Zach Frost to Release New Single “Death Wish” May 1st, 2020

Columbus, OH March 1st, 2020: Ohio indie rocker Zach Frost has announced that he will release new single “Death Wish” accompanied by a music video on Friday, May 1st. Frost released sophomore EP Bucket List in late 2019 and wastes no time consistently recording and releasing new material.

Channeling iconic 80s rock group The Cure, “Death Wish” shows Frost experimenting with keyboards and more dance-driven percussion while still maintaining catchy guitar melodies and punk rock-inspired vocal delivery.

A single release party for “Death Wish” will be held at Craft & Vinyl on Friday, May 1st with Chelsea Ravenn, Lone Taé and My Name Is Fort.

“Death Wish” and its accompanying music video will be available on all music and video streaming platforms on Friday, May 1st.

For more information, visit and follow Zach on social media @ZachFrostMusic


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Zach Frost

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Zach Frost to Release Sophomore EP “Bucket List” November 1st, 2019

Columbus, OH September 1st, 2019: Ohio indie rock artist Zach Frost has announced that he will release sophomore EP Bucket List on Friday, November 1st. Frost released debut solo EP I Try Not to Think About the Past in 2018 between touring internationally with other acts, working as everything from a punk drummer to an artist manager.

Frost expands upon his signature sound with stand-out tracks such as “Tombstone” and “Make the Oceans Move,” blending elements of indie rock, punk and emo; all while exploring new and unconventional song structures amidst themes of life, love and redemption.

An album release party for Bucket List will be held Craft & Vinyl on Friday, November 1st with Something Else and Chase Duncan.

Bucket List will be available on all music streaming platforms on Friday, November 1st.

For more information, visit and follow Zach on social media @ZachFrostMusic

Track Listing:

  1. Tombstone
  2. Rock Bottom
  3. Make the Oceans Move
  4. Lying on the Floor
  5. Cheap Wine

Zach Frost - Bucket List Album Cover


Ohio indie rock artist Zach Frost has announced that he will digitally release new single “Rock Bottom” accompanied by a music video on Friday, April 26th. Frost released debut solo EP I Try Not To Think About The Past in 2018 between touring internationally with other acts, working as everything from a punk drummer to an artist manager.

Frost improves upon his signature sound with “Rock Bottom,” blending elements of indie rock, dance punk and emo. “Rock Bottom” is the first single to be released from upcoming sophomore EP Bucket List, a progressive and introspective addition to his repertoire slated for an autumn 2019 release.

“Rock Bottom” and its accompanying music video will be available on all video and music streaming platforms on Friday, April 26th.

For more information, visit and follow Zach on social media @ZachFrostMusic

Instagram Post Admat SUBWAY

Written and performed by Zach Frost.
Additional guitars written and performed by Tim Waters and Garry Bair.
Recorded, mixed and mastered by Tim Waters at Radio City Records in Columbus, Ohio.
Music video produced by Jakob Mooney.
Music video photography by Tyler Sheehy.
Album cover photography by Kayla Kreller.
Marketing photography by Felix Kayser.
Graphic design by Stephen Goldstein.
Merchandise design by Stefan Brandow.
Marketing by Ryan Liptak.

All rights reserved. Lyrics used by permission only. Unauthorized duplication is a violation of applicable laws.
℗ © 2019 Zach Frost

Special thanks to Something Else, We Are The Movies, Chris Canfield, Lana Hurtado and friends, Aaron and Sarah, Aaron and Kat, Nathaniel Ward and everybody else who made this possible.


This t-shirt is a metaphor
Of how I lived my life before
Tattered, full of holes and worn
It wound up on the bathroom floor

Showing signs of wear and tear
The ends are frayed and hang threadbare
It’s something that I’ll never wear
Appears that it’s beyond repair

But I tried so many times to make it right
I couldn’t fight, stay up all night
As time ticks by, the less I try, the less I try

Rock bottom: when you’re sleeping on your ex’s couch
Rock bottom: when you crash into your best friend’s house
Rock bottom: when you wake up in a stranger’s car
Rock bottom: and I think I’ve taken things too far
Yeah, I think I’ve taken this too far

My future right in front of me
Clouded by my apathy
Fueled by drugs and whiskey
My family couldn’t rescue me

But they tried so many times to make it right
They couldn’t fight, stay up all night
As time ticks by, the less they try, the less they try

Rock bottom: when you’re sleeping on your ex’s couch
Rock bottom: when you crash into your best friend’s house
Rock bottom: when you wake up in a stranger’s car
Rock bottom: and I think I’ve taken things too far
Yeah, I think I’ve taken this too far

And it’s time to change
But what will remain?
I never wanted it to end this way

And it’s time to change
But what will remain?
I never wanted it to end this way

Rock bottom: when you’re sleeping on your ex’s couch
Rock bottom: when you crash into your best friend’s house
Rock bottom: when you wake up in a stranger’s car
Rock bottom: and I think I’ve taken things too far
Yeah, I think I’ve taken this too far

In the fall of 2016, I spent ten days on the road with a band from New Jersey called Young Rising Sons. Part of my duties were setting up and tearing down drummer Steve Patrick’s rig every night, and that opportunity gave me some amazing insight into Patrick’s work and what it means to be a professional musician. I got an excellent behind the scenes look at how much work goes into planning and executing a successful tour, and how integral Patrick was in keeping each night’s performance on point. My favorite experience however, was during fan meet-and-greets when Patrick would not rest until he had met every single fan, signed something for them, and taken loads of photos. His compassion for fans is unrivaled and his enthusiasm for his craft is what lead me to respect him so much today.img_0079

Patrick has been a great friend since the end of that tour, and he was kind enough to answer a few of my questions for the inaugural article of a new interview series titled “Drummer’s Corner.” In this series I will explore what it’s like for contemporary drummers on the road, in the studio, and navigating the ever-confusing business side of today’s music industry.

ZF: The first thing I noticed about your kit was the muffling on your snare drum. Some drummers use moon gels or studio rings, but you’ve got something a little different. Please explain what it is and how it differs from other products on the market.

SP: I’ve recently been using something called a Big Fat Snare Drum. They are a company based out of Massachusetts I believe. I randomly happened across the 14” Original BFSD at a local music shop and bought it on a whim as I heard a friend of mine raving about it. I took it and dropped it on my snare and immediately noticed the difference. Since then I’ve used it on all of my snares and it does exactly what it says it does: turns your snare into a big fat tonal masterpiece. I’ve been using a Truth Custom Coke Bottle Acrylic snare recently and it has tons of crack to it, but lacks in low end and has a lot of overtones. The BFSD tightens it up and no matter how the head is tuned, it has a perfect, fat beefy tone to it. It also is great on fly dates where we have to use rented backline equipment. No more tuning a snare that has been abused for years, you just drop on the BFSD and go.

ZF: Do you use a different kit for recording than you do performing live?

SP: Yeah, live I play a Gretsch kit and it is just great across the board for any application. It’s so versatile and sounds gorgeous even if we toss it up on stage and go without tuning it. It’s my favorite kit I’ve ever owned and I can’t say enough good things about it, but when we are recording we have more time and space to find out what works; so we kind of create a Frankenstein drum kit to get all of the sounds we are looking for on a song-to-song basis. Most recently we used a Bubinga Tama Starclassic and it sounds beautiful. The kick has this controlled low end thump that is perfect for the studio, and the floor tom has a bit of a growl but doesn’t break up when you tune it low, which makes it perfect for all the tom parts I play. We tend to mix and match cymbals based on the song, but I’ve always used Zildjian K Custom Dark Hats, they are super dry and smoky sounding but still really musical, so they work in almost any vibe.

img_0075ZF: Which producer(s) do you normally record with, and what is the recording process like for tracking drums?

SP: For the past two years we’ve been with the same few producers: Shep Goodman, Aaron Accetta, and Christian Medice. Tracking drums with them is kind of funny. Christian is the only one with drumming experience so when they like something I do, they have to use Christian as a translator to describe what part they liked and why. On my end it’s a little hectic and confusing but it keeps me on my toes and challenges me a little bit to just nail it based on what I think they are looking for. We’ve tracked things a few different ways as well which has been challenging, but fun.

We’ve occasionally recorded the drums and cymbals separately to really give the drum tones isolation and stop cymbal bleed entirely. It’s useful on the songs that have more electronic MIDI sounds blended with the drums themselves. Recording that way is equal parts challenging and fun. You can let your brain relax a bit and really lay into the backbeat for most of the song but then you get to a fill and have to stop your natural muscle memory from hitting the cymbals. So certain parts feel a bit more cerebral than normal, which is fun for me because I’m always up for a new challenge. With all of that said, typically tracking drums for Young Rising Sons is a breeze. I can sit down and knock out songs in a couple of takes and then we listen and make sure it feels good.

ZF: You use a laptop and Roland SPD-SX pad while performing live. What do you use these for and why?

SP: Yeah! I think in today’s industry there are lots of tools you can use to sound as close to the actual recordings as possible while also expanding what you’ve done and delivering that new element to the crowd. I love the technology side of things and finding out what I can add on without making the live set feel contrived or like it’s a different band. We run Ableton on a MacBook Pro for a few reasons, and the backbone of it is we can send a metronome to myself and the other guys as well as certain synth tracks and other miscellaneous sounds that wouldn’t be practical to create ourselves on stage. A huge part of it is being able to trigger and automate our intro and song transitions so the show stays fluid, while those on-stage things that have to occur can go on (tuning, guitar switches, beer chugs, instrument changes, etc.). It’s also allowed us to program and automate a light show which gives us freedom to make the lights appear however we wish as they are triggered entirely in Ableton and never miss a cue. If we decide to change color schemes or design, we can easily go back to the drawing board and re-model them ourselves.

The Roland SPD-SX pad is my favorite part though, as it becomes an extension of my drum kit and lets me play all of those MIDI drum parts I spoke about earlier. Some of our songs have drum parts that are all electronic, or a blend of acoustic and electronic drums and the SPD-SX gives me an easy and effective way of accomplishing just that. I can just drop in the sounds I want, assign them to a pad, and play entire sections of songs on the pad just the way they were written. For example, I can use a snare on the pad but play the rest of the groove on my kit or I can assign sounds to a kick and snare trigger and blend my kit sounds with the MIDI sounds for just the right tone! It has endless applications, all of which allow me to customize and control more and more of the instrumentation of our live set, which is ideally what you want as a musician. The ability to control all of the sounds and manipulate them where I see fit has been a game-changer for us. Not to mention, it’s just loads of fun to mess around with, even in an acoustic or studio setting (or when you’re bored and binge-watching Stranger Things and you want to match the soundtrack). Roland gets an A+ from me, that thing is my new BFF.

Steve’s Specs:

Gretsch Catalina Club 14×26 Kick
Gretsch Catalina Club 8×12 Rack Tom
Gretsch Catalina Club 16×16 Floor Tom

Truth Custom Acrylic 7×14 Snare
Ludwig Supraphonic 6.5×14 Snare

Zildian A 23” Sweet Ride
Zildjian A 21” Sweet Ride
Zildjian 14” K Custom Dark Hats

Vic Firth 5A and 5B drumsticks

Roland SPD-SX
Roland RT-30 Drum Triggers

ZF: While shooting your music video for “Undefeatable,” you had to mute your cymbals and drums in order to play along to a backing track. How hard is it to mimic live-performance for the cameras?

SP: It’s always a strange feeling that I think most film crews don’t really understand. As a drummer, it’s SUPER easy to get in your head if something just feels a little off, so it’s a hurdle you kind of need to handle alone behind your kit. I think it’s all about knowing you’re going to look silly for the first few takes and then settling in and just pretending like it’s a real show. Once you’re adjusted it really isn’t so bad, but I do always find myself chuckling at it here and there.

ZF: You just got off a two-week tour with 888 and The Moth & The Flame. Describe a typical day on tour.

SP: We keep it pretty simple: wake up, shower, get dressed, COFFEE, drive to venue, load in, build stage, FOOD, soundcheck, MORE COFFEE, hang out—usually everyone has their own free time, interviews, photos, drinks, warm-ups, perform, take photos with every last fan, load out, drive to hotel, sleep, repeat! It always varies depending on the city and what press we may have or how long certain drives are, but this is the typical day I would say. Super exciting, right?

ZF: How do you warm-up for a show?

SP: I wish I had a better warm-up, but really I just drink Jameson and stretch. I’ll pull out the drum pad and work through some rudiments for a bit and if I’m feeling particularly stiff I’ll do a few jumping jacks or push-ups to get the blood pumping. It’s mostly the Jameson that does it.Processed with VSCOcam with f2 preset

ZF: What back-up gear do you always keep with you on the road or in the studio?

SP: Mostly just back-up snares. We were on tour with The Kooks when I somehow hit my snare so hard that the rim of the drum broke in half and I was SUPER thankful to have an extra! (Don’t ask me how, I think it was a defective rim or something – I’m not even that strong).

ZF: What is the best show you’ve played?

SP: This is a tough one! Honestly we have played so many good ones that I can’t pick, so I’m going to go with the lazy option and choose a hometown show! We played Starland Ballroom in NJ with The 1975. It was the first time our friends and family had ever seen us play at home in New Jersey since we had signed a record deal and it was a special moment. Running into old friends and new friends who were all equally excited for us was a cool feeling. There was a sense of family in that room, plus it was right before the holidays so it was a talking point when we got home among all of our friends and family. It was a really memorable night.

ZF: On your most recent tour, the band performed several free acoustic sets for fans under 21 who were unable to attend your concerts. Explain how the band came up with this idea and describe your acoustic setup.

SP: A large portion of our fan base is under 21 and a few venues wouldn’t budge on their age restrictions due to local laws, so we wanted to figure out a way to still say hello to our fans that we haven’t seen in a while that couldn’t make it in. I think Andy came up with the idea to do acoustic meet and greets and obviously we thought it was a great idea. As for our acoustic set up, we wanted to figure out a cool way to get everyone involved and it so happened I started playing ukulele recently, so we figured why not try it out. It brightened up the performance and every song seemed to translate well on it. We had messed around with it for a bit when we realized it was missing a percussive element. I was already using a cajon as a seat and realized, I can’t use my hands but a kick drum pedal would work! So I grabbed one and we just went with it.

The whole idea behind the acoustic set is that all three of us can be flexible and play any of the instruments we’re using, so it allows us to mess around and swap instruments to create a new feel to a song we may have played 100 times in a different way. It’s a fun challenge for me to sing, play ukulele, and also play kick patterns while Julian uses a tambourine as a snare. It’s like I’m solving a real-time puzzle in my brain and it all fits together in motion.img_0076

ZF: Is Julian a better tambourine player than you?

SP: IN HIS DREAMS! I am the tambourine master. He’s pretty damn good though, he looks so good while playing it.

ZF: You’ve been playing drums for 15 years and signed to Interscope Records in 2014. How has the transition been from aspiring musician to signed professional?

SP: It’s interesting, I don’t feel any different! I just enjoy it immensely and I’m lucky to be able to wake up every day and play. Just enjoying the ride!


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Young Rising Sons is an alternative rock band from Red Bank, New Jersey who signed to Interscope Records in 2014. With label mates such as Eminem, U2 and Lady Gaga, the Sons have a lot to live up to. I was fortunate enough to spend ten days on the road with them in October 2016 as they embarked upon a west coast tour with The Moth & The Flame and 888 and what I witnessed each night was no less than spectacular. I saw a group of guys who are passionate, driven, and most of all, talented. The energy that they exuded on stage each night was infectious, and song after song found me dancing backstage, singing along to every catchy melody.

While the band’s music and live show impressed me, what captivated me the most was their attention to fans. The Sons family is widespread and far-reaching, and there was definitely a sense of kinship as fans lined up for pictures and autographs at the end of each concert every night. I heard stories of how the band’s songs helped people get through hard times, overcome their fears, and pursue their passions. I saw fans young and old come together to scream the words that reached into the very depths of their souls. As an outsider looking in, it was obvious to me that the Sons have something special.yrs-admat

Day 1 – Los Angeles, CA

  • I land in Santa Ana, California and take a scenic drive north to West Hollywood. Upon arriving at the venue, I reunite with tour manager Stephen Goldstein and the Sons, whom I haven’t seen since they toured with The Kooks in 2015.
  • I begin setting up drums and a guitar station side stage where I’ll be tuning and changing guitars for the band’s set each night.
  • The show goes off without a hitch and I spend the rest of the evening hustling CDs of the band’s latest EP “Undefeatable + 2,” which contains their most recent single, a cover, and an acoustic tune.
  • Bass player Julian Dimagiba’s birthday lands at midnight and we spend the rest of the night celebrating at a lounge on Santa Monica Beach. It feels good to be back in California.

Day 2 – Santa Ana, CA

  • After taking a morning stroll to shoot photos of the infamous Hollywood sign, I make my way to In-N-Out Burger for some lunch. It’s not as good as I remember.
  • I meet the band at Guitar Center where we gear up for the next run of shows. This will be a recurring chore as the band members require new drumsticks, guitar pics, cables and tuners on an almost every-other-day basis.
  • As we arrive at the venue, we realize that it is actually several venues in one. In the parking lot, a stage is being built for Bon Iver to play the next evening. Next door to our show is Taking Back Sunday, whom I have the pleasure of watching on and off throughout the night. Then there’s our room, which is a mid-sized venue and finally another outdoor space that seems to double as a sand volleyball court. Very punk rock.
  • This evening I actually have time to watch 888 and The Moth & The Flame perform and am blown away by the high standard of musicianship which I will be surrounded by over the next couple of weeks.

Day 3 – San Diego, CA

  • After waking up on a stranger’s floor due to an old Russian woman pushing an empty shopping cart outside of my window, I get an awesome home-cooked meal and have a chance to take in the scenery.
  • The band and I depart for the next show which is 21+, so the Sons decide to put on an impromptu acoustic set in the park for their underage fans. At the drop of a tweet, a slew of kids show up and the band again proves their dedication to the Sons family as they spend almost two hours performing, taking photos, and signing autographs for everyone who came out.
  • As we make our way to the venue, we fall into the similar routine of unloading, setting up, sound-checking, tearing down, setting up again, performing, tearing down, and loading up for the final time each evening. This is beginning to feel like work.

    Just another day with the Sons

Day 4 – San Diego, CA to Phoenix, AZ

  • I try my best to get up early and catch a ride to the beach. This will be my last day on the coast before we head into the desolate interior of the American southwest. I make it to South Mission Beach and hike out onto a rock pier where I spend way too much time taking selfies and trying to figure out where that seal sound is coming from.
  • On an off-day like today, we spend seven-plus hours driving through the desert in order to make it to Phoenix for the next day’s show. Van time is bonding time and after only four days in, I’m beginning to feel like a member of the Sons family.

Day 5 – Phoenix, AZ

  • Because the guys in Young Rising Sons are the biggest sweethearts you’ll ever meet, they put on yet another free acoustic concert for their fans under 21 which takes place a few blocks away from the venue in a beautiful downtown green space.
  • We do another meet and greet and learn that one of the fans had also been at the Los Angeles show just a few days prior. He is one half of the Linford Twins, who covered Young Rising Sons’ “King of the World” for a reality television show competition.
  • The show at the venue goes well, but we get most excited about the amazing kale salad that the venue provides us for dinner. It’s the little things that count on the road, and eating healthy is one of them.
  • After packing up and having fourthmeal at a creepy, haunted, baby-doll infested former warehouse, we make it to our hotel in Flagstaff, AZ. The curious thing about traveling is noticing when the weather changes. Though it was nearly 100 degrees during the day, by the time we arrive and get out of the van, it’s only 49 degrees. Arizona is a strange place.

    The Sons love you 10/26/16

Day 6 – Albuquerque, NM

  • We wake up early and start making the scenic drive toward Albuquerque. This is one of the most beautiful drives as we see mountains, trains, rock formations, desert, and a guy driving a pick-up truck down the freeway without a tailgate, leaving his two dogs chained to the back of the bed.
  • There’s not much else to say about New Mexico.

Day 7 – Denver, CO

  • Denver is a beautiful place. I wander around the city with touring guitarist Max Dean, who is possibly one of the greatest guys I’ve ever met. He decides to get a spontaneous tattoo and within 15 minutes he’s got fresh ink, the word “adventure” penned into his forearm. As we walk back to the venue, we pop into a guitar repair shop where the owner gives Max some free gear to repair his guitar. Max loves Denver.
  • The band does a photo shoot in the alley behind the venue with an amazing photographer named Nikolai Puc whose creativity astounds us. You can check out his work here.
  • As always, the band plays an amazing set with the aid of front-of-house engineer Shane Vetter, who has become a mentor to everyone on the tour.
  • After the show, we pack up and return to our hotel, but that doesn’t last long. Before we know it, we are back at Denny’s for the third or fourth time this week. I am sick of Denny’s.

    The world will keep on turnin’

Day 8 – Greeley, CO

  • Greeley is an interesting town. It was founded during the gold rush and even once housed German POWs during WWII. Everything about it screams “wild, wild west,” and as we are eating veggie burgers at an old saloon, a picture frame mysteriously flies off the wall. This town is probably haunted.
  • One of the more unique venues on the tour, the Moxi Theater turns out to be a blast. An old theater perched on the second floor, the space is large, inviting, and just kitschy enough to be cool.
  • This is, in my opinion, one of the most fun nights on the tour. Marissa of Ares Exposures takes a load of fun photos backstage which can be viewed here.

Day 9 – Denver, CO

  • The Sons wake up early to shoot a video for “Undefeatable” at the Decibel Garden, a recording studio space at The Lot @ RiNo, a multi-media collective based in Denver. The video shoot could not have been more fun and inspiring as all of the staff were professional, creative and kind.

    Music video shoot for “Undefeatable” in Denver
  • A restaurant in Denver called Illegal Pete’s curates a “starving artist” program where they feed touring bands, but we fail to get a voucher on time. We go to Illegal Pete’s anyway and have some amazing Mexican food before we make our way to Utah.
  • Driving through the night, we catch glimpses of beauty through a desert rainstorm as we pass out-of-this-world rock formations and scenery. I earn five good samaritan points by letting a stranger in a broken-down truck at the rest area use my cell phone. After over eight hours, we finally make it to our hotel in Utah.

Day 10 – Provo, UT

  • Velour Live in Provo takes the cake for the most interesting venue on this tour. Provo is another town founded in the mid-1800s and the interior of the venue is decorated as such.
  • As this is my last night on the tour, I make sure to take it all in one last time; watching 888 and their creative live show, singing along with the Sons and enjoying my time as their tech, and watching The Moth & The Flame play to a sold-out crowd in their hometown.
  • The boys drop me off at a Sheraton in the middle of the night in Salt Lake City and I could not be more devastated. After spending ten days crammed into a Sprinter van with these guys, it feels more like leaving home than going home. I’m looking forward to the next adventure.yrs-utah-lake

**Special thanks to Young Rising Sons and Max, Stephen, 888, The Moth & The Flame, Shane, Alex and everybody else I met on this tour who made such a positive impact on my life.**


Shazam is a mobile-based smartphone application that allows users to identify songs from radio, television and film simply by holding their phones toward the audio source. Though I use it sparingly, I’ve racked up over 100 Shazams in the past couple of years and I felt that it was finally time to pursue some of these artists. As I browsed through my list, I realized that there were several bands and even songs which I had captured more than once. In one instance, I even “Shazam’d” the same song three different times, leading me to conclude that it must have been something special. That song was “Soundcheck” by Catfish and the Bottlemen.

As I listened to the song with a new perspective, I spent the first 0:48 seconds perplexed. I didn’t really like it, and I couldn’t even remember having heard it. Then the chorus kicked in at 0:49 and I was immediately hit with an upbeat punk rock anthem that made me want to head-bang at my desk. The first chorus was short and sweet, and moved directly into the second verse within just 14 seconds. That verse already felt familiar to me and I enthusiastically hummed along while anxiously awaiting the next big chorus. The bridge hit around two minutes in and was as sparse as it was haunting. It built into an emotional and tense guitar solo which evoked scenes of chaos before returning to the familiar verse structure and a huge double chorus before ending abruptly.

most-artist-shazamsThe rest of my data was equally enlightening, as I found eleven artists in total whom I had Shazam’d more than once. Next up was Icelandic folk group Of Monsters and Men, followed by American-turned-English rockers Cage The Elephant. I quickly noticed a pattern in which 45% of my Shazams were indie-rock bands from the UK with California (36%) coming in a close second. At times it can be difficult to discover new music, especially with radio, retail centers and film replaying a lot of the same homogenous drivel. Shazam gave me the opportunity to identify the songs I liked and prompted me to discover and pursue these artists. Many say that technology is hurting the music industry, but with apps like Shazam, technology is only the beginning.


APMAS FlyerThe Alternative Press Music Awards are an annual award show presented by Cleveland-based music magazine Alternative Press. The inaugural ceremony began at Cleveland’s Rock and Roll Hall of Fame in 2014, and reportedly moved to Columbus this year due to the city of Cleveland hosting the Republican National Convention. Taking place at the Schottenstein Center just north of the Ohio State University campus, this year’s awards show encompassed live performances, video interviews, memorable speeches, and lots of playful banter between hosts Jack Barakat and Alex Gaskarth of All Time Low.

My favorite part of this year’s show were the performances, which made the event feel more like a music festival than a black tie affair. Ranging from 90s rock to metalcore and everything in between, the performances made what could have been a lackluster evening a night to remember.

Notable Performances

Mayday Parade and The Maine feat. Stephen Jenkins (Third Eye Blind) – “Jumper”

Opening the ceremony were Mayday Parade and The Maine performing several of their well-known songs. The Maine, decked out in matching leopard-print suits set the standard for formal alternativeTM dress for the evening. Joined by Stephen Jenkins of Third Eye Blind, the set culminated in a joint performance of classic 1990s song “Jumper,” with the small percentage of the audience who were actually alive in the 1990s enthusiastically singing along to every word.


You should never judge a band based on what you read in the alternative tabloids. I spent years dismissing Issues based on clickbait articles and butthurt commenters. When the band took the stage I turned to my girlfriend and said “you would probably like this band.” Before their first song was over, I was hooked. They mixed metalcore with modern rock and R&B style vocals but did so seamlessly and without haste. The energy and genuine excitement that they exhibited not only lured me in to their music, but their live performance as well. Issues officially has a new fan.

Good Charlotte

Good Charlotte
Much angst

Another band I spent years discounting was Good Charlotte (I’m beginning to realize now that I’ve been a pretentious music snob all my life). However, while performing songs from their latest album Youth Authority, I heard a much more mature and versatile band than the mall-core singles I heard in middle school. The few songs they performed were contemporary, relatable, and serious enough to be taken seriously. “Life Changes” is a standout, and I suggest picking up Youth Authority to see a new side of an old band.

Papa Roach feat. Machine Gun Kelly – “Last Resort”

We all remember screaming our lungs out to Papa Roach’s “Last Resort” when it debuted on MTV in 2000. Hailing from Cleveland, Papa Roach became a veritable force to be reckoned with on early to mid-2000s rock radio and MTV (before it went music-less). After performing another famous hit, “Scars,” the band invited Cleveland-native Machine Gun Kelly to the stage to shut down the house with “Last Resort.” The group had insane stage presence coupled with a song to which many of the audience members had strong emotional ties. Near the end of the tune, MGK even jumped into the audience, singing and moshing along while Jacoby finished the job. I texted my friends after: “I can finally die happy.” Ironic?

Best Vocalist: Patrick Stump of Fall Out Boy
Best Guitarist: Jack Fowler of Sleeping With Sirens
Best Bassist: Skyler Acord of Issues
Best Drummer: Christian Coma of Black Veil Brides
Best International Band: You Me At Six
Best Music Video: Panic At The Disco – “Emperor’s New Clothes”
Song of the Year: Panic At The Disco – “Hallelujah”

Neck Deep

Neck Deep
Their necks are so deep

Neck Deep is another band which gave me negative first impressions. When they signed to Hopeless Records a couple of years ago, the press release was coupled with the music video for “A Part Of Me.” That was the first time I ever remember feeling old in my entire life. I was only 23 at the time, but damn could I just not relate to what this kid from Wales was singing about. He was probably a teenager at the time, and the lyrical content and music video reflected that. After having won Best Live Band, the band took the stage to perform the following covers:

Green Day – “Welcome to Paradise”
New Found Glory – “Hit or Miss”
All Time Low – “Dear Maria Count Me In” feat. Derek DiScanio of State Champs
Blink 182 – “The Rock Show” feat. Alex Gaskarth of All Time Low

The band finished their set with an original, featuring Chris Carrabba of Dashboard Confessional. I was never more disappointed than when they exited the stage. I was smitten with the overwhelmingly fun atmosphere of their live show, and earnestly believe that they 100% deserved their Skully for Best Live Band.

Of Mice & Men

This is a group whose vocalist Austin Carlile introduced as being from “Orange County, California,” but who have their origins in Columbus. I spent years hanging around and playing shows with Carlile whose old band, Attack Attack skyrocketed him to alternative-level fame in the late 2000s. After leaving AA, Carlile headed over to Paper Tiger Studios to establish OM&M and begin the long journey to success a second time. I don’t think any of us knew that Carlile would become such a mainstay in the alternative and metalcore scenes, but as he reminded us with his lyrics during the band’s performance: “don’t you ever underestimate me.”

A Day to Remember feat. Scott Stapp (Creed) – “Higher”

As the night came to a close, the crowd anxiously awaited the headlining performance of Florida band A Day to Remember. A video soon came onto the JumboTron with the members of A Day to Remember lamenting that their singer was stuck in Houston, but the rest of the band would perform anyway. After a cringe-worthy skit and stalling by hosts Barakat and Gaskarth, the band finally took the stage and asked if any audience member could sing some of their songs. A man raised his hand and was given a microphone, responding firmly: “I can.” Well dear readers, that man was Scott Stapp of Creed.

Scott Stapp
Scott Stapp Shreds

Stapp took the stage and successfully began singing one of ADTR’s pop-punk songs, with looks of confusion and bewilderment from most of the audience. Again, much of the crowd wasn’t even alive in the 1990s, let alone would know who Scott Stapp is. Near the end of their first song together, Stapp stopped the band and suggested that they play something else instead. The entire saga being a hoax and publicity stunt, I was actually relieved when the group began playing hit Creed song “Higher,” instantly bringing me back to singing along to all of my favorite songs on 99.7 The Blitz when I was 11 years old. Imagine my disappointment when after the song was over, the real singer of A Day to Remember came onto the stage and the band played a legitimate set.

Best Live Band: Neck Deep
Artist Philanthropic: Jake Luhrs for HeartSupport
Most Dedicated Fanbase: The Ghost Inside
Breakthrough Band: State Champs
Best Underground Band: Too Close To Touch
Album of the Year: Twenty One Pilots – “Blurryface”
Artist of the Year: Twenty One Pilots

When it was all said and done, I was delighted to have attended this year’s Alternative Press Music Awards, getting to see some of my favorite artists perform and win awards, and being introduced to new artists I never would have previously given a chance. I realized that music is not bound by genre, stereotype, or its fanbase – it begins and ends with the connection that the music and the artists make with the listener and that emotional sentiment is without words. If the APMAs ever return to Columbus, I will be one of the first in line to buy tickets and support alternative music.