Asayda (Mark Frye)

Cincinnati is full of rooms where a band can level up fast, but only if you know where to look. We talk with hard rock artist Mark Frye from Asayda about the Cincinnati live music scene as a real map of neighborhoods, venues, and crowds, and why the city feels like a “big small town” for musicians. From Bogarts to Annie’s Music Center to Ludlow Garage and Riverbend, we compare what each space rewards, what it costs to be close to the stage, and what makes a show feel electric when the band is still on the rise. 

We also get into the less glamorous truth behind every solid band: people. Mark breaks down how Aseda came together after multiple projects, why “good hang” matters as much as chops, and how lineup changes happen when life, family, careers, and health collide with rehearsal schedules. If you’ve ever wondered why some groups sound great but still fall apart, this part hits home with practical, real-world honesty. 

Then we go deep on the craft and the gear. Mark shares how Asayda is building a new album with a DIY studio approach, how drum tracking can work with an e-kit and triggered sounds, and why flexibility can be a blessing and a curse when you can always tweak “one more” part. We talk guitars, stage visibility, and the modern debate over modelers and “real” instruments, plus what’s next including the Swine City Brewing show on September 4 and the band’s release strategy for Spotify and beyond. If you like Cincinnati rock stories, recording process talk, and behind-the-scenes band building, hit follow, share this with a friend, and leave a review so more listeners can find the show.

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Ivey Leighton

A debut single is never just a song. It’s ten years of drafts, late-night voice memos, and learning how to trust your own taste long enough to hit release.

We sit down with Tennessee pop rock recording artist Ivy Leighton to unpack the real work behind her first official drop, “Good Girl,” out September 1st, 2026. Ivy shares the moment she got serious about songwriting at 14, the mix of influences that shaped her sound (Taylor Swift, Coldplay, Paramore, Wet Leg, Radiohead), and why she keeps coming back to angry, dramatic lyrics even when she tries to write something happy. She also gets specific about craft: starting with guitar or piano chords, finding lyrics through “gibberish” melodies, pulling one-liners from her Notes app, and turning a root feeling into a fictional story that still hits hard.

Then we go deep on music production and recording. Ivy walks us through capturing ideas on iPhone Voice Memos, tracking with a full band at a studio in Dunlap, Tennessee, and building vocal harmonies by experimenting in GarageBand on her phone before stepping up to the mic. We also talk mixing with nine-time Grammy winner Bob Bullock and what it feels like to hear your music come back with real punch for the first time.

After the livestream, we share a major update: Jay Franze officially steps in to manage Ivy, setting the stage for bigger shows, smarter career moves, and a long release runway. Listen, follow Ivy’s journey, and if “Good Girl” hits you, share it, subscribe, and leave a review so more people can find the music.

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Tom Rentz, Concert Photographer

Three songs. That’s the window most concert photographers get to capture an entire night of energy, emotion, and chaos and somehow deliver photos that look like they belong on a tour poster. We sit down with Ohio concert photographer Tom Rentz to talk about what really creates a signature look in live music photography, from tight portrait framing to the decisions you make before you ever lift the camera.

Tom breaks down the craft behind the “lucky” shots: studying performances ahead of time, reading choreography, using burst shooting to catch micro-expressions, and choosing where to stand so the moment lands in your frame. We also dig into the unglamorous problems that every live music photographer faces, like harsh red lighting, microphones covering faces, underlit drummers, and the constant pressure of the three-song sprint.

Then we go nerdy in the best way: focus points, cropping choices, why he loves wide glass like a 14-24, and what changes when you’re stuck at front of house with a long lens, a monopod, and an ISO ceiling you may or may not want to cross. We also talk credentials, band restrictions, and the etiquette that keeps you getting invited back.

If you shoot concerts, want to shoot concerts, or just love the behind-the-scenes reality of live music, hit play, subscribe, and share this with a photographer friend. After you listen, what’s the hardest part of concert photography for you right now?

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