_{By Madeline Harris}

I found myself at The Boardwalk a little ahead of schedule on BotB night 3. The good thing about getting to these events early? I get to absorb pieces of each band’s vibe that I wouldn’t have been able to otherwise. As I sat in the judges’ corner, the pre-summer heat poured in and filled the rumbling venue with anticipatory sweetness. Each group warmed up, and the vast array of sounds at present made it clear that tonight was sure to be fully stocked with sonic twists and turns. While familiar with the lineup, I would be lying if I claimed to know what to expect. I opened myself up to whatever the night might bring on, eager to listen, take notes, and dance as I saw fit.

Gralley

Gralley’s set began by dropping the audience right into a wall of sound, which on its own and without the aid of words screamed, “We are Gralley. Welcome.” It was an efficient and effective introduction and impossible not to pay attention to. Right off the bat, they curated heavy noise, made it tasteful, and rejected the mundane. Their full-throttle energy seized the crowd’s attention and maintained interest throughout the set.

Harvey’s guitar style was sweeping, weeping, and full of flair. Grounded by the weight of the bass and the momentum of the drums, this auditory collage created a thick and impermeable sound. The cherry on top was Alley Greer’s delicate, songbird vocals, which served as a stark foil to the band’s otherwise opaque sound. I loved her tone — it was sweet, melodic, and completely diverged from my expectations. One of the other judges noted that, upon first impression, “her voice was like cotton candy.” It rang like a bell when it was allowed to, but I wished that I could hear just a bit more of it. I felt that every so often, it would be overpowered by other layers in their soundscape. In moments that instrumentals would lighten up and Alley’s vocals could shine through, it was a perfect weight distribution. 

In general, I loved their more mellow songs where they left space to explore. I think this band thrives when individual elements, whether they be effect-heavy riffs or Alley’s compelling vocals, are the focus in their own time, but not all at once. Less is more in this case, but overall, the band has a dynamic sound and a lot to offer to the scene.

Tainted Ink

By the time Tainted Ink took the stage, The Boardwalk had been broken in a bit and fog mingled with red stage lights overhead. As the trio stepped up, a dress code of red and black became apparent. This, coupled with a double bass drum setup, promised at the very minimum, death-metal excitement. In the best possible way, Tainted Ink looks like they could soundtrack The Purge.

Their set began, and within seconds so did the headbanging. Long hair swung across the stage in time with their heavy, all-encompassing beat. The vocals blew me away, and quite frankly, are beyond my comprehension — I’ve never growled vocals myself (and don’t plan to any time soon) but can only imagine the skill and dedication required to make it look like second nature. Whilst it’s an area I’m not thoroughly versed in, I doubt I’ll witness a more impressive vocal performance any time soon.

The double bass drum piqued my interest, and I’m happy to report that the drummer did deliver on its usage. However, I found it hard to pick up on the complexity of their percussion if not inches from the stage. The double bass drum is a massively impressive element, but it was hard to appreciate to the extent it deserved under the other layers at play.

I look forward to seeing Tainted Ink experiment rhythmically. If they leaned a bit more into the freedom of exploring the possibilities of such a radical sound, in addition to the charismatic momentum they established with their stage presence, they could really send the listener flying (or falling into their grave).

Teddy P

Third to take the stage was Teddy P. Their ensemble stepped up, adorned by matching suits, matrix-esque sunglasses, and sparkling saxophones. Synths flanked the stage, and their silver backdrop cooled the mood as they began their set. The band started in a manner more conventional than the rest of their performance would reveal itself to be. Their first song featured vocals, an element hardly present later in the set. Teddy’s spoken-word chatter was full of humor and established that, while undisputedly talented, this group was ready to have fun and not take themselves too seriously.

I love jazz, so as their flowy set went on, I felt I was indulging in a rich treat that completely switched up the atmosphere of the night. As different members broke into complex, abstract solos, the rest of the band demonstrated impeccable timing and the ability to juggle several trains of thought with ease and no explicit communication. Their saxophones at several points wailed and cried and made sounds I didn’t know were possible. 

Their synths and brush drumming sent me, and other audience members, to space. It was as if aliens came to Earth, and in an effort to blend in, started a Brian-Eno-meets-Sax-House band. Which, if that were to be the case, didn’t aid in their quest for nonchalance. Almost nobody does what they do. Nice try, aliens.

Their idiosyncratic sound may not be for everyone, but for those who love a good wormhole, it scratches every part of the brain. 

Loafa

What strikes me most about Loafa is their synergetic force as a collective. They’ve nailed their sound and, in their brief 20-minute performance, provided a show that’s polished and possesses wide appeal. Once they settled into their rhythm (a process that can be tricky under such tight time constraints), they fabricated a multidimensional framework with irresistible groove. They feature dueling guitars with calculated riffs, drums packed with potency, and interactive storytelling. Their baselines are among the niftiest I’ve heard. They are naturals when it comes to stage presence, crowd interaction, and the art of multitasking. 

They don’t seem to even break a sweat when layering complex rhythms and riffs. Each member is free to jump around and explore a bit but always make it back home to meet the others. It’s clear the band has a fantastic sense of unity and has founded its dynamics on mutual trust. Their sound grew in intensity the longer the set went on, and their formidable flow dominated the room. They appeared perfectly at home and in their element on The Boardwalk’s stage; they could’ve told me they owned it, and I would’ve believed them.

Their performance held the crowd’s attention throughout, and they checked all the boxes of what constitutes a smooth, exciting, and well-rounded show. They are refined, and I look forward to seeing where they could take their sound should they branch out a bit. They’ve got cohesion, groove, and confidence in the bag, and with a foundation that solid to build upon, their prospects are promising. Loafa’s beat really shook the house and provided the satiating end to the night that everyone needed

Results

All bands brought the heat (literally, in the case of Tainted Ink, who whipped out flaming drumsticks during their deathcore cover of the alphabet), but the judges had to pick a winner at the end of the night. The process to do so was tough, and it was a very close call. After weighing factors such as musicianship and crowd interaction (hello, airsoft golf balls?), we decided on the winner of night 3: Teddy P!

Teddy P’s performance was unlike anything I’ve seen in years; their originality is unparalleled, and I think their involvement with this season’s BotB proves, if anything, that they are a force to be reckoned with in the scene. Catch Teddy P with Calling Card, Coastal City, and tonight’s finalists this Saturday at The Boardwalk! You can stay up to date with the band by following their Instagram.

The Boardwalk’s Spring 2025 Battle of the Bands final night of prelims is TONIGHT and will feature The Skolars, Treeson, Valhalla, and Ultravatic. Doors open at 6:30 PM. In the mean time, check out “Heaven Sent” by Gralley!

_{New to Provo Music Magazine? See also: Inside PMM’s Battle of the Bands Coverage}