In this conversation, Nikki Falk, a singer-songwriter originally from Hawaii, shares her journey into music, discussing her move to California (by way of Australia), using music to connect, and the importance of community in the music scene. She reflects on the emotional connections her music creates with listeners and the vulnerability involved in performing. Nikki also addresses the impact of digital promotion in the music industry and her desire to explore more analog methods especially as it relates to promotion of her upcoming album.

Songs featured in this episode:

Riverbed

June Blue

Apartment

Suncatcher

Fighter Dog

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In this episode, musician Will Overman shares his journey from Virginia to Nashville, detailing the challenges and triumphs of pursuing a career in music. Will opens up about his experiences in the service industry, the impact of his divorce, and the decision to move to Nashville to further his music career. He reflects on the evolving music industry, the role of streaming, and the importance of live performances. The conversation also delves into Will's songwriting process, his inspirations, and the stories behind some of his most personal songs.

Songs in this episode:

Virginia Is For Lovers

Living Wage

Bowery

Held Up By A Woman

Funeral For A Friend

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In this conversation, Mike Chiarappa discusses the evolution of his music project, Range Life, from a solo endeavor to a collaborative band effort. He shares insights about the vibrant music scene in Asbury Park, the importance of collaboration in songwriting, and the challenges of recording music. The discussion also touches on the role of AI in music production, the dynamics of the modern music industry, and the excitement surrounding upcoming releases. Mike reflects on his influences, the recording process, and the significance of live performances.

Songs in this episode:

Out of It

Crooked Smile

Take Time

bleeding for help

Spinning Out

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Hayden interviews Danny and Jesse from the Long Island band Gursday about their origins, creative process, and lives outside of music. The conversation opens with the story behind the unusual band name, which started as an inside joke and became a deliberate choice to stand out in search results and avoid getting lost in the algorithm. They talk about their recent LP Bogeyland, how its title and visual aesthetic were inspired by an old film.

Danny explains how most songs on the album began as ideas he wrote alone before bringing them to the band, then tracking much of the record himself with the others contributing in focused sessions. They describe the evolution of the lineup, how Jesse joined on bass after previously playing guitar, and how he adjusted to switching instruments and taking on harmonies. Both reflect on the challenge many bands face: balancing jobs, relationships, and adult responsibilities while still committing to rehearsals, gigs, and regional shows, often anchored by brewery venues.

Musically, they trace their influences from ’90s grunge and alt-rock (Nirvana, Goo Goo Dolls, Third Eye Blind) through Long Island emo and more modern indie artists, and how that mix keeps their songs varied but cohesive.

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LA singer-songwriter-producer Louis Metric drops in for a freewheeling, funny, and thoughtful convo about art, algorithms, and why brunch might be the enemy of your creative goals. We dig into why his breakout single “Take It Slow” came together in two days while other tracks marinate for months. He talks process like a builder: looping simple chords, chasing a feeling before theory, then sending mixes out when the DIY line gets too fuzzy.

Louis unpacks the not-so-secret logic behind running multiple TikTok accounts, what “burner virality” looks like, and how he converts comments into real listeners—plus the weird reality where a tossed-off clip can outpace a polished shoot. As a working photographer/videographer, he’s blunt about how AI, short attention spans, and the endless content treadmill are reshaping the job—and how doing it yourself is often the only way indie artists can keep up.

There’s life in here too: summiting Mt Whitney with his dad and landing in LA before the world shut down. He shares the story behind the wry “Should’ve Been Better (My Bad),” his collab “Lower East Side” with Backtalk and the thrill/“never enough” feeling of hitting one million streams in the last 12 months. We kick around whether “pop” even means anything anymore (Harry’s House comes up), the unexpected power of nostalgia for CDs, and the odd little trends (hello, Group 7) that hijack the internet for a week.

If you’re into clever songwriting, DIY brains, and honest talk about making art in 2025-- this one’s for you.

Songs in this episode:

Take It Slow

mileycyruswouldthinkimchill

Should've Been Better (My Bad)

Lower East Side

there's no money in music

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This week on First Spin, Hayden is joined by Patrick and Andrew of Tennis Courts, an indie rock band born in the house-show scene of Charleston and now based in New York. The conversation traces the band’s roots back to college: chance friendships, practice spaces behind refrigerators, and the kind of chaotic “let’s just try it” energy that ended up defining how Tennis Courts works to this day.

They talk about what it means to grow with a band rather than around it—navigating lineup changes, learning how to write again after a long creative lull, and figuring out how to make music that feels both new and true to themselves. The band opens up about the role collaboration played in their upcoming EPs, and how working with producer Matteo DeBenedetti helped sharpen the songs without losing the heart behind them.

The episode also dives into touring realities: the excitement of returning to the Southeast, the logistics of building a live band on the fly, and the humor in making it all work even when the plan is “we’ll figure it out.” There’s time spent on the new music—its sound, the themes that run through it, and why releasing two EPs made more sense than dropping a full-length record right now.

At its core, this is a conversation about being in a band for the right reasons: friendship, expression, momentum, and making something you’re proud of, regardless of scale. If you’ve ever loved a small band deeply—or been in one yourself—this episode will feel like home.

Songs in this episode:

Keep the Car Running (out 11/11/2025)

Stench

To Feel Young

Jamie's Party

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Penny Beverly recently landed a song in Netflix’s “Black Rabbit” (starring Jude Law & Jason Bateman). Lead singer Duncan MacEachern explains the sync path and how things were quiet during the strikes, but the recent placement suddenly multiplied the bands exposure significantly.

Duncan digs into DIY marketing: the TikTok push around the placement, the creative team behind their visuals and the “Act Natural” cover concept—leaning into the awkwardness of “acting natural” for social media. On day-to-day socials, guitarist Shane and his partner Emmy steer strategy; the band tries to treat content as part of the art, not a chore.

Musically, they cover influences and direction: a blend of indie/alt with danceable, R&B-tinted production (think hooks, 120–150 BPM, positive energy—designed to be sync-friendly). Reference points they admire include Portugal. The Man, MGMT, and Gorillaz; They talk collaborators—Gilligan Moss and Love Language in NYC—and how the Black Rabbit momentum reshuffled release plans.

There’s some life-in-LA color: a chaotic date and a sucker-punch. Duncan also shares the origin behind the name Penny Beverly.

Songs in this episode:

Laugh At You

Jump In

U & I

Waiting

Liminal

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This week on First Spin, Hayden sits down with Travis Miles—vocalist/guitarist for Ontario’s long-running punk trio The Penske File—for a conversation that’s equal parts road-tested wisdom and wide-eyed love of making loud, honest songs with your best friends.

Travis pulls back the curtain on why U.S. touring has become so tough for small Canadian bands and contrasts it with the radically different reality in Germany-- where indie venue culture, artist hospitality, and tight-knit communities can transform a show day into something that actually feels sustainable. Along the way, he reflects on the unexpected kinship you find across oceans when a tiny subculture knows the same records you do.

That sense of connection threads into the band’s brand-new album, Reprieve. Travis talks about writing through the push-and-pull of getting older: nostalgia for the early-tour years when the road felt endless, acceptance that life has stakes now, and the stubborn, hopeful belief that wonder isn’t just for the beginning. Fatherhood reframes that outlook in vivid ways, and you can hear it in the songs—restless, grateful, and determined to keep the spark.

Tour stories surface, but not the usual chaos-for-chaos’ sake. Think small details that reveal how a scene functions: the volunteer who sets a tone, the post-show playlist that mirrors your record shelf, the night a venue meal turns strangers into allies. It’s the kind of lived-in texture that explains why certain places become second homes for bands like The Penske File.

Queue up the episode, then queue up Reprieve—and see why The Penske File keeps earning new believers, one honest chorus at a time.

Songs in this Episode:

Lions

Kamikaze Kids

Dead Maps

Lucky Ones

Rocking Chair

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