Get Ready for M3F in Phoenix With One Song From Every Performer

This weekend's M3F, formerly known as McDowell Mountain Music Festival, has more than 30 artists scheduled to perform. Music festivals are always better when you can sing along, and we know it is impossible to know every song from every artist, so let's start with just one. Here's exactly one song to listen to from every performer at M3F.

Becky Hill

'Last Time'

Becky Hill has been building a Rolodex of A-list EDM collaborators since she made it to the semifinals of the U.K. version of The Voice in 2012: David Guetta, Galantis, Tïesto, you name it. But “Last Time,” her 2021 collaboration with Mark Ralph and LOSTBOY, stands out as the best offering on her most recent setlists. “Last Time” gives Hill the chance to flex the voice that put her in the public eye in the first place, and its three drops are sure to be a hit with a festival audience.

Bon Entendeur

'Le temps de l’amour'

Together, Pierre Della Monica, Nicolas Boisseleau and Arnaud Bonet make up Bon Entendeur, a French electropop trio whose moniker loosely translates to “Word to the wise.” My advice? Check out “Le temps de l’amour,” the highlight of their most recent record, 2021’s Minuit. The song has pulsing percussion and hypnotic vocals plucked from Françoise Hardy’s 1962 track of the same name. Given it has some of the most streaming traction of any of their releases from the last three years, it's almost a lock to be included in the setlist at M3F.

Channel Tres

'Just Can't Get Enough'

What may be most remarkable about Channel Tres is his versatility. He’s probably the only artist to collaborate with both Tyler, The Creator and rising internet indie performer Gus Dapperton. The Compton house producer can inject electronica into every genre, and his R&B ventures on 2020’s i can’t go outside (most notably “take your time” with Tinashe) are some of his most memorable tracks. However, when it comes to a big festival stage, I’m here for the bangers. Look no further than the 2022 single “Just Can’t Get Enough.” It’s got a Teddy Pendergrass sample and a relentless beat — I’m fully prepared for a sea of people bouncing to it at M3F.

Chelsea Cutler

'New Recording 28 - Lions'

I’ll be honest. This recommendation isn’t very practical. The B-side from Chelsea Cutler’s 2020 record How To Be Human has never been performed live and isn’t exactly indicative of her more prominent and polished pop sound. Instead, “New Recording 28” sounds like the title would suggest: raw, unfinished and dressed in acoustic lo-fi charm. Cutler has shown glimpses of interest in a more restrained folk pop sound, most notably on her collaborations with Jeremy Zucker and Noah Kahan, but this is her lyrical standout. “You gave me more than something to keep, now I’m counting how many K’s put me to sleep,” is one of its many devastating lines. If you’re looking for something with more energy, try Cutler's early hits — setlist staples like “The Reason” and “Your Shirt” are a good place to start.
Note: Cutler typically takes the stage in a basketball jersey, and I’m willing to bet on her opting for a ‘90s Suns throwback at M3F.

Chiiild

'Awake'

With their blend of indie rock, soul and funk, Chiiild could have been a seamless fit on last year’s M3F lineup, which included peers like Cautious Clay, Parcels, and Franc Moody. But actually, the Canadian band’s genre ambiguity makes them a great fit for any festival bill. “Awake” features soul singer Mahalia, and her chemistry with the band is effortless. Her harmonies with Chiiild vocalist Yonatan Ayal are ethereal as the track slowly unwinds into an effectively trippy R&B slow jam. This isn’t exactly one to jump to, so let’s hope for a Chiiild set time around sunset — the silky Arizona skies would set the right ambiance for this romantic track.

COIN

'Let It All Out (10:05)'

From the opening verse of “Let It All Out,” it’s clear that COIN is taking you somewhere. The metronomic percussion and crooning bass create an air of wistful uncertainty that lasts for a full 90 seconds. And then, there’s some upbeat fireside guitar strums and a set of choir vocals chanting over handclaps, “I’ve been waiting for something to change, but I can’t escape this.” Just when you’re ready for the fever to break, the Nashville indie group goes right back to where the song started. The instrumental strips back to reveal frontman Chase Lawrence singing through vocal imperfections — “Jesus, are you listening?” For a band known for bubbly pop hits like “Talk Too Much” and “Crash My Car,” “Let It All Out” is COIN at their barest — it’s probably why the song is a fan favorite and a shoo-in on setlists.

Darius

'FEELS RIGHT'

French producer Terence N’guyen, better known as Darius, knows how to write a compulsive groove. It’s impossible to not tap your leg to “FEELS RIGHT,” the second single off his 2022 record OASIS — undoubtedly one of the most enjoyable R&B albums released last year. On the addictive electrosoul track, the bassline inches upward on an infinite staircase and featured artist Duñe’s vocals are tranquil and smooth. “FEELS RIGHT” starts off bouncy and ends up sensual, and everything in between strikes a pleasant balance.

Del Water Gap

'Theory of Emotion'

I’m just going to say it — S. Holden Jaffe has one of the best voices in all of indie pop. The Del Water Gap singer-songwriter sounds equally suited on alt-rock hits like “Ode to a Conversation Stuck in Your Throat” and slower ballads like 2021’s “It’s Not Fair!” As someone who’s been on the bandwagon since his 2019 Don’t Get Dark EP — yes, I’m pulling out my loyalty card for this — I don’t think any song displays Jaffe’s songwriting chops and vocal range better than “Theory of Emotion.” At the end of the first hook, his voice holds for nearly 10 seconds while singing the shattering lyric, “Am I dead behind the eyes for loving you too tightly?” A gritty 53-second guitar breakdown prefaces the song’s final refrain. With one studio album under his belt and a history of collaboration with indie superstar Maggie Rogers (more on that later), Del Water Gap could soon be written in bigger font on festival lineups.

Emmit Fenn

'Lost in Space'

On a festival bill full of house and electronic pop artists, Emmit Fenn may have the most restrained sound. The producer’s sound often skews more minimalist, leaving space for silence amid his atmospheric keyboards and slicing percussion. “Lost in Space” is a house ballad, if such a genre were to exist, and I expect it to be a breath of fresh air at M3F when juxtaposed with a lineup of louder pop acts. “I’m bathing in sunshine, lost in space,” he sings. “Waiting for your sign to set me straight.” M3F will be Fenn’s first festival performance of 2023, so we can expect him to bring his best.

EVAN GIIA

'WESTWORLD'

No, not that WestWorld. Scottsdale’s WestWorld has equestrian and used car shows. EVAN GIIA’s “WESTWORLD” has a carefree, nostalgic spirit and a place as probably one of my favorite songs on this list. This 2018 single has all the joy of mid-2010s radio pop with the corny meter turned down a few notches. The song is vast from the very beginning, opening with a spacious and wistful, “How could you say this every time?” and eventually landing on a cathartic drop. There’s a reason why it is the Brooklyn pop singer’s most streamed track to date.

Flora Elmcolone

'The Arsonist'

Almost the entire lineup for M3F this year sounds youthful on the surface: blithe and free-spirited, equipped for sunny days and ice-cold beverages. Then there’s San Francisco’s Flora Elmcolone, a singer-songwriter with a wisdom and cynicism beyond her mid-20-something years. There will be many artists during the weekend equipped with MIDI controllers and beat pads. I don’t think there will be anyone as incisive a storyteller as Elmcolone. “The Arsonist” is the outro on her debut EP The Idealist and it is a wicked allegorical tale of self-destruction and rebirth. “While I sit shivering, nothing I do will stop me from thinking of it,” she sings over a kick drum and a power chord as the song reaches its end. Elmcolone is set to perform at 2 p.m. on Saturday. I, for one, will be showing up early.

Joshy Soul

'Dreams'

“Dreams” immediately grips you with its funky looping bassline. Layered in reverb and desire, Salt Lake City-based electrosoul singer Joshy Soul lulls you to sleep with his voice. As “Dreams” progresses, the tempo accelerates and each handclap seems to hit with more fervor. His voice grows in confidence too. “Feels like I’m living in a dream,” he sings. Joshy Soul is currently slated to perform on the Cosmic stage at 4:30 p.m. on Saturday. It may not be the even more apt “Daydream” stage but cosmic feels like an apt descriptor for his spatial instrumentals and vivid voice.

Hayden James

'NUMB' (feat. GRAACE)

Australian DJ Hayden James will be one of the main EDM attractions at M3F. “NUMB” is well on its way to being James’ third song with nine-digit streaming numbers on Spotify, and for good reason. GRAACE’s warm vocals fit perfectly over the song’s initial electronic impersonation of a string section. After the second hook, the accelerating synth accents that pan from side to side when listening on stereo are a nice touch, and all three drops seem fit to kick off an evening. Given James’ 7 p.m. slot on Friday night, this is a must-listen in anticipation of the festival.

Jamie xx

'I Know There’s Gonna Be (Good Times)'

Sonically, Jamie xx lies at the center of the M3F genre Venn diagram — indie rock on one side, electronic dance music on the other. He’s driven Tumblr mad with his work as a member of English indie band The xx, and his sophomore solo album under the Jamie xx moniker, In Colour, was nominated for a Grammy for Best Dance/Electronic Album. Much of that record is a moodier brand of EDM, with its slow and stripped back electronic production. But then there’s “I Know There’s Gonna Be,” the album’s biggest hit to date. It opens with a sample of “Good Times” by '60s a capella soul quintet The Persuasions, which repeats for the rest of the track’s 3:33 runtime (and in your head for the rest of the month). Jamaican singer Popcaan and Atlanta’s Young Thug add enjoyable verses, too. As the biggest hit from M3F’s Friday headliner, this song could end up being one of the festival’s signature moments.
Note: The Persuasions once opened for Frank Zappa’s band The Mothers, so this song is tangentially the closest you’ll ever get to connecting Zappa and Young Thug.

Jim-E Stack

'Sweet Summer Sweat' (feat. Dijon)

I could listen to Dijon sing all day long. The man can do wrong with his voice, which Bay Area singer-producer Jim-E Stack gets the best out of on this warm electronic indie hit. Its looping guitar riff is endearing and trance-inducing. The added instrumental layers in the song’s final moments are worth sticking around for, too, as the song seems to whir and buzz circles around your head with a laser effect here and a whistle there. With his late afternoon slot on Friday, Jim-E Stack should have enough daylight to include this warm weather tune.

Maggie Rogers

'New Song' (feat. Del Water Gap)

When she takes the Vista stage on Friday, headliner Maggie Rogers will be on the second-to-last stop of her “Feral Joy Tour” alongside fellow M3F performer Del Water Gap. The two met at a summer camp when they were 12 and shared a band in college, where “New Song” was the last song the two wrote together before splitting off into separately illustrious solo careers. They’ve been performing the duet on tour, so fans at M3F can expect it on the festival setlist. While most of Rogers’ biggest hits skew pop, “New Song” is a crushingly insipid alt-folk ballad about a relationship hitting stagnancy. As Rogers and Jaffe harmonize on the song’s final lines — an endlessly repeated self-affirmation, “And I don’t mind it,” — there’s an overwhelming feeling of apathy and acceptance. If this song is any indication of their collective creative ability, I’d sign up for more collaborations.

Neal Francis

'Strawberry Letter 23'

Yes, this festival has both Neal Francis and NEIL FRANCES. One is stylized in all caps, one is not. They’re spelled differently. It’s confusing. But let’s start with Neal with an “A.” Musically, Francis is something of a time capsule, so it’s only fair we feature the only cover on this list. “Strawberry Letter 23” puts a neo-soul (and dare I say yacht rock?) twist on the Shuggie Otis and Brothers Johnson disco hit of the same name. The original and the cover share some elements — the warmly chimed intro melody, the signature oohs and ahhs on the chorus, the funk! — but Francis makes the song feel entirely his own with a few percussion changes and contemporary production.

NEIL FRANCES

'It’s like a dream'

At last year’s Outside Lands in San Francisco, NEIL FRANCES and Neil Frances took their homophonic names with a sense of humor. I’ll make it simple: The biggest difference between the two is that NEIL with an “I” is actually a duo. Jordan Feller and Marc Gilfry, an L.A.-based pair, combine to form NEIL FRANCES, where they’ve put out indie-funk slaps like 2017’s “Music Sounds Better With You,” which has over 100 million Spotify streams. “It’s like a dream” is more spellbinding, lulling the listener into a daze that almost feels … like a dream. Its arpeggiated synths appear subtly, then increase in frequency until they seem to take over on the final chorus.

Pachyman

'Big Energy'

“Big Energy,” the intro on Pachyman’s most recent full-length, 2021’s The Return Of…, opens with an announcement: “This is the return of Pachyman!” And that’s about the last you’ll hear verbally on the record, which is entirely instrumental reggae rock. “Big Energy” is the tone setter, with its echoing and rattling percussion. With his 3 p.m. slot on the big stage on Saturday, the Puerto Rican multi-instrumentalist will be tasked with easing festival goers back into the action for day two. I think “Big Energy” is the song to get it done.

PawPaw Rod

'Glass House'

I’m buying stock in PawPaw Rod. The Oklahoma City-based and Hawai’i-born singer is probably my favorite discovery while preparing for the festival. He’s got an infectious blend of alternative R&B, rap, and funk and a co-sign from Godmode, the California-based music company that boasts JPEGMAFIA and Channel Tres. I encourage you to check out Rod’s whole discography, but if you’re looking for a place to start, go with “Glass House,” from his 2021 debut EP. “We both know what happens, when you stomp in a glass house,” he sings, countered like clockwork by a looping vocal sample after each line. Across the EP, he flexes a wide and soulful vocal range, but here, the tone is deep and narcotic. Coupled with an impressive bass line and bouncy beat, “Glass House” is endlessly relistenable. It’s worth noting for Valley basketball fans that PawPaw Rod is one of us — he directs his NBA fandom wherever Kevin Durant plays. PawPaw Rod takes the Daydream stage at 2:30 p.m. on Saturday.

Peach Pit

'Pepsi on the House'

Peach Pit seems to endlessly live in the corners of algorithmic streaming playlists with buzzwords like “feel good,” “road trip,” and “indie rock,” but don’t put them in a box. Their 2022 record From 2 to 3 was one of last year’s indie pop standouts, largely due to songs like “Pepsi On The House.” It opens with a walk up and down the scale, invitingly strumming and drumming its listener into an easygoing mood. On the surface, it’s built to be an upbeat indie rock hit, but one read over the lyrics reveals some cynicism. “When you turn me on, it’s the height of fun,” sings frontman Neil Smith. “Wake up and see that morning changes all.” With an hour-long slot at M3F, I’m hoping this recent deep cut makes the Peach Pit setlist.

Polo & Pan

'Tunnel' (feat. Channel Tres)

Channel Tres’ deep, monotone voice fits perfectly with French duo Polo & Pan’s electronic production. Tres’ demands are inimitable when juxtaposed with such a gritty, yet balmy, instrumental. “Pull up 20 deep, bring the party to you,” he says as the song opens. The confidence is palpable. Polo & Pan is tasked with being Friday night’s last act before Maggie Rogers’ headlining set, and I think bringing out Channel Tres for “Tunnel” would be enough to get the crowd engaged.

Purple Disco Machine

'Fireworks' (feat. Moss Kena & The Knocks)

Another cross-collaboration! The synergy on the M3F lineup is off the charts — Maggie Rogers and Del Water Gap, locals Slug Bug and Veronica Everheart ... all frequent collaborators. Then, there’s German disco producer Purple Disco Machine, who shares one of his biggest hits with an M3F peer in The Knocks. Thematically, “Fireworks” sounds like it was concocted in an elementary music classroom, and it works. On one verse, joy is as “easy as 1, 2, 3” and on another as easy as “do, re, mi.” The youthful gang vocals on the chorus are catchy as hell, and I simply can’t frown during them. Been trying. Won’t happen.

Slug Bug

'Old'

Slug Bug, one of two local acts on the M3F lineup, only has one track out on streaming services … for now. “We’ve been cooking for a while,” says bassist Ellie Willard, who says the band is tentatively planning on a spring release for a new EP. Until then, “Old” is an indie rock track that more than satisfies the palate. It opens with a slowly accelerating snare before lead singer Wyatt Hjerpe croons with a Julian Casablancas-esque rasp. The Casabalancas influence is real — Hjerpe wrote the song’s main riff in late 2020 while trying to learn how to play a Strokes song. Lyrically, Hjerpe seeks to emulate the lighthearted candor of LCD Soundsystem’s James Murphy. He says “Old” is about falling in love while simultaneously fearing the future and its dystopian technological advancements. If you’ve seen the viral, eerie conversations with ChatGPT, you might crave a song like this, too.

St. Terrible

'Nothingness vs. The Optimistic Spirit'

St. Terrible’s blend of folk, punk, and indie rock will be one of a kind at M3F, and there’s no better way to get into their discography than to dive into the deep end. The Boise solo project’s 2016 album, The Gospel Of Nothingness (V. I), is capped off by “Nothingness Vs. The Optimistic Spirit,” one of their most unabashed tracks. After the song opens with 20 seconds of atmospheric feedback, a steady and simple strumming pattern opens the door to a tale of modest dissatisfaction. The melody is as accessible as any recent radio folk-pop song without losing the edge of contemporary emo. The song wraps with a conclusive set of piano chords and some ambient outdoor sound. “I’m just a nihilist with some big ideas,” he sings on the first verse. “If you need release, I will be right here.”

The Bash Dogs

'Boogie Down'

“Boogie Down” really leans into what you can expect from The Bash Dogs — a funky bass line and guitars that are layered, plucky and anything but brash. On the first verse, the vocals rattle and disappear, and there are literal dog barks in the distance. The L.A. band’s lead singer Nate Barrett may be capable of a lower vocal register than anybody else at M3F, and he certainly flexes that muscle throughout the track. “Let’s bring in the new year,” he sings. “The time is now.” It may be March by the time he gets a chance to deliver that line at M3F, but better late than never.

The Jungle Giants

'In Her Eyes'

“She’s got love in her eyes, I’ve got love in my heart,” sings vocalist Sam Hales on this song’s catchy hook. Instrumentally, “In Her Eyes” sounds as hopeful and lovelorn as the lyrics would suggest. The thumping synth melody accompanies the sweet vocal refrain perfectly. The Jungle Giants are coming all the way from Brisbane, Australia, for M3F, so if headliner Jamie xx isn’t up your alley, be sure to catch their 10 p.m. set on Saturday. Especially because “In Her Eyes” is just scratching the surface of the band’s energy.

The Knocks

'Bodies' (feat. MUNA)

The Knocks get it. The NYC electronic duo have had an eclectic guest list on their last two records, almost all of which are undeniably great acts — Yoke Lore, Big Boi, Foster the People, to name a few. But the opener off 2022’s HISTORY is my personal favorite of the bunch. MUNA, titans of the indie pop genre’s future (and present?), join in on “Bodies,” a song that feels truly like a lead-off hitter. Instrumentally, the song is restrained from the start. Its main chord progression increases in volume as the song gets lyrically more and more repetitive. “Waving with the weight from bodies in the basement,” MUNA repeats, lulling you comatose before the song’s memorable drop. I expect to hear this one on Friday — The Knocks closed with it at many of their shows on last year’s North American tour. If you’re looking for Knocks fans at M3F, look for the duo’s minimalist merch line that simply reads “Disco Fucks.”

The Lagoons

'Daybreak'

You could throw a dart at the tracklist from Daybreak, The Lagoons' most recent full-length release, and not go wrong picking a favorite. So that’s what I indecisively did (not literally, thankfully Spotify has a nifty shuffle feature). On the album’s title track, the L.A. indie act builds around a simple, yet memorable, acoustic riff. With its rapid drums and spacey accents, the song strikes an appropriate balance between the two genres that seem to define M3F — electronic and indie rock. Its best moment comes on the bridge, when the kick drum drops out in favor of a shimmering, expansive keyboard melody. There’s something nostalgic about the song’s vague melancholy, so I plan on forming a core memory at their 3 p.m. set on Friday.

Toro Y Moi

'The Loop'

Chaz Bear, the producer, singer-songwriter, and engine behind Toro y Moi, writes some of the catchiest basslines in all of indie music. On “The Loop,” a song that somehow makes the internet’s perennially bleak waterfall of information sound fun, the primary riff is as circular as the title. The repetitive hook, “Staying in the loop, staying in the loop,” is wildly catchy and makes the track one of the standouts from Toro y Moi’s stellar 2022 record MAHAL. On the song’s back half, the coastal guitar solos and dueling da-da-das sound as breezy as the record’s cover art — Chaz Bear standing in the doorway of a custom van, parked at the base of the Golden Gate Bridge — would suggest. At M3F, Toro y Moi will be an 8 p.m. performer that packs the punch of a headliner.

Veronica Everheart

'The Acolyte'

As a songwriter, Veronica Everheart’s gift is ambiguity. “My mind is caught up on being unsustainable,” Everheart sings on “The Acolyte,” which she says was the first “rock” song she ever wrote. That’s part of the reason why she made it the leadoff track for Cherry Picked, her 2022 EP. “It wakes you up,” she said. Thematically, Everheart said the song was inspired by “mental health culture” online, where sometimes afflictions are touted as a badge of honor, something she sees as potentially damaging for young people. She looks forward to performing the song for its catharsis, brought out by the snappy power chords and swarming drums. Everheart can rock out harder than many on the M3F lineup, and the Arizona native will get a chance to show it at 2 p.m. on Friday.

Winston Surfshirt

'Maybe I’m in Love With You' (feat. Talib Kweli)

The horns on Winston Surfshirt’s “Maybe I’m in Love With You” are so sticky, and they’ve been living rent-free in my head since I first heard the track. On the hook, Winston and the peppy instrumental seem to converse. “Maybe it’s true, maybe I’m in love with you,” he sings, trading yearnful melodies with the band’s trombonist, aptly nicknamed The Bone. Then, on the second verse, rap giant Talib Kweli gives the song an extra punch. There are admittedly a few cheesy bars (“We make a symphony, your love is like Beethoven” stands out), but I think sometimes we all need a song as sappy and buoyant as this one. Given the mesmeric sound of many artists at M3F, “Maybe I’m In Love With You” will be a nice wake-up call when Winston Surfshirt takes the Daydream stage on Friday.