“A Superb Punch Of Musical Bliss.” – Time Out
“KOLARS are as if T-Rex and the Pixies had a love child who was born tap dancing on a drum
kit and with a no-shits-given punk aesthetic.” – Underground London
KOLARS is one of those rare acts which descends from another dimension, struts its sequin
skin, blares it’s unabashed musical thrill ride and leaves audiences with their mouths on the
Rob Kolar twists and turns as he sings imaginative lyrics with a raw swagger. He spins his
guitar as notes sail and scramble through the room. A presence that embodies elements of
Elvis and Marc Bolan with a ragged punky edge. The magnetic, one of a kind, Lauren Brown
uses her whole body as a percussion instrument, tap dancing rhythms with her feet while
simultaneously playing a full stand up kit with her arms. An alluring hybrid of Mo Tucker and
Gene Kelly with a dash of Iggy Pop wildness.
Yes, there have been iconic duos before but none like this.
On record KOLARS are slightly more subtle and nuanced. Rob produces and mixes the music
and has created a genre melding soundscape influenced by his film scoring. The band has
inspired evocative descriptions such as “space blues,” “glam-a-billy” and “desert disco.” The
style combines elements of new wave, blues, pyschedelia, glam, folk, disco and punk. The
production experiments are infused into the live show. In essence, the duo are a hybrid of
modern technology and raw rock and roll.
KOLARS have toured extensively across the US, Canada and Europe, playing many festivals
and concerts in front of thousands. They have headlined national tours and have shared bills
with Spoon, LP, Julian Casablancas & The Voidz, STRFKR, The Kills, Best Coast, Shonen
Knife, RZA, Pussyriot, Built To Spill, The Horrors, The Growlers, Alanis
Morissette, Funkadelic, The Revivalists, Father John Misty, The Roots, Nikki Lane, Strawberry
Alarm Clock and many others.
They have built their momentum through hard work and tenacity, growing their following one
fan at a time. They tour relentlessly and do much of the work themselves. The husband and
wife duo treat the business like a growing mom and pop startup. Rock and Roll with an
There’s this dynamic that churns hard in The Blurred Odyssey, the debut full-length
album by ascendant Orlando garage-soul enterprise The Sh-Booms, out March 22,
2019 on Limited Fanfare Records. The music pumps with the hot, red blood of life
irrepressible. But there’s a cloud on the horizon, the doomed sense of life’s finitude, that
fueled these songs. Rather than dead-end nihilism, though, it’s resulted in the kind of
urgent, creative friction that Hunter S. Thompson could get down with. In making this
album, The Sh-Booms have dug through the blur of life, swam through a sea of booze,
to find love and truth in the shadow of the void.
Although a soul band through and through, the grease and bite they’ve been picking up
in the years leading up to this big step out have been forged in the bad company of
punk and garage bands. From that underground now rises a new hurricane of big
orchestration, maximum stomp and fresh intent. It’s a little ache and a lot of party all
wrapped up in a wrecking ball.
Since their 2011 inception, The Sh-Booms have become kind of a thing in their native
scene and beyond. Besides perennial winners of “Best Soul Act” in the Orlando
Weekly’s big annual Best of Orlando issue, they’ve been tapped to share the stage with
national names like The Roots, Of Montreal, Talib Kweli, KRS-One, Jacuzzi Boys,
Budos Band, Big Freedia, Lee Fields, St. Paul & the Broken Bones and The B-52’s
(whom the band toured with in 2017 and 2018). They’ve been featured on NPR, their
music has been made it on TV (CW’s Supergirl) and they’ve played Austin City Limits,
Okeechobee Music Festival, SunFest and Gasparilla Music Festivals.
When powerhouse singer Brenda Radney joined in 2015, the band’s course has been
locked, their date with destiny set. She was signed to Justin Timberlake’s Tennman
label, even appearing on his album, The 20/20 Experience, Pt. 2. But after clicking with
band leader Al Ruiz while recording separately in the same studio, she jumped aboard
The Sh-Booms to turn this train into a true locomotive. After the release of their 2016
Usage Fee EP and a countless number of shows in the Southeast, the 10 songs along
The Blurred Odyssey were Produced by Grammy-nominated Alan Armitage (AA Villain)
over an 18-month span that cemented the band as a tight-knit unit. That chemistry
achieved is where The Sh-Booms are now, and The Blurred Odyssey is their testament.
The seas are a-stirrin’…The storm’s a-brewin