Clairo Casts A Spell In Sold Out Show At 7th Street Entry

Clairo, Juliet Farmer
Clairo performs at 7th Street Entry. Photo by Juliet Farmer.

Millenial diety Clairo sold out 7th Street Entry in a matter of days. Whoever booked that show likely underestimated the fervor of teen adoration. The teenage girls that lined up by 3pm for the 6pm show were excited to get polaroid photos with the bedroom pop singer, forking over birthday money for their brief meet-and-greet experiences.

Garren Sean. Clairo. 7th Street Entry.
Garren Sean performs at 7th Street Entry. Photo by Juliet Farmer.

Opening act Garren Sean was an interesting act to precede Clairo. Completely solo, the Bay Area musician unloaded all of his gear by himself. His confident vocals and sweet smile set the stage perfectly for the excited crowd, and his multi-instrument set wowed the youngsters.

Garren Sean, 7th Street Entry, Juliet Farmer
Garren Sean performs at 7th Street Entry. Photo by Juliet Farmer.

Garren’s instrumental talents suited his diverse sound as he performed songs from his recent project, Garren LP. From classic funk bops to smooth synth-based tracks, every song showed a different musical exploration.

Clairo, 7th Street Entry, Juliet Farmer
Clairo performs at 7th Street Entry. Photo by Juliet Farmer.

When Claire Cottrill entered through a soft, smoky haze, the teenagers surrounding me erupted in screams that I would have thought were reserved for Taylor Swift. The 19-year-old Massachusetts native is a true testament to millennial culture. Rising to fame on the internet, Clairo’s Soundcloud roots have taken her far.

Clairo, Juliet Farmer
Clairo is handed a phone to record some video during her performance at 7th Street Entry. Photo by Juliet Farmer.

The singer-songwriter performed songs from her EP Diary 001as the crowd screamed along with the lyrics to hits like “Flaming Hot Cheetos” and “Pretty Girl”, taking Clairo’s hypnotic and lo-fi sound to another level.

Clairo, Hayley, Juliet Farmer
Clairo performs at 7th Street Entry. Photo by Juliet Farmer.

Local music fans may have recognized guitarist Hayley Briasco from Minneapolis punk staple Tony Peachka. After spending time as the Tony Peachka drummer, Briasco left to tour with Clairo, bringing her impressive myriad of talents to a new frontier.

Clairo, Juliet Farmer
Clairo performs at 7th Street Entry. Photo by Juliet Farmer.

The band ended their set with an encore, delighting everyone in attendance with the song “4EVER”. If the X’s on Claire Cottrill’s hands hadn’t reminded me of her young age, the lyrics to “4EVER” did. “Is it ever gonna change,” she sang, “Am I gonna feel this way forever?”

Clairo, Juliet Farmer
Clairo performs at 7th Street Entry. Photo by Juliet Farmer.

As for me, I’m looking forward to seeing where Clairo goes from here. Will their sound change and grow, or will it always feel like a scrapbook page of girlhood, frozen in time? Either way, I’m here for it.


Juliet Farmer
Author: Juliet Farmer

Written by Juliet Farmer

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  1. 2 songs on ‘DIARY 001’ (‘Falming Hot Cheetos’ and ‘Get Wit U’) use commercial loops/samples that THEY DIDN’T EVEN BOTHER TO ALTER the pitch, speed, or key. Has anyone even noticed that the music on these tracks is 2-or-3-notes that repeat ad nauseum?. The melody of ‘How (demo)’ is undeniably stolen off a song called She’s So Lovely by Beach House (2015) (see for yourself: The EP cover is stolen from the poster of a film called Boyhood (2014).
    Clario DOES NOT write his own songs despite, in interviews, wanting to appear as some female empowerment trip. He consistently works with lowest-level male producer-artists that are higher above him that write these and at most add his name (last) to the credits (Burns Twins, Rennie L. Harlen, HG Lewis, Cocu, ect.).
    Clario tracks are professionally produced to APPEAR to the unaware as something an 18 or 19-year-old kid could do… so that they can make it appear he is ‘growing’ over time as the calculated steps are put into play at the right times and are presented to the public as being natural (a more polished, commercial image, a more professional band, higher-level producers).
    Thousands of people are under this ONLY BECAUSE OF the marketing money and advertising industry psychology behind. Nothing about it is money. If you like it, you cannot explain why because you are only under the bogus image. You believe it is real.
    Clario music has been playing in thousands of restaraunts and stores across the globe thanx to his dad’s connections.
    Clario’s father is Tim Cottrill, who is with MusicCares (the ‘Grammy Awards’) and has been a high-level executive at Coca-Cola, Starbucks, McDonald’s, Converse and others (though he has been fired for most of all of them).
    Tim or his hired team got Clario’s music on these store/restaraunt playlists a month or two after ‘Pretty Girl’ was out on YouTube. A time when she was a YOUTUBER ONLY and that video had generated only 3 or 4 million SPAM-enhanced views. and if he is further advanced, they will give him credit for the entire ‘lo-fi’ scene, of which Clario is only a poser and thief, while the marketing machine that is behind him slowly ‘guides’ all of the polarized attention (the reason he is empowered: followers of him are generating unconscious-attention onto him) into lowbrow degenerate ghetto-ass NEGRO rap music while they present Clario in a more polished (makeup and designer clothing) image and he will act like he is even more money despite being an even bigger piece of shit.
    Clairo has been connected to FADER label (an industry faux label with 6 artists) ‘Haight Brand’ and the rap manager ‘Pat the Manager’ (Chance the Raper’s manager) for 1 year before he ‘signed’ with them and long before ‘Pretty Girl’ was even made… a time when Clario had very few real followers and was presenting himself as ‘indie’/’alternative’ and pretending to pay dues on ‘Soundcloud’ and ‘Bandcamp’ thru collaborating with and covering IMAGE-ONLY hipster artists, who he never mentions anymore and only promotes rap, probably paid to do so or his dad told him they only advances females who look up to and empower negroes by funneling power/attention onto them.

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