Like the Jan Brady of national holidays, Labor Day is an oft-overlooked middle child between the Fourth of July and Thanksgiving. So, quick bit of “birthday” trivia; although it’s American-manufactured, some historians believe Labor Day may have been inspired by Toronto’s worker-centric parades held in 1882. Which means we ought to recognize our neighbors to the North and celebrate with some continental solidarity. However, if you got screwed out of the long weekend for whatever reason, you can find a instant escape with The Beaches.
Their namesake canonically pays tribute to a shared neighborhood, but it also evokes the quartet’s willingness to bury college plans in the sand and fully invest themselves in their music. Nowadays, in light of more than 50 million stream on Spotify alone, three JUNO Awards, and fanship from Elton John, it’s damn near impossible to cast doubt on that decade-old decision. Lately, however, inspired by the likes of Austin’s own Dayglow, The Beaches have seemed to heed changing tides and begun testing deeper waters of indie pop after years in the rock sandbar. This questionable shift comes right after the full-length merge of The Beaches last two EPs and a U.S. tour kicking off next month, but as we’ve learned before, it’s best to trust The Beaches’ intuition. Considering the pulsing, Phoenix-esque, indie pop masterpiece “Orpheus” that just came out? Give ’em all the resources in the world for them to do whatever the hell they want.
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