George William Thomas: The Power of Vulnerability and Connection

This article has discussions of mental health, suicidal ideation, and substance abuse.

George William Thomas never set out to make music. Throughout his journey of growth, healing, and sobriety, he’s been able to connect to people’s raw emotions through his powerful storytelling. Blending genres like folk, Americana, emo, and punk, George has created his own sound. Since learning to play guitar six years ago, he has moved to Nashville, shared the stage with Liam St. John and Tyler Anthony, written songs with other artists like Evan Honer, and released songs through Cloverdale Records.

Photo by Harrison Hargrave

His Journey as a Writer

“I wouldn't consider myself a musician. I like to write, and however I can bring that to life is cool. In my heart, the only thing that I consider myself is a writer, and everything else is just whatever seems fun or whatever sounds good.”

Despite not considering himself a musician, George has used his love of writing to create music that resonates deeply with listeners. One of his first TikTok videos quickly went viral, sharing his music with millions before he had even finished writing a song.

“I started playing guitar when I got sober, and as soon as I learned how to play two chords, I was writing songs, because I love to write. My friends convinced me to make a TikTok and post songs I was writing.”

The first song he released, “Down the Barrel,” deeply resonated with listeners, inspiring him to continue posting and creating original content. After going viral, he turned down record-label offers, as his passion lay in writing. 

“I have always loved words. I love to talk, I love to write, and I read a lot. That was always my passion… I wasn’t meaning to make music; I never wanted a career in music. I always thought I would do something involved with writing, but I didn’t finish high school, I didn’t go to college. That seemed outlandish.” 

How lucky we are that he decided to pursue music!

A Life Changing Show in Denver

George recently played a few dates opening for Liam St. John on his Man of the North tour, and I was lucky enough to see them twice in Colorado. In Denver, they played the Marquis Theater, a venue that creates intimacy between the crowd and the artist. And George definitely felt the connection.

“I felt more myself on stage for those 40 minutes than I probably ever have. Just more open and honest, and not able to hide behind anything. No ego, like, this is all I am. And that's a really beautiful feeling.”

As an attendee at this show, I witnessed the crowd's interaction with George. Some of his set touches on experiences when struggling with his mental health. The whole room was deeply connected to these experiences, and we all felt part of the moment with him. The authentic emotion brought tears to many in the room, including George, prompting audience members to cheer and scream, “You’re doing great!!!” 

“I think that's really what Denver felt like for me. It was just like, maybe this is okay, maybe who I am doesn't need to be perfect. If I'm around the right people, I'm enough for them… That's something I'm going to take with me forever. Even if I never played another show again, that experience is a part of who I am now.”

Photo by Mike Jeffries

The Power of Vulnerability and Authenticity in Music

I met George for the first time in January 2025, and his authenticity struck me immediately. I was in Nashville for Cloverdale Records’ first anniversary party, and we quickly connected. Throughout these two evenings, we became fast friends. His vulnerability was showcased in his songs, but through our first conversation, I realized that was just how he was. 

One of my favorite George William Thomas songs is “My Roomba Ate My Taxes,” and I was excited to learn it was one of his as well. This song was born of a desire to break out of the box he felt confined to by his earlier music. 

““My Roomba Ate My Taxes” was one of the first times that I was able to write outside of myself, but make something that still felt like me… I think it's important to be able to mix humor and sadness in the correct proportions because they do exist together at all times.”

It serves as a sister song to “you said we were going out for half priced apps and then ordered a full entree off the menu even though i only had 27 dollars left in my bank account for both of us to eat until next friday (nice guy)”, a song discussing the beginning of realizing your relationship might have problems. 

“To be in something so sad that I wasn't willing to fully accept it yet, but to be able to get the feeling out and also sort of laugh at it at the same time and be like, this sucks… even though the experience is horrible, to not take the creative part of it so seriously, and be able to laugh about it while you're in it and find the humor in those moments.”

Some of George’s earlier releases set expectations for his music. “Down the Barrel” discusses suicidal ideation and a struggle with mental health, something resonating with listeners and early viewers of the video that blew up. The lyrics “I know I’m not the only one who can’t regulate my brain / So why does everybody else pretend like they’re not insane” allowed listeners to feel seen. The audience that connected with this song hoped that all of his music would have the same energy. 

While a reflection of listeners’ experiences in music is important, it can take a toll on the artist. Throughout his music career, George has reflected on what he called “the performative sadness of songwriting,” a cycle some artists get stuck in, where they feel their most creative work comes from ruminating on negative emotions. As a natural storyteller, he creates art that reflects on the human condition, rather than his personal experiences, expanding on his sadness to include joy and humor.

“Learning that I’m allowed to be more than one thing. I’m allowed to be sad and introspective, and I’m allowed to be funny… that felt freeing in a lot of ways to me. [“My Roomba Ate My Taxes”] felt like it wasn’t literally about me in any way. It was things that were happening around me. I’d say I’m the most proud of that, because it feels like who I am if no one’s watching.” 

Throughout every conversation with George, as well as his live sets, I am reminded of how genuine he is as a person. He values authenticity and showing up as himself, whether it’s on stage or through the songwriting process, a powerful skill that can easily get lost.

Photo by Harrison Hargrave

Journey of Sobriety

Six years ago, George picked up a guitar as part of his personal journey getting sober. 

“I would say that getting sober is the hardest and most meaningful thing I've probably done in my adult life, and that also looks different for everybody. Getting sober is individual to you as a person, and what suits you and what doesn't. It's not an end goal; sobriety is not black and white. It's a path towards improvement, and like anything, any path in life, there's going to be ups and downs, and it's one day at a time. There's going to be wins and losses, but it's just that you're aiming towards a better version of yourself.”

In his latest release, “Indecent Exposure,” George touches on his sobriety and uses it as an opportunity in shows to talk about his experience. In one line, he says, “I wish you’d come over / Well, I swear I’m mostly sober.” 

“I don't even know where [“mostly sober”] came out of, but to me, that's been like a cool thing to share with people. To be like, ‘Hey, this is allowed to look different for you than it does for me. Like, this is like a different path for everybody.”

After being entirely sober for one year, he realized he could be ‘mostly sober’ by changing habits and looking at what his life looked like without substances. 

“It’s contrary to the quality of life for me, because it's nice to be able to go out and have a beer with your friends. And I don't think there's anything wrong with that, and I don't think that that means that you're not sober. If you're trying to stay away from fentanyl, and you've been doing a good job at that, and you want to have a beer with your friends, like, I think that's okay... It's allowed to look different for everybody.”

Musical Connections

In this day and age, we are connected to musicians and discover new music through apps like TikTok, just as George was. After posting videos of himself playing his music, he connected with artists like Evan Honer and Kyle McEvoy. Eventually, he became one of the early artists on Cloverdale Records, a label owned and run by Evan and Kyle. 

“Evan was one of the first friends that I made as a songwriter, and we just got along really well. I trust Evan a lot. The first time I met Liam [St. John] was with Evan… I was in California, and Evan was in Los Angeles. We met in Long Beach and wrote a song together that was on his second album.” (The song is “I Hope That’s All You Need” from the album 2024 Fighting For.) "Evan and Liam had just started hanging out… So we wrote a song on the beach, and then we went to North Hollywood and hung out with Liam. That was right before he moved to Nashville.”

All three have since moved to Nashville and continue to play and write music together. Their friendships have grown, and it’s easy to see how close they've become. In fact, I think that George may be Liam’s biggest fan! 

“I like getting to play on stage, but also getting to hang around other artists a lot. We’re just people who like the music, and then followed an interest… Everyone that people look up to in music is, at their core, just a fan of music who learned how to do it.” 

George and Liam | Photo Shared by George William Thomas

Keeping up with George William Thomas

As he continues to find his unique sound and showcase his storytelling ability, listeners will continue to resonate with his music. His latest release, “Gabby’s Song,” came out on November 12th, 2025, and there’s more to come in 2026. George has been busy! He will also join Liam St. John for two more shows in Mississippi in December, performances you don’t want to miss!

And if you’re wondering what his favorite half-price app is (like I was), he is a big boneless wings fan. 

Follow along with George William Thomas here, and be sure to check out his music! 

Photo by Mike Jeffries

Farewell at the Aladdin: One Last Night of Hillstomp in Portland

Article by: Aryana Lanning

Photos by: Chad Lanning

Witnessing Hillstomp live envelops one in a soulful kind of chaos. The hybrid of bluegrass and punk, combined with trance-like rhythms and raw, powerfully delivered vocals, creates an energy like nothing else. On October 18th at the Aladdin Theater, Hillstomp performed their final hometown show, as the duo transitions into an "indefinite hiatus” after an impressive 23 years together. They have toured 38 states, traveled internationally several times, and have amassed loving supporters everywhere they’ve performed.

They opened their last night in Portland with their song “Don’t Come Down,” released in 2014, for which a music video was filmed that same year. I had the privilege of being on that set at the age of 12, in a basement at capacity with sound and dance. I was delighted to find today that their live show somehow surpassed the unforgettable energy I felt that night. A steady tempo, slowly increasing in vigor, creates anticipation in every dancer; the body then finds every hypnotic crescendo impossible to resist moving to.

Singer and guitarist Henry Kammerer conveys stories through his vocals, preaching and playing with raw conviction, while drummer John Johnson crafts intricate, unrelenting rhythms that drive the songs forward, creating a complementary structure for Henry’s banjo and guitar work. Four-on-the-floor kick grounds their most intense moments. John utilises a washboard, heavy chains, and even a brake drum, incorporating ad hoc instruments that suit their music flawlessly. This innovation originates from John’s lack of a drum set during their formation over two decades ago, having settled for a barbecue lid and a 5 gallon bucket the first time playing with Henry.

The vocals are heavily laden with themes of life, death, and the spaces in between. The lyrics — “on his way to die,” “you know someday I will die,” “die when you’re riding high,” and “baby I’m already dead” — could be heard in four separate tracks, eliciting a both haunting and comforting feeling of surrender. Every track seems to have been brought to life by a matter of the heart, in one way or another. Most poignant to me was a song dedicated to Henry’s beloved late black lab, Merl, later followed by an homage to a sailor who drowned off the coast of England doing what he loved. These themes remained in the back of my mind well after the show had ended. The depth of emotion evoked by their music does not cease to resonate with the listener.

The evening at the Aladdin was opened by Sasparilla, a local punk-Americana group returning after a several-year absence to introduce the band that inspired their origin. In their words, “there wouldn’t be a Sasparilla if there wasn’t a Hillstomp.” The band was joined by frontman Kevin Blackwell’s two sons on drums and bass; an endearing symbol of the years that have passed since their formation. Sasparilla immediately set the pace of a steadfast steam train with their spirited vocals and persistent rhythm, generating an energy well-suited for the rest of the unforgettable night.

I couldn’t have imagined a better send-off for Hillstomp’s era in Portland. The audience was full of energy and gratitude for the years of raw, unfiltered expression that blended blues and punk grit to create what will always be remembered unmistakably as their own. There is a shared understanding among fans that Henry and John spent many years dedicating everything they could to their music, and the resulting performance was an honor to witness one last time.

Summer School - A Fresh Voice in the Northwest

Summer School may be the newest kids on the block, but their members are far from strangers to the limelight: Joseph Carag, formerly a songwriter for indie singer Ragamuffs, brought his knack for catchy melodies with hits like Lainey, Lainey and Sunset Chaser and Legend Pham spent years touring with various pop-rock bands, performing at Austin’s South by Southwest and the iconic Vans Warped Tour.

The duo connected through pop producer Cameron Kuwada in Los Angeles, and soon decided to form a new band. They recruited drummer Andrew Chegash from Apex, NC, guitarists Joseph Son from North Carolina, and Tyler Parsons from Bend, OR, rounding out a lineup that blends diverse musical backgrounds into one cohesive, high-energy unit.

Collaborative Creativity

Each member brings a distinct flavor to the band. Joseph and Legend’s roots in indie and pop-rock intersect with Andrew’s jazz and soul history, Joseph Son and Tyler’s versatile guitar work. This diversity has created a layered, genre-blending sound that remains both fun and adventurous. 

“In the collaborative process, it's been a bit of a different change, but it's been good because there's just like a wide exchange of ideas,” they explain.

The Sound and the Name

Summer School’s very first song, written together, “Sweet Tea,” captures the band’s “shimmery surf vibes,” reflecting the playful yet polished energy that defines their music. The name itself, while simple, stuck instantly and mirrors the easy-going, summery feel of their sound.

“We were Ski School for like a day, and I don't know if that was going to hit and roll off the tongue…Summer School was just kind of stuck. And, technically, it's not even Summer School.

It's actually Summer’s Cool.”

Songwriting is a collaborative process, often layering a multitude of tracks to create depth and nuance. Though in name and tone, Summer School brings a distinct indie pop vibe, sonically their music doesn’t shy away from experimentation, and doesn’t confine itself to one straight genre. Lo-fi textures, unexpected tempo shifts, and utilizing their diverse skillset to push the boundaries of their music, giving you a few unexpected twists and takes on the classic indie surf rock/pop feel. 

“I feel like songs that are most interesting to me nowadays are like, the weirder you can make it, the better.”

Influences and Inspirations

Summer School draws inspiration from a wide array of artists. Classic influences like The Beatles inform their approach to melody and experimentation, while contemporary acts like Greek, Porches, and Keys inspire modern production techniques and unconventional structures. Each member also looks beyond their own genre, allowing fresh ideas to influence their music and keep the sound evolving and changing.

Live Shows - The Highs and Lows 

For Summer School, live shows have played a huge role in their identity. Energetic and immersive, their performances aim to translate the same enthusiasm from the studio to the stage. 

While their music primarily appeals to early 20s listeners, the band hopes to reach anyone willing to engage with their vibrant sound. From East Coast tours to SXSW and Canadian shows, the band has already built a reputation for bringing a high-energy, memorable live experience.

Of course, not every stop on tour is smooth sailing. While on the road, the band stayed at an Airbnb with a suspicious address of 666 (a detail they laughed off until the house started to feel… off).

“We're not that superstitious, right?” they recalled, “but things started to get weird because we had a gas leak problem… first thing that we were experiencing - it smells like eggs and like sulfur.” 

Turns out, there was a gas leak. Add in flickering lights, mysterious noises, and a creepy portrait of a woman on the wall, and it quickly became a real-life horror movie. At 3 a.m., running on no sleep, they packed up and drove straight to their next tour stop that same night.

The PNW

Seattle’s music scene has played its part in building up what Summer School is - with venues like Barboza as touchpoints, Summer School has been leaning into and exploring what the PNW and Seattle scene have to offer.

 Though not all members have been in Seattle most of their lives, they’re finding their way through the rich history and blazing music scene in the city. 

“I think all of us are still bringing a mix from our own hometowns and creating our own entity. 

But we're very open to getting that Seattle sound, that very raw feel. So I think the more we dive into the music scene, we could get that better understanding.”

Looking Ahead

With new music on the horizon and a growing following, Summer School is just getting started. Their sound is layered, summery, and boundary-pushing, and is a fresh voice in the Northwest.

Find them on Spotify, Apple Music, and Instagram, and you just might be able to catch them live for a high-energy experience that’s as fun as it is unforgettable.