Grammy-nominated indie-pop band Lucius released their highly anticipated new self-titled album on May 2 via Fantasy Records—their most personal and purposeful work to date. Their fourth studio album, Lucius finds the band returning to their roots with eleven new songs written and recorded without seeking outside influence—their first time doing so since their 2013 debut. Produced by Lucius’ Dan Molad, the record explores topics such as relationships, grief and life’s complexities, with a unique vulnerability only made possible due the familial nature of the band. Known for their engaging live performances, Lucius has been featured on “The Late Show with Stephen Colbert,” PBS’ “Austin City Limits” and “The Kelly Clarkson Show" and has toured across the world. This spring, the group will return to the road with their extensive “Gold Rush Tour." Throughout their acclaimed career, Lucius’ Holly Laessig and Jess Wolfe have also become some of the most sought-after collaborators in popular music due to their “otherworldly” vocals (Los Angeles Times). The duo has recorded and performed with artists such as Joni Mitchell, Brandi Carlile, John Legend, The Killers and Harry Styles, including appearances on the Grammy stage and NBC’s “Saturday Night Live.” Lucius is Laessig, Wolfe, Molad and Peter Lalish.

Once transmitted through speakers and into the airwaves, music belongs to the people. The audience ascribes meaning and significance to songs and ultimately absorbs them for life.

By the same token, SIX60 belong to listeners. The history-making award-winning New Zealand quintet—Matiu Walters [vocals, guitar], Marlon Gerbes [keyboard], Ji Fraser [lead guitar], Chris Mac [bass], and Eli Paewai [drums]—stir rock, reggae, funk, and pop together with a twist of kiwi roots music and Maori instrumentation. Invoking this spirit and Kiwi roots, their latest music and next evolution showcases traditional Maori instruments such as Pūtātara and Pūkāe (stone and long trumpets), Bone Kōauao (Bone Flute), and Karanga Weka (Stone Flute). “We want to take our Maori culture and put it into a mainstream radio world,” exclaims Matiu. “There are only a handful of people in the world who can play these instruments, and we felt getting them into a mainstream album could give them a chance to stay alive.”
Over a decade before breaking records and selling out stadiums back home or signing to Epic Records stateside, the boys then welcomed the world into their musical ecosystem and set a career precedent in 2008 while still students.

“At University of Otago, we shared a flat at 660 Castle Street in Dunedin, New Zealand,” recalls Matiu. “We originally didn’t name the band. Instead, our first college fans gave the band the name by calling us the ‘SIX60 Boys,’ which evolved into SIX60. We adopted this philosophy into our albums. The fans add the final touches and have naming rights over things we do. The songs aren’t done until the audience has them. So, the album doesn’t really have a spirit or a name until the crowd consumes it.”

As such, SIX60 engender a rare level of devotion from fans, bordering on downright phenomenal. The group’s 2011 full-length, SIX60 (I. The Gold Album), bowed at #1 on the charts in New Zealand and eventually went septuple-platinum. SIX60 (II. The Colours Album). saw them reclaim the top spot on the charts in 2015 and go quintuple-platinum. To date, New Zealand single sales exceed 1 million as global streams surpass 200 million and counting. At the 2018 NZ Music Awards, they garnered “Best Group” in addition to five other honors.

A year later, they made history. Performing their biggest show to date, they sold out Western Springs Stadium in New Zealand and became “the first New Zealand Act to Sell 50,000 Tickets to a Show at the Stadium” (They repeated the same feat for 2020!). The gig proved to be a major milestone both professionally and musically.

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