The first-ever Firefly Music Festival descended upon the Dover International Speedway from July 20th-22nd  with a lineup boasting acts with profiles so high, one was forced to contemplate whether both artists and fans could simultaneously fit within the state’s modest borders (one in, one out?).  Every hotel within 30 miles advertises “No Vacancies- Welcome Firefly!” Telltale campground sprawls around the gates; weekend homes for the braver souls.

Juicy staff picks to take you through the back nine of the summer…

What do you mean, you’ve never heard of “thrash-folk?”

No, I’m not talking about a tribe of mud people who live in the woods of West Virginia; I’m referring to a brash and unstoppable force called River City Extension, who are, as you read this very sentence, unleashing one of the freshest sounds of the summer, shaking booties and destroying genre classifications along the way.  While their sound brazenly defies traditional classification,  if we must, let’s mix equal parts folk, Americana, and punk.  With such an eclectic brew, the question is fully begged: is it possible for a band without a clear genre to gain a following, especially in a time when labels are everything?

This month, our resident music critic Kevin O’Conner agreed to give his harried editor a break and handle the lion’s share of the reviews. His one requirement was that we give him a crack at the new Fiona Apple album. Happy to oblige, Kevin…


The Idler Wheel is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do



The release of a Fiona Apple album is always an event. Her second album (When the Pawn…) directed a middle finger toward mainstream conventions with its 90-word title. On 2005’s Extraordinary Machine, debates raged regarding the source and quality of a leaked version of the record (not to mention the inexplicable hype surrounding the whole “Free Fiona” campaign).