Interview: Real Topeka People - singer/songwriter/producer extraordinaire from St. Louis

If you haven’t heard of Real Topeka People until right now, let this be your official introduction to an artist you’ll only be hearing more and more about. Real Topeka People, or RTP, is the brainchild of singer, songwriter, and music producer Zach Wexelman. Hailing from St. Louis, Wexelman proudly wears his Midwest roots on his sleeve not only within his lyrics and song titles (STL) but with the name Real Topeka People itself, which is a nod to a classic scene from Cameron Crowe’s iconic 2000 film Almost Famous. With RTP, Wexelman effortlessly blends pop, rock, and R&B, creating what seems like a never-ending slew of catchy tunes.

He started releasing music under the Real Topeka People moniker in 2020, and he’s accomplished quite a bit since then. His top charting single “Insecurities” has over 600,000 streams on Spotify, he’s collaborated with artists around the world such as Brazilian DJ Bolth, and he’s released over 30 songs. Most recent are his singles “Goddamn.” and “Bow Down,” and he’s got a lot more coming down the pipeline.

Zach was gracious enough to do an interview with me to chat about his most recent tracks, what it was like starting a new project as the pandemic started, and what’s on the horizon.

You started Real Topeka People in 2020, correct? What was it like starting this project during the pandemic and has anything changed now that life has gone back to, for lack of a better word, normal?

Z: Yes! I moved back home to St. Louis during the pandemic after having spent 10 years in Los Angeles, which is when I started RTP. It felt really good actually. I didn't realize how much I missed home until I got back and when I did it immediately put me in a much better head space. Not much has changed since the pandemic honestly in terms of my routine haha. I spend most of my time in my basement studio so I'm kind of removed from the world anyway.

You’re from and currently live in St. Louis, but you first started your music career in Los Angeles. What was that time period like and what did you learn from those years that you then brought to the table when creating RTP?

Z: I think I learned a lot during my time in Los Angeles. I focussed a lot on songwriting and live performance while I was there. It wasn't until the very end of that ten year period when I started to learn how to record and produce my own stuff. I really wish I had started that process sooner. It took me a long time to realize how important that skill set was especially for an independent artist. It was an extremely steep learning curve for me and to say I was frustrated with it for years is a massive understatement. It's like learning a new language. 

You’ve worked with other talented musicians from a handful of different countries at this point. What’s that process been like and has it taught you anything new about songwriting?

Z: I feel like I've learned more about collaboration than I have about songwriting through working with other artists. Everyone comes to the table with their own skill set and their own temperament. Sometimes it goes well and other times there's not much chemistry there. Artists are a strange bunch, myself included but it's been fun to step out of my comfort zone and work on genres of music that I never imagined I'd be a part of.

“Goddamn.” and “Bow Down” both came out recently and continue to push forward your infectious blend of pop, rock, R&B, you name it. What’s your personal process like in creating new tracks and what inspires you?

Z: Thanks man! I'm trying haha. I get inspired by listening to all kinds of different music: Anderson Paak, Calvin Haris' funk volumes, The Black Keys, Mk.gee, Sabrina Carpenter (I won't stop talking about her new song, Please Please Please. I think it could have easily been a Dolly Parton hit from decades ago), Jungle, Mark Ronson, The White Stripes ahhhh soooo much I could go on and on. I listen to an eclectic range of stuff.

I write a lot of songs that never see the light of day. I used to exclusively start writing on an acoustic guitar but now it just depends. Sometimes it'll start with drums or a bass line or anything. It's really hard for me to make something that I like so it's a lot of trial and error. Sometimes I watch interviews with other musicians who talk about some song of theirs coming together in like 30 minutes and I'm thinking, 'who are these fucking wizards!? That does NOT happen to me'. I really have to brute force my way through these things and fight through so many feelings of inadequacy to get to the finish line haha. 

Do you have any personal favorite songs that you’ve written up to this point?

Z: I always go back to my song “STL” - it's so buried in my discography and doesn't have very many plays but I think it's such a vibe and you should listen! 

What’s next for RTP?

Z: I have a funk song coming out called, Four Time on June 28th! I'm really excited to put that one out. Right now I'm working on a sort of cinematic pop song with this super talented artist called, TwoYearOldBear. We put out a song called, THE ONE that got licensed by the NFL a few weeks ago and this is our follow-up to that. I literally finished the pre-chorus today, which had been destroying my life for the past two weeks. I have these periods of time where I can't figure out the next section to a song and I think I'll never be able to write anything again. Eventually I get through it and try to remind myself that it's just part of the process.

Who are some of your favorite musicians/songwriters?

Z: I know I'm not alone in this but I think Mark Ronson is a genius. If you're not familiar with him he made Uptown Funk, Rehab, Valerie, Feel Right and of course I'm Just Ken from the Barbie soundtrack and so many more. He's a hit machine.

Do you plan on playing live shows in the future?

Z: I want to soooo bad but I'm waiting until I can draw some real crowds or open up for a bigger artist on tour. Playing open-mics for a decade will crush your soul when it comes to playing live. Also, I realized that people generally don't go to shows to discover new artists. I think most people go to shows to celebrate the music they already know and love so I don't see it getting me closer to my goals. All that being said, YES I do plan on it but I don't have any dates set yet.

Well, we’ll all eagerly anticipate the day those dates come to fruition. Check out Real Topeka People on Instagram @therealtopekapeople and on TikTok @realtopekapeople while listening to him wherever you stream music/download music!

Top 10 Los Angeles Music Venues

Los Angeles is the music capital of the country, if not the world. Every band, artist, and DJ plays LA without fail on their tours, many of them record in music studios here, and a good chunk of them even live here. When it comes to all the concerts the city of angels is blessed with, there are an endless amount of venues for artists to play at, from tiny clubs to mid-sized theaters to arenas and stadiums. Some have been around for decades and are now iconic landmarks of music history, and others have popped up in recent years. Some have even sadly been torn down (RIP House of Blues Sunset Strip) but the fact remains: there are not many cities in the world more equipped for live music than Los Angeles. After 12 years of living in this city, I’ve compiled a list of my 10 favorites below.

10. Hollywood Bowl

The one and only Hollywood Bowl. There were many years it wouldn’t have even made my top 10, but I’ve partially come around on it. The venue itself is iconic and beautiful, there’s no doubt about it. The problem has always been the general attendees of a Bowl show.

Let me dive in a little deeper. For 80% of the shows there, the majority of the crowd sits for most of the concert. The way I was raised, you stand at a concert unless you’re physically unable to. I think the sitting happens at the Bowl due to some folks coming to have a “Bowl experience” of a little picnic at your seat while watching live music rather than being a fan of whichever artist is playing that night. I don’t mind if someone prefers to sit, so long as they’re well aware others will be standing around them. But the Bowl is the only venue I’ve ever been to where I’ve been bullied for standing up on multiple occasions.

I’ve had people yell at me to sit repeatedly, I’ve had things thrown at me, and I even once had a security guard tell my friend and I he would have to move us to a different area because so many people were complaining about us standing (at a rock concert!). The artist at that particular show applauded those who were on their feet by the way, noting that it makes any musician more energized to play when people stand up and dance at shows.

All that said, I’ve learned how to avoid the negatives of the Bowl: sit in the last row of any section so nobody can tell you to sit down unless it’s a show you KNOW everyone will stand up for, and don’t sit too far back as the sound gets really low in the last couple of sections. Artists find the Bowl special, and it’s a gorgeous venue, so it is worth going to for the right show.

Capacity: 17,500

9. Echoplex / Echo

Echoplex

Such an epic one-two punch. The upstairs Echo is a small 350-person general admission venue with a bar on one side, while the downstairs Echoplex is bigger and grungier, feeling like a proper basement venue while being able to fit 780 people in it. Think shots, beers, and mosh pits. I love it.

Capacity: 780 (Echoplex), 350 (Echo)

8. BMO Stadium

This has become a more recent staple for large artists to play when they come through town. It’s a soccer stadium right next to USC that is the home to LAFC (Los Angeles Football Club) and the National Women’s Soccer League’s Angel City. I love this stadium, as it’s big but not too big, the sound tends to be good, and they typically have a large GA floor while two levels of seats wrap around the field/floor. blink-182, RÜFÜS DU SOL, and others have played here in recent years, while this year will host shows from the Foo Fighters, ODESZA, Korn, and more.

Capacity: 22,000

7. Shrine Expo Hall / Shrine Auditorium

Shrine Expo Hall w/ Chris Lake and Fisher for “Under Construction” in 2019

On USC’s campus sits the two-in-one Shrine Auditorium and Shrine Expo Hall. The Auditorium is a traditional indoor seated venue while the Expo Hall boasts a narrow yet lengthy GA floor with a second floor balcony wrapping fully around the room. It’s a perfect spot to catch your favorite DJ play a set. I admittedly don’t love the Expo Hall for live bands as the sound isn’t always great, but it’s top tier from vibe to sound to dancing space when it comes to electronic shows and I much prefer it to the Auditorium as a venue.

Capacity: 5,000 (Shrine Expo Hall), 6,300 (Shrine Auditorium)

6. Los Angeles State Historic Park

One of LA’s more underrated venues in the sense of only a handful of shows happen here each year. It’s mostly used these days for electronic acts - in recent years RÜFÜS DU SOL, ODESZA, Lane 8, Zedd, and more have hosted concerts at this beautiful outdoor park located near Chinatown. You have a stunning view of the city skyline and there’s plenty of space and grass which makes this an ideal venue to catch a large general admission show.

Capacity: 15,000-19,000

5. Troubadour

Another legendary rock club, hosting countless bands and icons over the years, famously including Elton John’s first ever American show. It has a proper balcony hanging over the tiny GA floor, and the band enters the stage from a set of stairs leading down to the stage from the green room. There’s a bar room downstairs, a bar upstairs, and a bar at the back of the floor. Another LA classic.

Capacity: 500

4. The Greek Theatre

The best outdoor venue in LA. Yes, Hollywood Bowl, you heard right. The Greek is a more compact and intimate version of the Bowl with large trees and Griffith Park surrounding it. It also tends to boast much more of a traditional concert crowd (opposed to folks just going to the Bowl for the experience) and you’ll have a great view no matter where you’re seated. Bonus points if you’re able to snag pit tickets as it’s incredibly tiny yet never oversold so you’ll comfortably be 5-10 feet from the stage if you’re in it.

Capacity: 5,900

3. Hollywood Palladium

Everything you want out of a mid-sized indoor venue. Open GA floor, balconies on the sides, high ceilings, and every band under the sun has played here at some point in their career.

Capacity: 4,000

2. The Roxy Theatre

The legendary rock club on the Sunset Strip has hosted so many iconic performances since it opened in 1973 that I can’t even begin to name even a fraction of them. What I do know is that it still retains its small rock club charm all these years later - there’s nowhere I’d rather see a famous band play a secret show or catch an up and comer before they break big. It’s small, sweaty, and the layout is perfect with the floor in front of the stage, then a few steps up to the bar on one side and a few steps up to the VIP area on the other side with a small merch window off the right side of the stage. Long live The Roxy.

Capacity: 500

1. The Kia Forum

This is the gold standard when it comes to arenas and my favorite venue in Los Angeles. Not only is there no better arena to see a show in America (yes, I’m looking at you MSG), but The Forum feels intimate and grand at the same time. It’s one of the few arenas where I mean it when I say there’s not a bad seat in the house. You can be a few rows from the very top of the upper levels and your view still isn’t bad or too far away.. The sound is amazing throughout, and the concessions/merch/bathroom lines always move pretty quickly. They also never oversell the floor when it’s general admission, which makes for a very enjoyable experience compared to lots of other venues. Get to a show at the Forum as soon as you can!

Capacity: 17,505

Honorable Mentions: The Fonda Theatre (1,200), The United Theater on Broadway (1,600), The Hotel Cafe (200 - main stage, 85 - second stage), Ford Amphitheater (1,200), The Wiltern (2,300), Sound Nightclub (500-650), Viper Room (250)

Introducing Quasar, Coachella’s newest stage

Earlier today, the organizers of Coachella announced the brand new Quasar stage will debut at this year’s 2024 iteration of the festival. It will be a fully outdoor electronic stage in the spot where the Sahara tent has been since 2018, which is upgrading this year and moving to a new location. Due to its outdoor nature, it is not named after a desert like the tented stages are (Sahara, Mojave, Gobi, Yuma, and Sonora). A video circulating on Coachella’s socials shows a Zamna-inspired stage design for Quasar while the DJs playing it will be different each weekend. All sets will be a minimum of 3 hours long.

Weekend 1 will have Honey Dijon x Green Velvet, the triumphant return of Michael Bibi after beating cancer, and the legendary trio of Jamie XX x Floating Points x Daphni. Weekend 2 boasts a RÜFÜS DU SOL 4 hour DJ set, Eric Prydz x Anyma at sunset, and 4 hours of Diplo x Mau P.

As a big fan of electronic music, I couldn’t be more excited for this new addition to the festival. When it comes to DJs in the desert, I always wish the sets could be longer. This seems to be how Goldenvoice intends to finally achieve this. The names are huge, and they now have the time to take us on a true journey of a set. Some of these b2b sets are quite unique, such as the worldwide debut of Eric Prydz x Anyma playing a set together. The set lengths are also great in terms of set time conflicts…even if you have other artists you’d like to see during the duration of one of these sets, you’ll likely have a window at some point during the 3+ hours to make your way over there for a bit.

There were some negative reactions after the initial 2024 lineup dropped, but after the news of Quasar, the great Do LaB lineup, and the strongest Heineken House lineup in the history of the festival with names like Lupe Fiasco, T-Pain, Fat Joe, Claptone, Bob Sinclair, Dennis Ferrer b2b Skream, J Worra, and Goldfish, I don’t think anyone can act like this lineup isn’t stacked. I find that Coachella is always the deepest multi-genre lineup in North America year after year, and this year is no different. The headliners aren’t their strongest, but anyone who is a repeat attendee knows that there is so much music throughout the weekend that the headliners aren’t all that important in the end. The lineup rocks and April cannot come soon enough!

Top 11 311 Songs

I’ve been talking about starting a blog for about 15 years now, so what better day to finally start one on than 311 Day?! For those of you who don’t know me yet, there are a handful of bands/artists that I’m very passionate about. 311 is near the very top of that list. March 11th aka 3/11 aka 311 Day is a national holiday in the eyes of us fans, and every other year (the even-numbered years) the band plays an epically long show or shows on and surrounding March 11th. They play deep cuts that haven’t been played in years, fan favorites, the hits, and even an occasional cover - this year was Billy Joel’s “Only the Good Die Young.”

Left to right: Tim Mahoney, Doug “SA” Martinez, Nick Hexum, Aaron “P-Nut” Wills, Chad Sexton

This summer will be my 25th 311 show dating back to 2005. They’re a band with a cult following, and for all the right reasons. The entire band philosophy is unity and positivity, and they’ve done their best over the past 30+ years to live their lives by it. The mantra that lead singer Nick Hexum says to the crowd at the end of nearly every show is “Stay positive and love your life,” a line from the group’s 1997 track “Jupiter" off their legendary album Transistor. They always switch up their setlists in addition to these biannual 311 Day shows and 311 cruises in March of the odd-numbered years plus occasional special album shows. All of this has helped create the long running diehard fanbase they still have today. Hexum, Doug “SA” Martinez, Aaron “P-Nut” Wills, Tim Mahoney, and Chad Sexton are celebrating 34 years of playing together this summer, making them one of the longest running rock acts in history still together with all its original members, only beaten out by a select few groups including U2, ZZ Top, and Radiohead. Not bad company to be in.

All this to say, it felt right to kick things off here by counting down my personal top 11 songs by the band on their special day. They have a rich and deep discography spanning 13 studio albums, a few early independent releases, compilations, live albums, and more, so it was a herculean task to narrow this list down to 11 songs. Alas, here we go. Happy 311 Day!

11. ‘Face in the Wind’ (2017)

When 2017’s Mosaic dropped, I honestly couldn’t believe just how incredible it was. I’m someone who has enjoyed every single 311 album, but this one stood out to me especially in the more recent half of their catalog. 2014’s Stereolithic was also fantastic and a personal favorite with standouts like “The Great Divide,” “Friday Afternoon,” and “Simple True,” but Mosaic took things up another notch which for some reason I didn’t think was possible.

“Face in the Wind” feels like classic 311, almost as if there’s a world it could have fit in on Transistor or Soundsystem. The lyrics feel very introspective and contemplative. Live life to the fullest, explore uncharted “alien” territory, break free from the norm, keep moving forward, and never stop embracing the present along the way. There’s some signature Tim Mahoney guitar playing throughout, and the entire song just hits that special spot that only the very best are able to achieve.

10. ‘Hive’ (1995)

311 burst into the mainstream with their self-titled 1995 album, also commonly referred to as the Blue Album. It features hits like “Down,” “All Mixed Up,” and “Don’t Stay Home,” but “Hive” has always been the track that stands out above all the rest for me. It is a MONSTER at their live shows, and the crowd energy is palpable whenever they play it. The overall message of the song is “fuck the naysayers” (another 311 mantra) while Nick and SA swap raps throughout. “You’re all up in my mix like fuckin Betty Crocker” still hypes me up as it kicks off the final verse, and really it’s just a burst of energy throughout. The song has become such a piece of their history that they ended up naming their recording studio The Hive, which they still own and record at to this day.

9. ‘Get Down’ (2009)

Uplifter is one of the albums that the 311 fanbase is split on. I’m in the camp that loves it as it came out during one of my summers in college and it was on repeat during some of the best times of my life. I like the production on it, and songs like “Golden Sunlight” and “Two Drops in the Ocean” are top tier for my tastes. I think one thing that everyone can agree on is that some of the bonus tracks or b-sides from this one should have been on the actual album. “Sun Come Through” is one of those, and the other is “Get Down.”

The latter is so incredibly memorable. I love the structure and the songwriting is top tier. It’s full of inspiration and advice we all can follow. It really runs through the entire spectrum of emotions someone goes through when inspired yet hindered by self-sabotage and procrastination. This song is about breaking that cycle and getting down to business. Take that inspiration and go thrive. It’s a beautiful song whose intro really hits at their live shows and which tells a wonderful story beginning to end.

8. ‘Eons’ (1999)

“Not an even field to be on, feels like standing still for eons and eons, stare it dead in the eye, what now? All we can do is try to shut it down, shut it down.” When that moment kicks in, it’s almost impossible not to get chills. “Eons” is near the top of the list of songs loved by many of the 311 faithful, and for good reason. It says so much with so little - the lyrics allude to hating in others what you actually hate in yourself, and that you have to face the negativity head on and defeat it. Sonically, it sounds a bit different than any other 311 song. “Eons,” “Sever,” “Life’s Not a Race,” and “Strong All Along” are just some of the tracks on Soundsystem that deserve high praise, but “Eons” gets the special nod today.

7. ‘Lucky’ (1994)

“Lucky” is that song that whenever I hear it, I wonder why I’m not listening to it more frequently. It always is one of my favorites to hear live if they play it, and the chorus is so infectious and fun. I love both Nick and SA’s flow on this one, their constant trading off of lyrics in the chorus, and it’s just a delightful 2 minutes and 50 seconds.

6. ‘Sometimes Jacks Rule the Realm’ (2003)

What an epic track. There are a few different parts to the song, and it feels like a true journey as it closes out Evolver (well, don’t forget P-Nut’s beautiful Coda hidden after this one). It has always held a special place in my heart dating back to the 311 Day 2004 DVD, and I was lucky enough to hear this one at my personal first 311 Day in 2014 with the Unity Orchestra. Evolver as a whole is sometimes forgotten when it has a handful of quality gems between this, “Reconsider Everything,” “Don’t Dwell,” and of course “Creatures (For a While).” Go back and revisit it if it’s been a while!

5. ‘Use of Time’ (1997)

Tim. Mahoney. miT. The solo at the end of “Use of Time” may be his best moment in 311. It takes you to a higher plane of existence. This song really is one of the band’s very best. It gets deep lyrically, Nick sounds amazing, everyone is on point instrumentally, and Tim absolutely shreds the shit out of the ending. I will hope to hear this one at pretty much every show I go to.

4. ‘Rub a Dub’ (1997)

Transistor is arguably my favorite 311 album. Therefore it deserves two songs on this list and really it was hard to not include more. It’s a sprawling 21-song masterpiece that expands their style into multiple directions that are all exciting. It even has a hard hitting intro that you had to rewind the CD from 00:00 to access. Trippy. “Rub a Dub” is one of these songs that sounds different than anything else they’ve done, and above all, it may be the 311 tune that makes me happiest. It is very reggae-infused but also just feels as if you’re floating through a sunny day in pure relaxation. The vibe is unmatched!

3. ‘Unity’ (1993)

Music is where the journey started for 311 back in 1993. Their debut studio album. They have a few independent releases beforehand (featuring a couple of songs that JUST missed this list like “Slinky” and “Summer of Love”), but this is where things really kicked off. This is my other favorite album - for me it always switches between this one and Transistor. I can listen to this one front to back at all times, and “Unity” really encompasses the mission statement of the band dating back to the very beginning. Stick together and overcome the negativity. It doesn’t hurt that this is maybe one of my favorite songs live by any band ever. The break in the music and then “SWING, I’m doing my thing…” is just next level live. I will never forget on July 4, 2015 at the show where they played the Blue Album and all of its b-sides in full, they had “Amber” on the setlist and on the spot did “Unity” instead. May have been the wildest moment I’ve been apart of at a 311 show yet, and that includes three 311 Days.

2. ‘Fuck the Bullshit’ (1993)

Also known as “Fat Chance” on Music, “Fuck the Bullshit” was the very first 311 song I ever heard. My best friend’s older brother played it for me at the impressionable young age of 14, and I was immediately hooked. The way it hits you in the face right off the bat! The verses are very memorable for me. I love the way Nick turns over the mic to SA for an epic verse, and then P-Nut drops some funky bass lines on us, along with a singalong bridge that crashes into one final chorus. It is the ultimate hype up song, it is my favorite way for the band to close one of their shows, and it hits me with a wave of nostalgia. Fuck the bullshit, it’s time to throw down!

1. ‘Do You Right’ (1993)

I couldn’t help myself. Three off of Music you say?! Hell yes. There are too many classics, many which aren’t even mentioned here. “Do You Right” is the ultimate 311 song for me. It is everything that is great about this band. Happiness and positivity shine throughout. You can’t listen to this song and not feel good. You just can’t. They call it the ‘happy slam dance’ song when they play it live for a reason. Lots of jumping, fun, and good vibes throughout. And who doesn’t love Nick spitting some gibberish towards the end? Long live 311.