Dogpark started as four musicians playing parties and backyard shows at the University of Richmond: Eamon Moore (vocals), Billy Apostolou (guitar, bass), Declan Harris (guitar, bass), and Christian La Rose Conte (drums). Since relocating to New York City, they've released three EPs, sold out their first U.S. headline tour (2024), played Governors Ball and Lollapalooza, and toured with Marcus King Band.
Their sound is melodic rock built on what Ones To Watch called "pithy choruses": driving, electric, and riff-driven, with pop hooks and lyrics leaning into wit and satire around money, fame, and modern life.
Their latest EP, Corporate Pudding (January 2026), is a six-song set skewering corporate culture, wealth inequality, and social media's grip on modern life. It follows two earlier EPs, Breaking In Brooklyn and Until the Tunnel Vision Melts, and they toured behind it this year: headlining U.S. and Canadian venues over the summer, then their first-ever U.K./Europe run in September. Their new single, "Consequence," is out now, with their debut album on the way. They tour with Houndmouth in November, then headline their own run in spring 2027.
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“What can we do to get people off their fucking phones?” exclaims founder and frontman Luke Faillaci, explaining the mission behind Fai Laci, the band he founded and fronts. “And how can we give them something real and make them have a great time? That’s the most important thing we can do: Just communicate with our followers and let them know they fucking rule!” The Boston quintet — which also includes guitarists Anthony Cervone and Michael “Goldie” Goldblatt, bassist Cal Hamandi, and drummer Zack Putnam — have already amassed a grassroots fanbase thanks to their energetic, wildly cathartic live shows around the Northeast. They’ve seen a community coalesce around their inspired rock songs, with a quarter-million monthly followers and millions of streams despite, until recently, having no label, no publicist, and no manager. They’re proof that good tunes can still find their audience, and they’re working hard to bring others into the fold. “We’ve always been making music for ourselves, and we’re going to hold ourselves to that, because we know other people will want to hear it, too.”
Fai Laci are a band with a mission, and Elephant in the Room is the ideal vehicle to achieve it. Produced by Dan Auerbach and recorded at his Easy Eye Sound Studios in Nashville, the album blends the urgency of punk and the stomp of glam with the theatricality of classic rock, all bound together by the band’s sharp swagger and Faillaci’s boundless charisma. Especially for a debut, it’s confident and surprisingly diverse, full of brazen rockers and bruised-heart ballads. The band expertly traverses the psychedelic time and tempo changes of “Cure Upon the Hill” with the same grace and nuance that they bring to “Beautifully Boring,” a dreamily bittersweet anthem about navigating your young adulthood with your sense of self intact. In between, they deliver bangers like the decadent “Sarasota” and the jittery new wave “Headlights”, each a showcase for their inventive guitars and nimble rhythm section. “We never set out to make a certain kind of sound,” says Faillaci. “It takes us wherever it takes us. We got more into the rock side of things on the album, but we also wanted to have some really beautiful songs on it. We wanted to have something for everybody.”
That’s been the defining Fai Laci attitude since Faillaci founded the group. Working by himself and learning as he went along, he released two EPs and a handful of singles that he hoped might eventually make their way beyond his circle of friends. Those early songs reveal a young artist still integrating all of his favorite artists, from the obvious (Bowie, Nirvana, The Doors) to the not-so-obvious (The Highwaymen). “My dad played them around the house all the time, and I loved the songwriting and storytelling aspect of their songs. When I was a teenager, I went through an era of loving rap music, especially this artist Felly. I drew a lot of inspiration from him, and that’s when I realized I could just produce myself. I was just figuring out how to make sounds and record them…and I sucked! But I enjoyed it because I was learning how to make the music that I wanted to listen to.”
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