Phox was an American indie folk band formed in 2011 in Baraboo, Wisconsin, by a group of high school friends who reunited in Madison, consisting of vocalist Monica Martin, guitarist Matt Holmen, and other collaborators including Jason Krunnfusz, Zach Johnston, Matteo Roberts, and Davey Roberts.[1][2][3]The band blended elements of folk-pop, rock, psychedelia, and soul in their music, often drawing comparisons to artists like Feist for their emotive and eclectic sound.[1] They gained early local traction in the Midwest before achieving wider recognition through high-profile tours, including opening for acts such as Blitzen Trapper and the Lumineers, and festival appearances at Lollapalooza in 2013 and Coachella in 2015.[2][3]Phox's self-titled debut album, released on June 24, 2014, via Partisan Records, was recorded at April Base Studios (owned by Bon Iver's Justin Vernon) and produced by Brian Joseph, with mixing by Michael Brauer at Electric Lady Studios in New York City.[4][1] The record featured tracks like "Leisure," "Evil," and "Laura," showcasing Martin's powerful vocals and the band's harmonious instrumentation, and received attention from outlets including NPR, where they performed a Tiny Desk Concert in 2015.[4]Despite their rising success, including media coverage in The New York Times and a Starbucks compilation feature, Phox announced an indefinite hiatus in late 2016, citing the challenges of ongoing collaboration and a desire for members to pursue individual projects.[2][3] The band concluded with farewell shows in early 2017, including performances in Madison and Milwaukee, after which Martin and others embarked on solo endeavors, such as Martin's collaborations with J.E. Sunde and her own recording projects.[3]
Formation and Early Career
Origins in Baraboo, Wisconsin
Phox originated in Baraboo, Wisconsin, a rural Midwestern town with a population of around 12,000, renowned for its deep ties to American circus history.[5] The town served as the winter quarters and birthplace of the Ringling Brothers Circus, founded in 1884 by five Ringling siblings, who launched their first performance there under a modest canvas tent.[6] This legacy of spectacle and whimsy permeated Baraboo's cultural identity, featuring annual events like the Great Circus Parade and a landscape dotted with circus museums and artifacts, which later influenced Phox's playful, theatrical aesthetic in their music and visuals.[7]The band formed in 2011 among a group of longtime friends from Baraboo, many of whom had initially connected through high school activities such as soccer and video production before pursuing separate paths in early adulthood.[8] Prior to Phox's inception, several future members, including vocalist Monica Martin and multi-instrumentalist Matt Holmen, collaborated with guitarist Zach Johnston on his solo album Sonntag, written in San Francisco but recorded back in Baraboo, fostering the creative bonds that would define the group.[9] These collaborations evolved into informal jam sessions in spring 2011, marking the band's first unstructured gatherings as local friends experimented with sounds in the small-town setting.[2]Baraboo's lore, including tales of environmental quirks like contaminated groundwater from industrial history, contributed to a local mythology of "mutant" resilience among youth, which Phox embraced in their quirky self-description as "endowed mutants" shaped by the town's eccentric environment.[1] This whimsical narrative, blending rural isolation with fantastical elements, mirrored the circus heritage and infused the band's early identity with a sense of otherworldly camaraderie.[10] These roots in Baraboo's unique cultural fabric laid the groundwork for Phox's transition to more structured performances, such as their debut at the local Boo Bash festival.[7]
Initial Collaborations and Debut Performances
The origins of Phox's initial collaborations trace back to work on Zach Johnston's solo album Sonntag, where several future band members contributed instrumentation and arrangements during its recording in Wisconsin.[2] Monica Martin, a high school acquaintance of the group, was invited to provide vocals on select tracks, marking her first significant musical involvement with the collective.[2] These sessions, held amid Baraboo's unique circus heritage—which subtly inspired the group's whimsical early creative energy—laid the groundwork for their shared sound without yet forming a dedicated band.[11]Phox's official debut came on May 4, 2011, at the Boo Bash festival in Baraboo, Wisconsin, initially planned as a one-off performance to support Johnston's material.[9] Guitarist Matt Holmen organized the event, recruiting Johnston on guitar, Martin on vocals, and brothers Matteo and Davey Roberts, along with Jason Krunnfusz, to perform songs from Sonntag live for the first time.[2] The show, held in their hometown, transformed the loose collaboration into a cohesive performing unit, as the positive audience response encouraged further rehearsals and bookings.[2]By late 2011, the lineup had solidified around its six core members—Monica Martin (vocals), Matthew Holmen (guitar and trumpet), Jason Krunnfusz (guitar and bass), Davey Roberts (drums), Matteo Roberts (keyboards and guitar), and Zach Johnston (guitar and keyboards)—who had relocated to Madison for shared housing and collaborative writing.[11] This configuration, rooted in high school friendships from Baraboo, provided stability as they transitioned from basement sessions to regular performances.[8]Following the debut, Phox built a grassroots following through initial local gigs at Wisconsin venues, including intimate spots like restaurants and house shows in Baraboo and Madison.[2] These early appearances, often promoted via word-of-mouth among friends and the regional indie scene, fostered organic buzz and honed their live dynamic before expanding beyond the state.[12]
Rise to Prominence
EP Releases and Breakthrough
Phox's early recordings began with the self-released EP Unblushing in June 2012, a five-track project captured in a single take over five days at the end of May, incorporating raw performances complete with lyrical mistakes and off notes, accompanied by actual footage for each song.[13][14] The EP featured early versions of tracks like "Evil" and "Shrinking Violets," distributed locally through platforms such as Bandcamp, where it quickly generated organic buzz among regional listeners for its unpolished intimacy and the band's eclectic folk-pop sound.[13][15]Later that year, on September 5, 2012, Phox followed with the self-released Friendship, a sprawling 19-track collection that built on their experimental ethos, blending whimsical instrumentation with themes of camaraderie and absurdity, including songs such as "Shrinking Violets," "Sister," and "Friendship Taargus."[16][17] Described by the band as an invitation to "join the cult," the release was promoted through local venues like Madison's High Noon Saloon and further solidified their reputation in the Midwest indie scene for its playful, genre-blending tracks recorded in informal settings.[18]The band's momentum accelerated with the February 2013 release of the six-song video EP Confetti, a visually ambitious project directed by band member Zack Johnston, where each track was paired with a short film creating an immersive, narrative-driven experience.[7][19] Self-produced and distributed independently, Confetti showcased refined arrangements of songs like "Slow Motion," "Blue and White," and "Espeon," emphasizing Monica Martin's soaring vocals against lush, orchestral backdrops that hinted at the band's evolving sophistication.[20] This EP marked a turning point, as its innovative format and polished production drew wider attention from music blogs and regional outlets, setting the stage for national exposure.Phox's breakthrough came through high-profile festival appearances in 2013, beginning with a showcase at South by Southwest (SXSW) in Austin, Texas, where they delivered a standout four-song set including "Evil," "1936," "Kingfisher," and "Noble Heart" at the Riverview Bungalow, captivating industry attendees with their dynamic live energy.[21] This performance fueled early buzz, leading to a last-minute slot at Lollapalooza in Chicago on August 3, where the band opened for Blitzen Trapper and impressed a large crowd with their charismatic stage presence and intricate harmonies, described by local press as "knocking out" festival-goers.[22] These outings, combined with opening for acts like the Lumineers at events such as Apple's iTunes Festival in London later that year, generated significant industry interest and culminated in Phox signing with Partisan Records in March 2014, paving the way for their major-label debut.[23]
Debut Album and Major Tours
Phox's self-titled debut album was released on June 24, 2014, through Partisan Records. Produced by Brian Joseph at April Base Studios in Eau Claire, Wisconsin, the record blended indie folk with pop elements, showcasing the band's collaborative spirit through tracks such as "Leisure," "Slow Motion," and "Kingfisher." These songs highlighted lead singer Monica Martin's emotive vocals alongside intricate instrumentation from the six-piece ensemble, building on the whimsical sound established in their prior Confetti EP.[4][24]The album garnered positive reception for its accessible yet textured arrangements, earning praise from outlets like NPR for its warm, inviting quality. While specific mainstream chart peaks are limited, it achieved notable placement on independent and emerging artist charts, reflecting Phox's growing domestic audience. Critical acclaim emphasized the record's role in elevating the band from regional acts to national contenders.[24][25]Following the release, Phox embarked on extensive headlining tours across the United States and Europe in 2014 and 2015, solidifying their live reputation with energetic performances that captured their playful, communal dynamic. They also secured support slots for established artists, including opening for The Lumineers at events like the iTunes Festival in London. These tours expanded their international reach, with European legs including stops in the UK and beyond, where audiences connected with the band's folk-infused sets.[23][26]Key festival appearances further boosted their visibility, including sets at Coachella in April 2015, where they delivered intimate daytime performances on the Outdoor Theatre, and Bonnaroo in June 2015. An NPR Tiny Desk Concert in March 2015, performing stripped-down versions of "Kingfisher," "1936," and "Slow Motion," provided an acoustic showcase that amassed wide online viewership and underscored their charm in smaller settings.[27][28][29]In December 2015, the band released Amor Fati, a 45-minute mockumentary directed by guitarist Zach Johnston, which chronicled their tour experiences through a mix of real footage and fictional narrative. Premiered at the Eaux Claires Festival earlier that year, the film offered an insider's view of the group's camaraderie and challenges on the road, uploaded to YouTube on December 24, 2015, for public access.[30][31]
Hiatus and Aftermath
Announcement and Farewell Events
On October 17, 2016, Phox announced an indefinite hiatus via press statements, explaining the need for a break after years of intensive touring to pursue individual creative endeavors and determine the band's future direction.[32] The group cited the exhaustion from their relentless schedule since 2014 as a key factor in the decision, allowing members time to explore personal projects outside the collective.[3]In the lead-up to the hiatus, Phox scheduled a series of farewell performances across the United States in early 2017, reuniting the full original lineup for these closing events. Key shows included a performance at the Pabst Theater in Milwaukee on January 26, 2017, which served as one of their initial goodbye concerts in Wisconsin.[14] Additional dates encompassed select U.S. venues, such as the Music Hall of Williamsburg in Brooklyn on January 28, 2017, building anticipation for their final Midwest appearances.[33]The band's touring concluded with two emotionally charged home-state shows: one at the Capitol Theater in Madison on February 3, 2017, and their ultimate performance on February 4, 2017, at the Al. Ringling Theatre in Baraboo, their hometown.[3] The Baraboo concert sold out, drawing a local crowd for a celebratory homecoming that featured the complete sextet lineup, marking the end of their active period together.[34] With these events, Phox officially ceased band activities in 2017, stating at the time that no reunion plans were in place.[35]
Reasons for Disbandment
The decision to place Phox on indefinite hiatus stemmed primarily from interpersonal strains exacerbated by the band's rapid ascent to prominence and the relentless demands of their schedule. Lead singer Monica Martin described the transition from local basement performances to international touring within a single year as overwhelming, noting that it created significant "interpersonal strain" among members who had previously shared close living arrangements in Madison.[35] This intensity, coupled with the pressure to produce a follow-up to their successful 2014 self-titled debut album, led to creative stagnation, as guitarist Matt Holmen and Martin explained in interviews that jam sessions failed to yield new material and the group's original songwriting chemistry had dissipated.[14]Financial pressures further compounded these challenges, despite the band's signing with Partisan Records and the revenue from extensive touring. Martin reflected that the group was constantly "trying to keep our heads above water," highlighting the difficulties in sustaining themselves amid the costs of constant travel and production without proportional financial stability.[35] Additionally, evolving personal priorities played a key role, with members expressing a desire for individual artistic exploration outside the band's structure; Martin, for instance, articulated a need to "figure out who I was outside of Phox," while others pursued side projects that better aligned with their shifting goals.[35][14]Throughout these discussions, no reports of acrimony emerged, with Martin emphasizing that the hiatus was a mutual decision marked by ongoing rapport and "no bad blood" among the members.[35][14] The band framed the pause as temporary rather than a permanent split, though it has remained inactive since the 2017 farewell performances.[36]
Musical Style and Themes
Genre and Sound Characteristics
Phox is classified as an alternative folk and indie pop band, blending acoustic folk foundations with subtle electronic and orchestral elements to create a distinctive, atmospheric sound.[37][24] This fusion draws from indie folk traditions while incorporating polyrhythmic structures and psych-tinged art-rock influences, resulting in a heady mix that balances intimacy and expansiveness.[37] The band's music often evokes a dreamy, midtempo mood, characterized by soft textures and intricate layering that seeps into the listener's experience.[24]Central to Phox's signature sound is lead vocalist Monica Martin's ethereal and versatile delivery, which ranges from smoky lilts to powerful, intuitive expressions, often framed by rich, layered harmonies from the ensemble.[38][29][39] These vocals float over meticulously crafted arrangements featuring trumpet by Matthew Holmen, banjo by Zach Johnston, and synthesizers via keyboards handled by Matteo Roberts, adding whimsical and unconventional depth.[40][41][42] Key production techniques include the strategic placement of delicate percussive elements, such as glockenspiel, and multi-instrumental interplay that enhances the airy, folk-infused pop aesthetic without overwhelming the core melody.[43][44]The band's sonic evolution is evident from their early, raw folk-driven EPs, like the 2013 Confetti release, which showcased delicate and endearing acoustic songs, to their polished, pop-infused self-titled debut album in 2014.[45] Produced by Brian Joseph, the full-length refined these origins through confident arrangements and professional mixing, transforming intimate folk sketches into more accessible, layered indie pop compositions while retaining an organic charm.[46][47] This progression highlighted Phox's growth from basement experimentation to a cohesive, mainstream-ready sound.[7]
Lyrical Content and Influences
Phox's lyrics, primarily composed by lead vocalist Monica Martin, center on intimate themes of love, family dynamics, and personal introspection, often infused with whimsy and a subtle nostalgia rooted in Midwestern experiences. Martin's writing draws heavily from her own life, fostering a confessional style that conveys emotional vulnerability and relational complexities through evocative, ambiguous phrasing that evokes moods rather than explicit narratives. For instance, songs like "Calico Man" examine the strains of long-distance romance, while "Leisure" playfully critiques laziness and avoidance in intimate connections, blending humor with relational tension.A key example is "1936," where Martin recounts a conversation with her sister about their family's confusing history, reframing discord as a path to reconciliation and acceptance amid inherited emotional "disturbances." Similarly, "Laura" reflects on evolving bonds with her mother, addressing past resentments and personal growth, and "Evil" confronts betrayal by a close friend in a romantic context. Tracks such as "Satyr and the Faun" introduce whimsical, mythical elements to depict unrequited love and shifting affections, while "Shrinking Violets" captures naive optimism in relationships despite external cautions, highlighting the band's recurring focus on love's fleeting and imperfect nature.Martin's role as chief lyricist allows her to infuse Phox's work with authentic, dialogue-like structures that mirror real-life interactions. The band's ties to Wisconsin's indie scene, including recording their debut at Bon Iver's April Base studios with engineer Brian Joseph, contribute to an atmospheric introspection that amplifies the reflective quality of Martin's words, echoing broader indie folk sensibilities.Lyrically, Phox evolved from the more raw, confessional tone of their early EPs like Confetti (2013)—characterized by rushed, personal sketches—to the broader, narrative-driven explorations on their 2014 debut album, where structures became clearer and themes expanded while retaining emotional intimacy.
Band Members
Core and Final Lineup
The core lineup of Phox, formed in 2011 in Baraboo, Wisconsin, consisted of six multi-instrumentalists whose collaborative style blended indie folk, pop, and soul elements, defining the band's whimsical yet emotive sound through intricate arrangements and harmonious textures. Monica Martin served as lead vocalist and primary songwriter from the band's inception through its 2017 disbandment, crafting melodies and lyrics that formed the emotional core of tracks like those on their self-titled debut album, often drawing from personal introspection and Americana influences.[39][11]Matthew Holmen, a founding member, contributed guitar, trumpet (including flugelhorn), and backing vocals throughout 2011–2017, providing melodic foundations and brass accents that added warmth and playfulness to the ensemble's dynamic.[48][39]Jason Krunnfusz handled guitar and backing vocals from 2011 to 2017, assuming primary bass duties after Cheston VanHuss's departure in 2013 and anchoring the rhythm section with versatile string work that supported the band's shifting tempos and folk-infused grooves.[39] Davey Roberts played drums consistently during the same period, delivering percussive energy that propelled live performances and recordings, while his background in audio technology aided production efforts.[39]Matteo Roberts, Davey's brother, provided keyboards, additional guitar, and backing vocals across 2011–2017, incorporating piano and synth elements that enriched the harmonic layers and gave Phox its lush, orchestral feel.[39][41]Zach Johnston was integral to the early formation as banjoist, guitarist, and vocalist from 2011 to 2015, infusing rustic twang and percussive flair that shaped the band's initial folk-leaning identity before his departure to pursue filmmaking.[48][39] Following Johnston's exit in mid-2015, the final lineup stabilized as a quintet comprising Martin, Holmen, Krunnfusz, and the Roberts brothers, which carried Phox through their farewell shows, maintaining the core sound with a slightly streamlined configuration.[14][3]
Departures and Changes
Phox experienced its first significant lineup change in 2013, when founding multi-instrumentalist Cheston VanHuss departed after serving as the band's bassist, clarinetist, and flutist since its formation in 2011.[49] He was replaced by Jason Krunnfusz, who assumed primary bass duties while also handling guitar, keyboards, and percussion, helping to stabilize the core instrumentation for the band's self-titled debut album.[50][2]The lineup remained consistent thereafter until July 2015, when banjoist and co-founder Zach Johnston announced his exit. Johnston, who had played a key role in the band's folk-infused sound and directed several of their music videos, left to relocate to California and pursue a career in filmmaking.[31][51] His final performance with Phox occurred that month, after which the band paused activities amid shifting personal circumstances among members.[14]Johnston's departure marked the end of permanent changes to the core quintet, though the band occasionally incorporated touring musicians for select performances during their remaining shows leading into the 2016hiatus announcement. This shift reduced the emphasis on banjo-driven folk elements in live sets, steering subsequent tours toward a more streamlined indie pop arrangement that highlighted the remaining members' contributions.[14]
Discography
Studio Albums
The band's sole full-length studio album, the self-titled Phox, arrived on June 24, 2014, through Partisan Records, comprising 10 tracks clocking in at approximately 38 minutes.[4] Recorded at Justin Vernon's April Base Studios in Fall Creek, Wisconsin, the album was produced by Brian Joseph, blending the group's folk roots with psychedelic and rock elements through layered harmonies, intricate guitar work, and rhythmic percussion.[52] Standout singles "Slow Motion" and "Laura" highlighted the record's strengths, with the former's dreamy, mid-tempo groove and the latter's extended, atmospheric build earning praise for capturing Phox's collaborative ethos and lyrical introspection on themes of longing and vulnerability.[24] Tracks like "Kingfisher" and "Evil" further exemplified the album's polished yet organic production, drawing from the band's Midwestern influences while achieving a cohesive, immersive listen that solidified their presence in the indie scene.[45]Following the release of Phox, the band entered an indefinite hiatus announced on October 17, 2016, with no additional studio albums produced thereafter.[35] As of November 2025, no further releases have been issued under the Phox name.
Live Albums
Phox's first album release was the live recording iTunes Festival: London 2013, captured during their performance at the Roundhouse venue on September 3, 2013, as part of the annual iTunes Festival series.[53] This eight-track set primarily featured material from the band's early extended plays, including live renditions of "Evil," "Kingfisher," "1936," and "Slow Motion," delivered with the raw energy of their developing indie folk sound amid the event's high-profile billing alongside acts like The Lumineers.[54] Released on September 9, 2013, via digital platforms, the album served as an early showcase of Phox's communal instrumentation and Monica Martin's emotive vocals in a concert setting, marking their international exposure shortly after forming in Baraboo, Wisconsin.[53]
Extended Plays (EPs)
Phox's extended plays were instrumental in the band's early development, providing platforms for sonic experimentation and thematic exploration that shaped their transition from local Wisconsin act to national indiefolk-pop outfit.The debut EP, Unblushing, self-released in 2012, featured five tracks characterized by a raw folk sound achieved through single-take recordings that embraced imperfections like mistaken lyrics and off-key notes.[13] This approach captured the band's organic energy and laid the foundation for their unpretentious style.[14]Friendship, also self-released in 2012, expanded on these roots with 19 tracks, including "Noble Heart," centering on interpersonal themes such as connection and emotional vulnerability.[13] The release highlighted the band's growing comfort with lyrical introspection amid their eclectic instrumentation.In 2013, Confetti marked a pivotal release, comprising six tracks self-released and accompanied by an innovative video component for each song, which amplified the band's visual storytelling.[55][56] This EP represented a stylistic evolution, incorporating more polished production while retaining folk influences, and served as a breakout project that boosted their profile ahead of festival appearances.[19] The video for "1936," tied to the EP's promotional momentum, contributed to widespread online engagement.[12]Following the release of their self-titled debut studio album in 2014, Phox produced no further extended plays, shifting focus to full-length recordings and live performances.[57]
Reception and Legacy
Critical Acclaim
Phox's self-titled debut album, released in 2014, garnered generally positive reviews from music critics, earning a Metacritic aggregate score of 71 out of 100 based on 13 reviews, which indicates solid acclaim within the indie folk-pop genre.[25] NPR's First Listen described the record as "soft and dreamy, with a pace that rarely rises above a moody midtempo swoon," highlighting its ability to seep under the skin through Monica Martin's evocative vocals and the band's intricate arrangements.[24] Paste Magazine awarded it 8 out of 10, praising it as a "colorful debut from a promising young band" that blends folk elements with ornate instrumentation, though noting some tracks might blend together on initial listens.[58] NME commended the album's soulful qualities, particularly Martin's "honeyed voice" that elevates the material despite occasional uneven arrangements.The band's earlier Confetti EP, released in 2013, was well-received in local and indie outlets for its whimsical and eccentric folk-pop style. Isthmus hailed it as a "video of a whimsical, song-filled party" that captured national attention at events like South by Southwest, emphasizing its joyful and innovative presentation.[59] Midwest Action praised the EP's "power and nostalgia," crediting the uniting vocal and rhythmic elements as a hallmark of Phox's sound.[20]Despite the positive buzz, Phox did not receive major music awards during their active years. However, they earned notable endorsements from influential platforms, including multiple NPR features such as a World Cafe session and a Tiny Desk Concert that has amassed over 900,000 views as of 2025, showcasing their warm, accessible live performance.[29][60] These appearances underscored the band's charm and helped solidify their reputation in the indie circuit.
Post-Hiatus Impact and Solo Pursuits
Following the band's indefinite hiatus announced in late 2016 and effective after their final shows in early 2017, Phox has not reunited for any full performances or tours as of November 2025. While occasional collaborations among members have occurred in individual projects, no group activities under the Phox name have materialized, allowing members to explore separate creative endeavors.[35][9][61]Lead vocalist Monica Martin has established a prominent solo career post-hiatus. After signing with Republic Records in 2018, she released her debut solo singles "Cruel" and "Thoughtless," marking her transition from band frontwoman to independent artist. Her debut solo single "Go Easy, Kid" arrived in 2021, with a collaboration version featuring James Blake released in 2022, showcasing her evolving style blending folk-pop with introspective R&B influences. She has released several singles since, but no full-length solo album as of 2025. Martin has maintained an active touring schedule, including West Coast dates in 2022 and 2024 where multi-instrumentalist Rachel Mazer served as opener and accompanist, with additional shows announced into 2025.[62][63][64][65][66]Other former members have pursued varied professional paths outside the band. Guitarist and trumpeter Matthew Holmen transitioned into graphic design and creative direction, founding projects tied to his Phox-era experiences while working with tech and nonprofit sectors. Bassist Jason Krunnfusz (often credited as J. Sean Krunnfusz) has contributed to local music scenes through session and production roles, though details remain limited to post-2017 independent work. Limited information is available on keyboardist and vocalist Olivia Olson's post-Phox activities.[67][68][3]Phox's legacy endures in the Midwestern indie scene, where the band is credited with elevating Wisconsin's profile alongside acts like Bon Iver and Garbage, inspiring a wave of folk-infused pop from the region. Tracks such as "Kingfisher," their breakout single from the 2014 self-titled album, continue to appear in streaming playlists and live covers, symbolizing the group's quirky, harmonious sound. The band's official Facebook page remains operational as of 2025, serving as a hub for fan nostalgia and occasional updates on members' projects.[12][69][70][71][72]