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Sarah and the Safe Word


  1. 1.
    You're All Scotch, No Soda
  2. 2.
    Sick On Seventh Street
  3. 3.
    The Last Great Sweetheart of the Grand Electric Rodeo
  4. 4.
    Bottom of a Bender
  5. 5.
    Formula 666
Sarah and the Safe Word exists in two worlds, each a century apart. The first is set behind a haze of cigarette smoke in a speakeasy’s back room, where daring storytelling of swashbucklers and a hot rod-racing demon only complements an already theatrical stage show.
The second is the basement world of sweat-soaked punk shows and a collectivist mindset, encouraging free expression, sexual liberation, and community without boundaries. This Atlanta seven-piece attempts to bridge the gap between these two seedy underbellies, updating each in the process with a full-bodied take on well-worn sounds and a steadfast commitment to using their platform to uplift queer voices.
"Good Gracious. Bad People!" is the briskly recorded, breathlessly ambitious follow-up to last year's "Red Hot & Holy." Sarah and the Safe Word's anachronistic approach to songwriting, like soaking Prohibition-era attitudes in scotch and soda, may come as a system shock. "Bottom of a Bender" features space-age synths and a guitar solo performed by an electric power drill. "A Celebration—With a Vengeance?!" bursts open a cabaret scene with a thunderous sax solo. "When Oskar Fische Comes to Town” is a song so indebted to organic strings and piano chords that it could be retrofitted for ragtime hour. Such erratic time-traveling isn't for the faint of heart. Let these Georgians introduce you to a few characters. They've got character themselves.


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