Almost Missed It, Glad I Didn’t
Three days. That’s how much notice the algorithm gave before nearly letting a great show slip by unnoticed, which is exactly the kind of near-miss that makes you want to burn your For You page to the ground.
The show in question: Julez and the Rollerz, tearing through Cleveland on a quick tour behind their new record, Dirty Little Rock-n-Roller. The venue was Dunlap’s Corner Bar, the kind of room that still gives out free refills and doesn’t need to try too hard to feel right. Bassist Morgyn ended up a few stools over at the bar before the show, and Jules herself came by for a hug before the openers wrapped. That’s the stuff that sticks, small-room moments that remind you why local scenes matter.
Once the band hit the stage, there was no filler. No stage banter, no dead air, just song after song in the Ramones tradition of get in, hit hard, get out. The comparison that keeps coming to mind is the Go-Gos in their earliest, scrappiest form, back before the polish, when the songs still had teeth. Cleveland on a Wednesday is a notoriously hard sell for touring acts, but the openers pulled a crowd that actually stayed, which is the real test of a bill working the way it should.
The record itself is worth the deep dive too. It’s the kind of album that rewards a single uninterrupted listen, vinyl on, day started right. Julez and the Rollerz have the songwriting, the stage presence, and the approachability to go somewhere. They just need a few breaks to fall their way.
The Songs
Slow Fiction opens things up with “ninetynine,” a track defined by a vocal delivery so laid-back it borders on spoken word, yet still carries a striking texture underneath. The rhythm section keeps shifting shape under her, giving the song a pulse that never sits still. It’s off their album dollhouse and worth the full listen.
Roxferry, the Australian garage rock duo behind “PRETEND,” proves once again that two people can sound like a full band when the vision is clear. The groove here is filthy in the best way, built on guitar and bass tones that do more with less. Simplicity, executed with real conviction.
Emma Ruth Rundle’s “Catherine Wheel” is the kind of vocal performance that stops you cold, somewhere between Alanis Morissette and Tori Amos but landing somewhere entirely her own. She moves between delicate and belted without missing a beat, framed by brooding acoustic textures and tasteful electric guitar. This one earns repeat listens.
Paris Jackson’s “happiest day of my life” is deceptively simple pop rock, grounded in lyrics that hit because they’re lived-in rather than manufactured. Co-written with Linda Perry of 4 Non Blondes fame, the craftsmanship shows in every corner of the arrangement.
Closing things out is Chance Emerson’s “Mine All Mine,” a 2025 release that’s new to this list but built to last. The guitar tone and riff grab you immediately, while the sparse drums leave room for a gravel-voiced vocal to breathe. Proof that restraint can hit harder than density.
