This past weekend, Doom Flamingo celebrated the release of their debut full-length album, Peaches & Bobbi, with two sold out nights at the Charleston Pour House.
These shows, and the February 10th release of Peaches & Bobbi, represent a coming of age of sorts for Doom Flamingo. They’ve come a long way since their rising in 2018, with two EPs, a live album, and countless festival slots to their name before this album saw the neon lights.
The six-piece band was formed by a group of Charleston-musicians – Ross Bogan, Thomas Kenney, Michael Quinn, and Sean Bing — alongside vocalist Kanika Moore and Ryan Stasik, the bassist of Umphreys McGee. With the mesmerizing presence of Kanika at front and center, they produce a sound that is at times bright and chromatic, and at others it growls like a heady beast.
At this point, Doom Flamingo have established themselves as one of the most exciting live bands in the Southeast. Both Friday and Saturday’s shows at the Pour House put this on full display, with the band playing four unique sets through the weekend in front of a room that was packed to the gills.
We saw performances of songs from across the entire catalogue thus far, Kanika crowdsurfing, keyboardist Ross Bogan (of Wolf Mask fame) crowdsurfing, and shenanigans all around. What shined through the masses was a group of musicians who truly enjoy their time on stage together, who are well-practiced and ready to take this band as far as it will go.
Friday night set 1 saw a Flamingo theme, with songs from the Flamingo EP and the new album. Set 2 was Doom with selections from the new album. They capped off the evening with an encore performance of “Touch of Pink”, their take on the Grateful Dead’s “Touch of Grey”.
The first set on Saturday night was the main event, with the entire Peaches & Bobbi album played top to bottom, followed by one final set consisting entirely of covers. The cherry on top was the fact that Matt Zutell of Coast Records, who recorded and mixed the album, was also behind the boards mixing live sound the whole weekend, so everything was dialed up true to form.
Now that you’re “Along For The Ride”, check out the lyric video by Persona La Ave below, and read on to learn more about the new album, Peaches & Bobbi.
Doom Flamingo – Peaches & Bobbi (Album Review)
Opening track “Along For The Ride” greets us with the glow of synths and the smooth touch of a saxophone, as Kanika sings of a crossroads, where she must decide to stick around or move on. She sings that she’s searching for something real, and concludes that she’s simply along for the ride, wherever life may take her.
This is a fitting introduction to an album that feels like a ride through many different moods and feelings, tied together by some serious momentum in the rhythm section.
We can hear some of that rhythm momentum in action on track 2, “Evil”. There was a reel from the release party where Ross mentioned “Evil” is his favorite song on the album, and I would have to say I’m in agreement with him. It’s like Daft Punk meets Cruella de Vil, complete with deep, crispy bass. “Evil” also the most easily digestible track on the album, in my opinion, as it’s all about the groove, musically, and uses some warmer tones.
“Evil is about dealing with dark energy, temptation and the fleeting joy succumbing to your vices can bring,” explains Ross Bogan of the lyrics. “It’s an ode to tricks up your sleeve, getting away with it, and feeling good being bad. You’re already doing it, may as well enjoy it… right?”
“Like It Used to Be” flows back and forth between mellow, atmospheric verses and a rock arrangement. The song keeps things together before descending into madness in the final minute. This leads into an upbeat, 80s-inspired instrumental number called “Delorean”.
The single “303 Love” is a banger type track that leans into Doom Flamingo’s tendency to be a late-night band. “303” is a reference to the Roland TB-303 synthesizer, an acid/house/electro staple, and it is used as the main synth sound in the tune. The lyrics reference being captivated by the band, and specifically by Kanika, and staying up all night raging with them at a festival.
Up next is “Moonlight”, a groovy one followed by the most experimental segment of the album. “Comatose”, brings a synth-fueled jungle beat, and “Purifier” blasts off. It lands for a gentle lullaby before jumping right back in to the madness.
Single “Happy Boi” is a welcome cooldown after the intensity of “Purifier”, inviting listeners to just dance and let themselves feel good for a moment. “Headlights”, up next, opens with a smooth, R&B-inspired groove that breaks into disco rave.
“I spent countless hours listening to my father’s vinyl record of Sade. I can’t deny the impact she has on this song,” Kanika Moore says of “Headlights”.
Then, we arrive at the title track, “Peaches & Bobbi”. This song has a little bit of everything you’ll find in other places on the album, from rock to retro dance, electronica and pop.
Finally, we reach “After Ours”, which ends the record in the darker side of the band. Here, Kanika sings about the passing of time, and her changing relationship with it. It also brings to mind the idea of a performance ending, when neither the band nor the audience are ready for it to end.
Stream Peaches & Bobbi by Doom Flamingo below.
Doom Flamingo – 2/17/23
Set 1 – Flamingo
Love on Hold (Aeroplane)
Peaches & Bobbi
Set 2 – Doom
Touch of Pink (Touch of Grey, Grateful Dead)
Doom Flamingo – 2/18/23
Set 1 – Peaches & Bobbi
Like it Used to Be
Peaches & Bobbi
Set 2 – Covers
Afraid of Americans (David Bowie)
Maniac (Michael Sembello)
House of Jealous Lovers (The Rapture)
Harvest Moon (Neil Young)
Girls (David Bowie)
Love is A Battlefield (Pat Benatar)
Wicked Game (Chris Isaak)
Fat Bottom Girls (Queen)
Mad World (Tears for Fears)
The Best (Tina Turner and Jimmy Barnes)