last, on the final syllable of the chorus, the band comes in all at once, a sonic wave crashing over the venue as goosebumps raise on my arms.

Needless to say, the Psychedelic Orchestra isn’t exactly your average college band. Speaking with ZaZa a few days after the show, I asked what inspired her to put together such an elaborate ensemble of musicians. 

The idea was born backstage at a showcase at a Berklee summer program. She was with her “creative soulmate” and guitarist Ollie Gullick and felt quite “bored” by the endless barrage of five-piece rock bands.

“The idea was to have an orchestra that’s much bigger than me, however, matches the energy that I think I bring on stage,” ZaZa said.“Having a five-piece band didn’t seem like enough, and it didn’t feel like I was doing myself or anybody else justice … I always just loved the idea of a bigger sound.”

 It’s not difficult to gather that “big” is the defining word when it comes to ZaZa & the Psychedelic Orchestra — it emanated from every aspect of their performance, from the physical size of the band to ZaZa’s costume changes and fascinating theatricality. During a musical interlude, ZaZa ran offstage, returning in an elaborate wedding gown and matching parasol. A couple of songs later, she briefly exited the stage during a cover of Jeff Buckley’s “Grace,” returning with her hand in a fist, obscuring its contents. At the song’s climax, she rubbed her hand down her chest, revealing a seemingly endless supply of bright red paint. Continuing to sing, she smeared the ‘blood’ all over the dress and her face with an anguished expression, dropping to her knees as she wailed out the lyrics.

To me, this moment was reminiscent of Lady Gaga’s infamous performance of “Paparazzi” at the 2009 VMAs. When I asked if this was a reference, ZaZa explained that, while she didn’t set out to imitate Gaga, the singer is in fact one of her biggest artistic inspirations.

“I think Lady Gaga was the first person I saw put theater and pop music together, and I was just like ‘wow, that makes so much sense.’ I fell in love with [pop music] because of her, because I saw that you can be a rockstar making pop music.”

The show reached its peak with the aforementioned performance of “Grace.” Speaking of her ‘Carrie’-style bloody breakdown, ZaZa told me “I feel like the whole show up to that point, I’m working up to that last moment. Once I get to Grace it’s like [imitates explosion] … I’m ripping my heart open in front of you, you’ve torn my heart out of my chest and now I have to wipe up my own blood.”

During the performance, ZaZa paused to unpack the theme of the show, “Leo in Mercury.” The title, she told the crowd, draws from her astrological chart.
As she later explained to me, “Oftentimes if you’re a Leo in Mercury, you’ll be very misunderstood by people despite the efforts you make to articulate your feelings.” Her performance, she explained, channeled this cosmic tension — a fusion of fierce passion and the vulnerability that comes with being misinterpreted and, at times, betrayed.

The setlist, combining originals and covers, perfectly encapsulated this concept. After “Feeling Good,” the band launched into two of the summer’s biggest hits: “Von Dutch” by Charli XCX and “HOT TO GO” by Chappell Roan. As ZaZa described it, this portion of the set encapsulated the waves of “carelessness”  and “overconfidence” that can come with betrayal or heartache. Her original song, “Ruining My Heaven” comes next, with the crowd chanting along as she belted out the “dramatically angry” anthem about being cast aside by a friend in favor of “a bum of a guy.”

From somber songs like another ZaZa original “Never Trust an Angel” to upbeat yet emotionally charged tracks like “Escapism.” by 070 Shake and Raye, the set took the audience through a journey of heartbreak and healing. 

The band concluded their set with “From Here,” an original by ZaZa and Gullick. According to ZaZa, the song is about falling out of love and beginning to look at your own heartbreak from a more detached perspective. “I just wanted that vulnerability at the end … After ‘Grace’ I’m covered in blood, my heart is ripped out, there’s nothing to hide behind.”

A few songs into their set, an audience member handed ZaZa a pride flag, which she wrapped around herself as she sang. Prior to the show, the band announced that 10% of ticket sales would be donated to the Fenway Institute, an organization providing healthcare and support to the transgender community in Boston, a decision made in light of recent occurrences of transphobia at their school, Berklee.

“I’ve grown up around gay, queer and trans people my whole life … [Many members of the band] are from the community, so we naturally felt very involved.”

One of the band’s managers, Lily Chopus, came up with the idea to donate a portion of ticket proceeds to charity, and ZaZa chose the Fenway Institute because it specifically services the Boston community, providing not only gender-affirming care but mental health care as well. 

“It was a pretty fast and easy decision to make … We were in a position to be able to do something, so we did it.”

As the band played their final notes and applause reverberated through The Rockwell, it was incredibly clear that this group is destined for great things – each moment of the show felt like a glimpse of a star in the making. This is a band with the talent, vision and ambition to reach far beyond Boston, and I, for one, cannot wait to see what heights they reach.

Contact the editors responsible for this story: Anabelle Meyers, Norah Catlin

As the group walked to the front of the audience to open the concert, their dedicated fans and friends cheered ecstatically, knowing that The Wellesley Widows have consistently crafted wonderful shows throughout their well-established history as the first acapella group on Wellesley’s campus founded in 1949. Throughout the night, The Wellesley Widows certainly fulfilled this expectation.

They began the concert with their original song “We Are the College Widows,”  written by members of The Wellesley Widows in 1954 and later arranged by alum K. Henrickson ’94. It was a charming and nostalgic introduction, reminiscent of an old-timey, tightly-harmonized commercial jingle. Current and former Widows recently celebrated their 75th anniversary as an organization this past spring, and it was quite heartwarming to start the first show of the semester with a song rooted in such rich history. 

The Wellesley Widows don’t shy away from using various kinds of music within their shows –– the chosen songs ranged in both pace and genre, and they even selected songs from (what I feel are) currently-underappreciated artists. The concert definitely gave me more music to add to my personal playlist! 

The guest performance from Tufts’ S-Factor group added to the audience’s experience by expanding the range of music even further.  Their skillful transition from “I Like It” by Debarge to “Just The Two of Us” by Bill Withers and Grover Washington Jr. was a masterful connection of songs that music listeners might not typically hear together, and it provided a smooth flow from R&B into Soul –– a choice commemorative of the profound impact Black people have had don music and the historical creation of individual genres.

A highlight of the entire concert was The Wellesley Widows’ rendition of “Skate” by Silk Sonic, featuring solos from Julia Pekowitz ’27 & Sophia Espaldon ’27. It was arranged by Marie Luu-Pierce ’26 with vocal percussion from Jessica Dai ’27. “Skate” was the final song of the night, an excellent choice on behalf of The Wellesley Widows, for it was truly a crowd pleaser. The vocal performances, vocal percussion, and group energy to match were exciting to experience, and brought the concert to a joyful close. 

After the show I spoke with Lauryn Collins ’25, the Widows’ co-Assistant music director about the process of crafting the show and what we can expect at their fall concert..

“The Widows worked incredibly hard to give you all a Good Pitch, Bad Witch Teaser Performance,” Collins said. 

“Preparing for the show included hours of planning, rehearsing and coordinating. For our final concert, Dec. 7, we plan on performing new songs featuring amazing soloists and showcasing the talents in our group. We’re super excited and can’t wait to see everyone there!” 

If you are interested in attending The Wellesley Widows’ final concert of the semester, follow their Instagram page @wellesleywidows for more details coming soon!

Contact the editors responsible for this story: Ivy Buck, Anabelle Meyers

On Oct. 19, fall foliage illuminated the stage where Dunbar and opener Christian Inman performed for Wellesley’s student body. Even though I was unfamiliar with his music, by the end of the afternoon, Isaac Dunbar had become my new favorite artist. Many of his songs resonated with Wellesley students, especially tracks which dealt with themes of queer joy and illusory love like “makeup drawer,” and “Fool’s Paradise.”

Throughout the night, Dunbar repeatedly asked Wellesley students to “shake ass” before performing upbeat disco pop songs. His strong stage presence and confidence created an energetic crowd –– it’s clear that he was born to be a performer. 

Although most of his songs were upbeat dance songs like “I Love To Dance,” his set list also featured more intimate, acoustic-driven songs like “diamonds are a girl’s best friend” and an 80s inspired Queen-esque ballad “American High.” Dunbar’s songs embody the strong sense of self every queer person should aspire to have, and they capture the relatable and playful wittiness of our generation. 

Dunbar already has four albums to his name at just 21 years old. His music has been described as a blend of alternative, indie and dance-pop, with a strong disco influence. Dunbar’s songs have infectious hooks, melodies and production –– with a beautiful, smooth voice to match. 

Dunbar’s rise to indie-prominence has been spectacular to watch, and I can’t wait to see where his music career goes next. Thanks to Dunbar, Wellesley got a much needed reprieve from midterm anxieties.

Contact the editors responsible for this story: Norah Catlin, Anabelle Meyers

Charli XCX’s album, “Brat” sparked a viral trend of “brat green” and “brat summer.” Together with Troye Sivan with his long-awaited full album “Something to Give Each Other,” the artist Charli greeted fans across the world with her latest “Sweat” tour. 

In Boston’s TD Garden, singer and DJ Shygirl opened the show with an energetic set, featuring songs like  “4eva,” “FREAK,” “thicc” and more. Unfortunately for her diehard fans, she did not play “Coochie (a bedtime story).” 

At exactly 8:30 p.m., Troye Sivan greeted us with his first song of the night, “Got Me Started,” which prompted an explosion of screams and excitement from the sold-out venue. 

After Troye’s three-song solo set,  he handed off the stage to Charli, who emerged from behind a four-walled, three-story “Brat” green curtain. She launched into  “365,” followed by an unreleased remix featuring Shygirl. Charli’s “Brat and it’s completely different but it’s still brat” remix album, coming out Oct. 11, will include this Shygirl collaboration. The “Sweat” tour has a unique advantage; by having two separate artists switch back and forth throughout the show, there were ultimately no breaks in between songs, which kept the audience on its feet, screaming out lyrics for the entire night. Stunning, close-up camera work followed Charli, Sivan and their dancers around and off the stage. Large TV screens on both sides ensured that each audience member had a clear view of the artists.

At the end of the concert, Charli and Sivan returned to perform their encore songs: “I Love it,” “Track 10,” “Honey” and Sivan’s hit song that dominated parties lately – “Rush.” The duo closed the night with Charli’s “Talk Talk” remix featuring Troye Sivan, a preview of her upcoming Brat remix album.

If the “Sweat” tour is coming to your city and you don’t have a ticket, I highly suggest that you enter your local radio station’s contest. You never know – you might win the opportunity to have a brat fall.

Contact the editors responsible for this story: Ivy Buck, Norah Catlin

Coming from Seattle, WA
Concert in Caz
September 7th
Special Performance by:
The Well-Licked Rats

Immediately, concert-lovers across campus rejoiced — Wellesley College is notoriously lacking in the live music department. But who and what was this mysterious new band? None other than Wellesley’s own Mallika Bubb ’27, Emory Guenther ’27 and their friend Melia Golden, a sophomore at the University of Washington. With the help of their manager Riya Kalra ’27, audio engineer Catie Cho ’27 and merch designer Mallika Sunder ’27, the Well-Licked Rats put on a show to remember. A few days after the concert, I was lucky enough to talk with Bubb and Guenther to learn more about the band.

The group originally formed in Seattle, consisting of Bubb, Golden and Vedika Bhat, another Seattle native. When Bhat, the group’s bassist, was unable to make it to Wellesley for the show, Guenther stepped up to the plate. 

“I played around on the bass around the end of spring semester last year … I didn’t really know anything,” Guenther told me. 

However, after finding out about the plan for a Wellesley concert and the group’s need for a stand-in bassist, she committed herself to learning to play.  

“Originally, I thought I was only going to have to play six of [the songs], but I ended up playing all eleven originals,” she said. 

Members described the band’s genre as a blend of “punk, indie and dance rock” with a definitively funky vibe. All of the original songs were written by Bubb, the group’s lead singer and guitarist, and Golden, the drummer. 

“I would write the guitar parts and melody, and usually the lyrics too,” Bubb said. 

She would then bring the songs to Golden, who would work out the drums until they were happy with the finished product. Golden also contributed lyrics for a few songs, including “Cherry Tree.” At the Sept. 4 show, she stepped up to the microphone explaining that the song is an homage to the cherry tree in front of which she and her brother would take back-to-school photos each year. When Golden returned home from college for the first time, she found that the tree had been cut down. The sweet and sentimental song was certainly a crowd favorite thanks to its emotionally resonant context.

During a tuning break between songs, Bubb explained the origin of the band’s unique name. Bubb told the crowd that her first choice was “Radiohead 2,” eliciting scattered cheers and applause from the crowd. However, this name was vetoed by her bandmates. The name The Well-Licked Rats originates from a study Golden had learned about which discovered that rats who are “well licked” by their mothers in infancy are better at handling stress as adults. Finished with tuning her guitar, Bubb dedicated the next song to “all the unlicked rats out there.” The show concluded with acoustic covers of Mazzy Star’s “Fade Into You” and Big Thief’s “Masterpiece,” with Bubb encouraging audience members to sing along. According to Bubb, these songs were the most nerve-wracking to perform. 

“I actually had not played ‘Fade Into You’ until that day … that was a very last minute [addition]” she smiled, recalling that Golden had written out the lyrics to the two cover songs for her so she could read off of them during the performance.

The show itself was a smashing success, but most attendees had no idea how many obstacles the band had to overcome for it to happen at all. Bubb recounts reaching out to Wellesley’s music department in search of a drum set and facilities to no avail. Instead, they rented the drums from a Guitar Center in Natick, bringing them to campus with the help of Hannah Cummins ’27, who volunteered as the band’s unofficial chauffeur. Bubb also purchased a soundboard, which she considers an investment for future shows. In total, the band spent around $250 in expenses to put on the show. They were able to raise some money back thanks to donations from the crowd and the sale of stickers designed by Sunder. However, Bubb emphasizes that it’s not about money. 

“I had no anticipation of making money … I just wanted to spark an interest in starting bands at Wellesley — I want to see more women in bands,” she said. 

In terms of the venue, the band was lucky enough to have Cazenove RA Riya Kalra ’27 as their manager. When the band struggled to find a location for their show, Kalra told them, “I need my [Community Engagement hours] anyway.” They ended up making the concert Cazenove’s monthly hall event, which allowed them to obtain speakers and a microphone through the College. 

In addition to the aforementioned challenges, the band had less than a day to practice, as Golden arrived in Massachusetts the day of the event. Golden took a redeye flight to Boston, landing early on the morning of the show. After Bubb and Cummins picked her up, Golden slept while the other band members set up in the basement. At this point, Bubb met the band’s audio engineer, Catie Cho, for the very first time. 

“We didn’t actually rehearse until around 2:00 p.m.,” Bubb revealed “We just played through the entire setlist, and I worked out a couple of kinks.” 

With just one afternoon to rehearse, the band managed to get through the entire setlist without a hitch.

The concert’s venue, Cazenove Hall basement, has a capacity of 75 people, a limit which was maxed out before the band had even begun playing. When asked if she could change anything about the show retrospectively, Bubb answered, “I felt bad about having to turn people down at the door … I hope next time we can accommodate for that better.” 

Bubb remarked that her expectations had been relatively low, expecting an audience consisting of 30 or so of the band’s friends. According to manager Kalra, a total of 105 students showed up. The band believes that the turnout proves how strong of a demand there is for live music at Wellesley. The venue also necessitated a strict no bags, no bottles, and no off-campus guests policy, requiring attendees to sign in at the door. In the future, the band hopes to put on shows independently to avoid such restrictions and make their concerts accessible to all.

I asked Bubb if she had any words of advice for other Wellesley students interested in performing music on campus. 

“Honestly, just go for it. Don’t be afraid to show people things that you’ve made,” she said. 

She also emphasized the importance of not striving for perfection (as Wellesley students may often tend to do). 

“Be patient with yourself, try to make the kind of music that you want to make … even if it’s not perfect, people are probably going to like it, or show up at least.”  

Bubb urged aspiring musicians not to fall victim to self-imposed limitations. 

“Don’t say ‘oh, I can’t perform until I can play a barre chord’ ‘I can’t perform until I can play a solo’ … Just do what you can, even if it’s very simple.” 

In her final reflection on the show, Bubb professed, “I want to show people that it’s not that hard to make music and it’s not that hard to be in a band. You just have to have the courage to put yourself out there.”

Contact the editors responsible for this story: Norah Catlin, Anabelle Meyers