Music Review: Avery Cochrane’s “Toy Gun”

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Avery Cochrane‘s “Toy Gun”
Review by Louise Geri

Avery Cochrane released her debut album’s lead single, “Toy Gun” on September 9.

Earlier this year, Cochrane released her EP Male Validation and Other Drugs. The anticipation for her debut album is growing, especially after the inclusion of the Male Validation track “Shapeshifting on a Saturday Night” in the popular TV show Off Campus.

The “Toy Gun” single cover – photo by Samantha Klegerman

The pop sound of “Toy Gun” is like if Lady Gaga’s “How Bad Do U Want Me” (2025) and Robyn’s “Dancing On My Own” (2010) had a child who, based on the topic, was adopted by Chappell Roan. Unlike its biological parents, but much like its mother, “Toy Gun” is able to move on from its past lovers. 

Opening with an ’80s sounding synth beat, Cochrane leads listeners into a club where they’re unsure of whether they’re about to feel the loneliest they’ve ever felt, or have the time of their lives.

With a rough voice, the singer sets a snide scene regarding a breakup, “I met your hero on a Monday/celebrity sightings, always exciting, but I can’t lie/it was mundane.” Cochrane is over her ex even if they’re still on her mind, but she’s fed up and never returning. Not after having “booked a ticket to your guilt trip once every month” – such a baller lyric. 

The confidence and freedom Cochrane feels is loud and clear before the chorus, “It’s not a competition, cause I already won.” In falsetto and with a flow akin to Chappell Roan’s 2024 hit “Good Luck, Babe!”, Cochrane opens the chorus with, “Bang, bang, run, run/Never owing anything to anyone!” She elaborates in the second verse even more boldly, “Never nostalgic, only astounded we were together in the first place.”

Sonically, the song may be reminiscent of many modern songs, but the older influences those songs clearly possess are present here too, particularly in the synths. Cochrane also delves into quick, almost brass-sounding violin riffs. Think of the orchestral riff in “Gimme! Gimme! Gimme! (A Man After Midnight)” (1979) by ABBA. 

“Toy Gun” contains a wonderful topical look into the future while containing all the best parts of pop music’s past.

The Weapons of Iridescence Tour billing, design and photo by Samantha Klegerman, Marlena Lerner, and Emma Brooke

Following this bright sneak peek into “AC1”, as Cochrane dubs her debut album before its announcement, she will be embarking on the Weapons of Iridescence Tour. I hadn’t listened to much of Avery Cochrane’s music before hearing this song, and I look forward to hearing more. Keep up with Avery Cochrane online here, while “Toy Gun” is available on all streaming platforms here.

Public Image Ltd. at the Neptune Theatre

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“I’m not imitating myself. I will not be dragged back into complicated versions of what I did in times past”. – John Lydon

One would imagine that it’s a bit galling to John Lydon to be forever linked to a band that existed for a scant 2 and a half years, the Sex Pistols, while fronting a band that’s been in existence since 1978, Public Image Ltd (albiet with a lengthy break between 1992 and 2009). But such are the chains that have been cast for the former ‘Johnny Rotten’ in this life. The fact of the matter is that the Sex Pistols changed the world while PIL is merely a great post-punk/disco/krautrock band. As much as I value and appreciate that the Sex Pistols kicked down the doors that let loose punk rock upon the universe, I’d much rather listen to 90 minutes of PIL than watch the Pistols wobble and stagger through a set. But that’s me.

PIL (vocalist Lydon, stringed instrument wizard Lu Edmonds, bassist/keyboard player Scott Firth, and drummer Mark Roberts) brought their ‘This Is Not the Last Tour’ production to the packed Neptune Theatre in Seattle last night. The current tour is the first time the band has visited these shores in 8 years.

I’d be burying the lede and ignoring my first and primary impression of PIL’s performance if I didn’t state just how damn good they sounded. Lydon’s voice is as strong and mesmerizing as it ever was. He’s not what one would call a traditionally beautiful or mellifluous singer but his ululations, quasi operatic howls, and various Rotten/Lydonisms fit PIL’s music to a T. The Sex Pistols are currently on tour with Frank Turner taking over vocal responsibilities and I’m told he does an admirable job. That said, it’s impossible for me to imagine anyone other than Lydon singing PIL’s songs. It just wouldn’t work.

The three gents who comprise this version of PIL do a brilliant job of interpreting the band’s catalog. They are wise to not attempt to recreate a carbon copy of the recorded versions of the tunes but rather to capture the general spirit of the music while inserting their own personalities into their playing. I’m a huge fan of guitarist Lu Edmonds, having had the pleasure of catching him playing with the Mekons a number of times. With PIL he alternates between a standard solid body electric guitar and a traditional Balkan saz outfitted with electric pickups. He can sound not unlike original PIL guitarist Keith Levene when he wishes to do so but also brings a pronounced world music vibe to his playing. The current PIL rhythm section of Scott Firth and Mark Roberts supply a foundation shaking groove to the band’s live sound, emphasizing the band’s (and Lydon’s) fondness for dub and club beats. While PIL and Lydon flirt with dark themes and sometimes abrasive sonic textures they are, at heart, a dance band.

PIL came out of the blocks strong last night, tearing straight into the song ‘Public Image’ from 1978’s ‘First Edition’. It’s a song that I may have heard a thousand times over the last 45 years. Did that stop me from standing slack jawed with my camera by my side rather than snapping the photos that I’d come to take? No, it did not. Lydon has a chemistry and a charm that’s hard to describe and quantify without experiencing it in the flesh. I felt grateful to be in the room with PIL and their fans and it was a performance that will stick with me for some time to come.

Last night’s show kicked off with a powerhouse set from Southern California’s Plague Vendor. The engine powering this kinda metal/kinda punk 4 piece is guitarist Henri Cash. I first encountered Henri in Starcrawler, a band he plays in with singer Arrow de Wilde. I saw Starcrawler middle between Fitz of Depression and the MC50 at gig at the Showbox in 2018 during a show that I count among my all-time favorites. Plague Vendor is a little more metal and a little less glam than Starcrawler but they were just what the doctor ordered last night at the Neptune. The crowd was with them from the first note. I’m very much looking forward to seeing Plague Vendor the next time they come through town.

Photos: KELS @ Tractor Tavern

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KELS @ Tractor Tavern – 9/6/2026
Photos by Kirk Stauffer

With her distinctive blend of pop, soul, and blues, KELS (Kelsey Hillock) headlined at a sold-out show at the Tractor Tavern.  It was a stop on her Dirty Blues Princess tour, the same name as her forthcoming EP.  Singer-songwriter Ella Maddux opened.

KELS – Photos by Kirk Stauffer

Ella Maddux – Photos by Kirk Stauffer

Show Review & Photos: Train w/ Barenaked Ladies & Matt Nathanson @ White River Amphitheatre

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Train w/ Barenaked Ladies & Matt Nathanson @ White River Amphitheatre – 8/30/26
Show Review by John Rudolph
Photos by John Rudolph & Charitie Myers

Train – photo by Charitie Myers

Train – photo by John Rudolph

Train put on such a great, impressive show, lighting up the White River Amphitheatre. The place was packed — every seat, every patch of lawn — and from the moment singer Pat Monahan walked out, the whole venue was locked in.

Matt Nathanson kicked things off, and he was fantastic. He has that perfect mix of humor, charm, and real vocal talent. He joked with the crowd, got everyone laughing, and then hit them with those emotional, soaring choruses he’s known for. His set was fun, heartfelt, with just enough energy to get the whole place buzzing.

Then Barenaked Ladies came out and absolutely delivered. They’re one of those bands that just radiate joy. Their harmonies were tight, their banter was hilarious, and they played with this infectious energy that made the entire amphitheatre feel lighter. When they launched into their big hits, the crowd went wild. They’re the kind of band that reminds you how fun live music can be.

By the time Train took the stage, the crowd was already fired up — and Train took that energy and ran with it. Pat sounded fantastic. His voice was strong and clean, and he had that easy confidence that comes from a professional. Every time he started a familiar riff, thousands of people screamed like they’d been waiting all year for that exact moment.

They rolled through the hits — “Drops of Jupiter,” “Hey, Soul Sister,” “Meet Virginia” — and the entire amphitheatre sang every word. It felt like one big choir under the summer sky.

Later in the show, Monahan mentioned how loud White River can get, and the crowd absolutely took that challenge personally. When he asked everyone to scream the chorus of “Calling All Angels,” the place erupted. You could feel the sound vibrating through the seats and up the hill. It was one of those moments where you realize just how powerful a crowd can be when everyone is locked into the same song.

The stage setup was clever — bright lighting, a rotating platform that gave everyone a good view, and a layout that let Monahan and the band move around and interact with fans. It wasn’t over the top; it was just smart and fun, perfect for a summer night.

White River traffic was… well, White River traffic. But once you were inside, Train, Barenaked Ladies, and Matt Nathanson made the whole headache worth it. You walked out smiling, hoarse from singing, and already talking about how good it felt to be there.

Train – photos by John Rudolph

Train – photos by Charitie Myers

Barenaked Ladies – photos by Charitie Myers

Barenaked Ladies – photos by John Rudolph

Matt Nathanson – photos by John Rudolph

Matt Nathanson – photos by Charitie Myers