Trophy Eddy fuses genres in groovy summer singles

There’s nothing quite like seeing Trophy Eddy live.

I’ll never forget the first time I experienced it. A backyard house show where the band is situated inside of a half-pipe skate ramp, string lights dimly illuminating shiny instruments and dozens of tangled cables across the makeshift stage. Stoned college students file into the backyard as Trophy Eddy begins their set as the show’s opener, and just as I am, they become transfixed. Frontwoman Solia Mayo, dressed in an effortlessly cool (and most likely thrifted) outfit, beckons us closer and dives into the music. As she sings her heart out, my friend leans over to me and shouts over the music, “She is, like, a fucking superstar!”

The band’s Instagram bio describes their sound as “funk-punk-grunge-reggae.” While each of these genres (and more) show their influence on the music in different ways, it is abundantly clear that Trophy Eddy has stumbled upon a sound that is completely and entirely their own. At times, each member of the band seems to be performing in their own genre: Hunter’s R&B drums, Solia’s soul vocals, Tommy’s psychedelic rock guitar, and Nick’s funk bass. The sounds blend in harmony to create songs that truly bring something for every taste. My point being, it’s impossible not to love Trophy Eddy and their small but powerful discography of originals.

Trophy Eddy’s lineup can be described as nothing other than stacked. On the mic, Solia shows off her powerful, buttery-smooth voice that bursts with the joy and soul that she puts into every song. On guitar, Tommy Escalante’s bright tone and incredible chops pay homage to a variety of influences, from the Red Hot Chili Peppers to The Police. And when Tommy steps in for backing vocals, he expertly compliments Solia with a soft and perfectly pitched voice. These two bring enough talent to blow most other bands out of the water… and I haven’t even gotten to the other two members – the tightest and most impressive rhythm section in West LA’s college band scene by a landslide. Hunter Krasa on the drums is a force to be reckoned with. His perfect feel and timing with impeccable control make Trophy Eddy’s music undeniably danceable. Holding it all together has been bassist Nick Chib, an absolute beast and master of the instrument. Watching the band play live, you couldn’t help but be drawn to Nick as he gives the music its signature groove and treated us to the occasional insane slap-bass solo.  

This summer, Trophy Eddy’s devoted friends and fans celebrated the release of two original tracks. “Screaming Out!” was the band’s highly anticipated lead single, and undoubtedly the star of each of their live performances. The song opens with Tommy’s guitar, with an Indie riff channeling the Kooks, along with well-mixed drums that start the song off with high energy. The lyrics of the song are fun and playful, exploring the niche but relatable angst of being 20 years old in college and dying to reach that infamous age of 21. “Once I’m thirty / I’ll wish reversing / but right now waiting is dumb and I’m screaming out!” I love this lyric and how it captures a specific time in a young person’s life, acknowledging that one day we’ll have an opposite craving to go back in time, but at this moment all that matters is how badly we want to go out! When Trophy Eddy plays “Screaming Out!” live, the band crouches down with the audience during the bridge building up to the final chorus that brings everyone to their feet jumping. While it’s impossible to capture this experience on the recording, Hunter’s snare roll works to change up the feel of the song and build to a fun final chorus that plays with a telephone voice effect. “Screaming Out!” is an excellent introduction to the world of Trophy Eddy, but left me (and many others in the community) asking for more of their genre-fusing antics on a record.

That and more was delivered with their sophomore single. “Museums” is the cooler, moodier sister to “Screaming Out!” A mellow ambience is set up right away with an understated bassline, and Solia showcases the lower end of her range with a capricious opening verse. Tommy trades his quick-paced riffs for a slower, vibey reggae style, with some ambient solo licks tastefully sprinkled throughout. Solia’s layered vocals in the choruses absolutely shine, and they make me wish we got more of these delicious harmonies throughout the rest of the song. At only 2 minutes and 50 seconds, the song sticks to its compact, consistent rhythm, as opposed to the energetic variation of “Screaming Out!” In other words, it’s a song that you can easily listen to on loop over and over and over again to keep the excellent vibes going. Or, as a pro tip from the editor, pair “Museums” with Sublime’s “Pawn Shop” – the two complement each other perfectly. I hope Trophy Eddy leans more into this beachy reggae style in future releases, as each member truly excels in it.

Although the band’s two released original songs (and some others played live that we eagerly anticipate) are remarkable pieces of songwriting and musicianship, I would be remiss not to mention how Trophy Eddy are masters of the cover song. There are a few covers that are staples of every show the band puts on, where they simultaneously pay tribute to their influences and spin the songs with their style and flair. “Eddie” by the Red Hot Chili Peppers is my personal favorite of their covers. Watching Nick expertly muscle through the tricky bassline while Tommy emulates Frusciante himself is what had me hooked on Trophy Eddy the first time I saw them. The Police’s “Message in a Bottle” allows every member to show off, especially Solia as she gives Sting a run for his money. When she and Tommy harmonize on the chorus, I’m thinking, “Why doesn’t he step up to the mic more often?!” And finally, often performed as an encore, is the crowd favorite “Murder On The Dancefloor” by Sophie Ellis Bextor, where the song’s amazing bassline is highlighted and the whole song is transformed by Trophy Eddy into funk rock perfection.

Nowadays, Trophy Eddy can be found playing gigs throughout the Los Angeles local scenes, with an exciting new addition to the band: seasoned and stylish bassist Zoe Webster. Trophy Eddy’s new lineup marks the beginning of a new chapter, one in which their quintessential groove blends with some fresh perspective to push the sound forward.

There are few bands I have seen so up close at the very beginning of their time together that I have immediately recognized in them the potential for incredible success. Looking at the talent of all four of its members, it’s impossible not to envision them on a beachfront festival stage, performing before thousands of devoted fans. Trophy Eddy is already beloved by SoCal local music scenes, and I encourage the band to continue exploring their unique sound and deliver more fun and catchy-as-hell tracks. Every time I see them perform, I find it impossible to focus on just one member, as each of them is a “fucking superstar” in their own right.

Follow @trophyeddy on Instagram!