Premiere: Pollen Bomb Captures Raw Emotion On New Album, Live At Anyfolk
Since December, the ongoing Anyfolk music series has created a special space for both musicians and fans. For audiences, it’s a chance to experience some of the best singer-songwriters from Richmond and the greater Mid-Atlantic region in an intimate, free setting. For artists, it offers a rare opportunity to perform for a crowd that’s fully present: listening closely, not distracted by conversation, but truly engaged with every lyric and note shared on stage. In just seven months, the roster for these performances has become not just a who’s who of local talent, featuring powerhouses like Mackenzie Roark, Justin Golden, Caroline Vain, and Ross Wright, but also a place for emerging talent as well like Beya, Jo Malicotte, Mj Winn, and Daniel Estrada.
In some ways, singer-songwriter Pollen Bomb bridges both worlds, carrying the tenure and skill of a seasoned veteran while still embodying the quiet momentum of a rising voice in Richmond’s ever-evolving scene. His songs are spoken of with reverence, known for drawing profound truths and poetic turns from the every day, delivered with an honesty that resonates deeply. Yet that artistic gravitas is always met with a genuine warmth, his name spoken with fondness and admiration in green rooms, backyards, and music halls, often accompanied by the kind of smile that says, “You’re lucky to know him.”
So when Pollen Bomb took the stage for Anyfolk on April 9th at Hardywood, it felt less like a booking and more like a homecoming: an inevitable, long-awaited pairing. Many expected the set to be something special. Few were prepared for just how deeply it would land, or the lasting impact it would leave on all who witnessed it.
Now, that moment isn’t just reserved for those in the room. This Friday, June 13th, Pollen Bomb will release Live At Anyfolk, a three-song recording that captures the soul of that performance and the communal magic that Anyfolk has fostered. Today, The Auricular is honored to premiere the album with an exclusive stream below, alongside reflections and insight from the night it all came to life.
Pollen Bomb is the moniker of Richmond-based singer-songwriter Per Ohrstrom, a key figure in Richmond’s music community. Often spotted in the crowd across the city’s many venues, he’s known for his passionate support of local artists of all types. Equally at home on stage, Ohrstrom performs both as the bassist for the local supergroup The Wayward Leaves and as a solo artist, often spotted at Open Mic Nights and Writers Rounds, sharing songs rich with intimate truths, vulnerable observations, and moving storytelling. Songs like “Another Weekend In The City,” “The Matchbox,” and “Standing At The Altar” (performed with his partner, Wayward Leaves bandmate, and fellow singer-songwriter Rachel Epp) reveal a true student of compositional craftmanship, one shaped not just by real-world experiences, but a curious mind and earnest heart attuned to the personal struggles and quiet triumphs of the world around him.
This captivating approach to songwriting is on full display within Live At Anyfolk where, joined by violinist Betsy Podsiadlo, Ohrstrom breathes life into stories grounded in raw reality. Each track is framed by the heartache that lurks around every corner: some self-inflicted, some delivered by fate’s cruel hand, and others born from the cold impermanence of the universe itself. But within these anguished scenes, Ohrstrom still carves out space for glimpses of light. Flickers of hope, growth, or renewal. Reminders for listeners that while pain may shape a moment, it never defines the whole story.
Opener “Fine By El Paso” tells the tale of someone running away from a past lover, hoping that enough miles will soften the emotional weight (“It seems you had a firmer grip in my heart\ I thought I traveled far enough, but it wasn’t too far“). With references to Odessa and Terlingua, the song maps out the long, empty roads of heartbreak with Ohrstrom delivering a steady, clear melody. His voice carries both resolve and ache as he stares down the highway, haunted by a face he’ll never see again (“I thought I’d be fine by El Paso\ Nothing ever lasts\ So I won’t have to live in this pain\ I’ll see the sunshine again, it just won’t have your face“). As Podsiadlo’s violin rises, so does the rawness, and the song strips away any pretense of healing, culminating in a devastating realization: geography doesn’t mend emotional patterns (“Because it’s all the same\ Just when I think I can change\ All the shit I keep on pulling\ I just keep doing it in a different place“).
“The Bed I Made” carries a different kind of anguish, depicting a man grappling with the ache of addiction and the fallout it brings. While its story is harrowing with haunting omissions and pained observations, it’s Ohrstrom’s sharp lyrical wit that takes center stage. “I haven’t had a drink in two weeks\ And now I’m sipping on two weak drinks,” he remarks early on for a quick turn of phrase, while later, he stumbles upon an unintended rallying cry while underscoring the narrator’s disillusionment: “Where he makes a dollar while I make a dime\ That kind of math to me don’t make two cents.” Still, the heart of the song lies in the struggle between recovery and resignation. As the narrator debates whether to stay buried in his sheets or make another attempt at change, Ohrstrom captures that fragile space between hopelessness and hope with unflinching honesty (“I’ll take the weekend to think it over\ Monday morning and I’m back to sober\ This will be just another step along the way“).
Closer “Buried Treasure” towers over the set with devastating emotional force, chronicling a man’s frantic journey to say goodbye to a loved one, his thoughts spiraling at red lights, takeoff, and every quiet, aching moment in between. It’s here that Ohrstrom’s artistry hits its peak, transforming raw, overwhelming grief into transcendent expression, piercing poetic lines delivered with the most aching vocals (“It’s a bad news bandwagon – no lag or wind drag\ And its racing for my landing just to open me up“).
Every tool in his songwriting kit is on display: layered metaphors of impact and memory (“It hit me all at once, this was a turn in the page\ And it hit me so fast, damn near forgot my own name“), foreshadowing filtered through stream-of-consciousness (“Wondering if you’re gonna make the night\ It wasn’t looking so good“), and vivid emotional imagery (“There’s nothing I could do from the window seat at this altitude\ But sit and watch as the world passes me by“). By the end, the revelations come in waves, grief reframed as lost value, mistaken for something recoverable, like gold stashed into the earth (“We’s throwing dirt on you like you were buried treasure\ Maybe one day we’ll come back with shovels in our hands“).
Each song deepens the emotional weight, shifting from aching heartbreak to haunting addiction to devastating loss. Ohrstrom delivers each with such measured nuance that every feeling is given space to breathe—wry lines earn a quick laugh, while raw truths crash in like a rising tide, visible in the eyes of all in attendance. With countless more songs in his catalog, these selections only scratch the surface of his songwriting depth, but they reveal a firm command of the craft, a testament to the foundational instincts that shape truly indelible art, moving expression that leaves a lasting impression just like each of his poignant songs.
Looking back on the performance, violinist Betsy Podsiadlo is still struck by the rare energy that filled the space that night, something that speaks to Ohrstrom’s singular brilliance as a songwriter and performer. “Playing with him is emblematic of the electric magic that only live music can have,” Podsiadlo said. “Per’s intensity, sensitivity, and depth as a songwriter and performer connects so deeply with those who hear him.”
To Podsiadlo, that connection is rooted in deep admiration and genuine affection, a sentiment widely shared by those who marvel at his ability to uncover beauty and meaning in every lyrical corner. “Per’s songs always feel so special to me because even with his immense creativity and fun turns of phrase, his music cuts to the bone emotionally,” Podsiadlo continued. “He creates songs that aren’t easy to perform because they require every ounce of emotion and honesty he can muster. I am always honored to make music with Per and to call him my friend.”
Also on the line-up with Pollen Bomb that night at Hardywood were singer-songwriters Erin Lunsford (also of Erin & The Wildfire), Tristan Dougherty, Warren Campbell (also of Dead Billionaires), and Sophie Colette. Colette in particular remembered that night carrying a unique significance. “Performing at Anyfolk was one of those sacred experiences where I could share my music in the most honest way–stripped sonically to its bones–to an audience that was so generously attentive and quiet that you could hear emotional pins drop,” Colette shared. “Pollen Bomb’s set was exemplary of this. Already a fan of his music, I was brought to another level of emotional intensity, shedding a bucket of tears I wasn’t ready for. Per’s lyrics and songwriting have a way of tugging you hard and transporting you to your own honest place, all the while serenading you with an incredible voice and instrumental perfection. He’s like a secret weapon of talent in Richmond’s music community.”
According to a recap on Anyfolk’s social media, “there wasn’t a dry eye in the house” during Pollen Bomb’s performance. Moments after his set ended, texts, photos, and videos began circulating. Those in the room were quickly reaching out to their friends who hadn’t made it, trying to capture just how powerful the performance had been. Singer-songwriter and Woman Crush Wednesday organizer Bri Bevan was in attendance and, when asked what about the set, she immediately replied: “I remember crying. I always cry at Per’s songs.”
The emotional weight of the evening went far beyond the songs themselves. Just two weeks prior, Ohrstrom had lost his mother and her funeral would fall two days after this performance. A tremendous figure in his life, Ohrstrom described his mother as the one who taught him “kindness and compassion,” qualities that those closest to him consistently recognize and admire. This event was something not directly mentioned on stage, but felt deeply in moments like the line “‘I’m sorry for your loss’ / I think I read enough” from “Buried Treasure.” Originally written in 2009 after the death of his father, the song has long been an anchor in his performances, particularly on his 2024 release Live At The Camel. But on this night, it became something greater… shared and deeply felt by everyone in the room. “His songs are his truths,” Bevan noted, “but somehow they’re all of our truths as well.”
That sense of shared truth washed over the entire room, reaching to the back where engineer Chip Hale stood at the soundboard, carefully capturing the full depth of Ohrstrom’s performance. “The thing that I recall the most from the set was just the emotional connection that Per had with the audience, especially on ‘Buried Treasure,'” Hale said. “The conversation between his playing, vocals and the violin just really had everyone’s full attention and you could feel that in the room that night. Easily a top five favorite performance of mine at Anyfolk.”
Even for those who have seen him perform countless times on professional stages and in DIY corners around Richmond, this set stood out as something unforgettable. “He shone in this environment,” Bevan said. “A simple microphone, guitar, and a captive audience. His songs of grief, regret, and even sometimes a two step were given the chance to burrow into so many more people. I believe a songwriter of this caliber makes every one that hears him just a little bit more full as a person.”
Ohrstrom has been a dedicated supporter of Anyfolk since day one, attending the first event in December 2024 and rarely missing a performance since, even when juggling other commitments. Drawn to its focus on songwriting and the intentional space it creates for artists, Anyfolk feels like a natural fit for him. “A thoughtful, attentive environment like Anyfolk is perfect for an artist like Per,” Bevan also shared. “When given the chance, his songs burrow into your head and heart making themselves at home. The lyrics and melodies come springing from your lips days, weeks, months after first hearing them.”
Bevan isn’t alone in her admiration; Ohrstrom’s passion and talent have earned him adoration across the Richmond music scene. His performances have a way of revealing something deeper, something more intimate, that often catches even close friends by surprise. It’s a quality that Anyfolk organizer Tyler Meacham witnessed firsthand. “Per is a good friend and an incredible songwriter,” Meacham said. “Often, we get to see a whole new side of someone when they’re on stage, and Pollen Bomb’s set at Anyfolk was a perfect example. He brought exactly what resonates most with our audiences—a powerful mix of artistry and vulnerability.”
Anyfolk currently operates entirely as a labor of love, with accessibility at the heart of its mission. Venues offer their space at no charge, photographers contribute their time, and artisan vendors participate without guaranteed compensation. Tyler Meacham and Chip Hale volunteer their efforts, handling production without pay. Even basic setup relies on the help of volunteers. The showcase’s biggest request, however, is for musicians to perform for free, a difficult ask in an era where opportunities to earn are shrinking for musicians.
To help offset this, Anyfolk provides artists with professionally recorded and mixed audio from their performances. “As an artist myself, thinking about what I really value for my time if not cash, I know the answer includes high-quality recordings, high-quality photography, and of course, an attentive audience, so the idea of recording and mixing each set was kind of a no-brainer,” Meacham said.
This opportunity creates a range of possibilities for Anyfolk performers. Some use it as a chance to test out new material or connect with a fresh audience in a unique setting, while others see it as a step toward something more lasting. “The other part of it is that artists may or may not go into their set prepared to capture something,” Meacham said. “Maybe some think ahead of time about it or maybe not. I hope and feel like the environment is really conducive to capturing great performances that artists end up wanting to release.”
Pollen Bomb’s release joins a growing list of recordings to emerge from the Anyfolk sessions. That list began with singer-songwriter Cameron William Lovings’ three-song set, captured during the debut Anyfolk show at Ardent’s Barrell Room in December 2024. In February 2025, Americana group Brookhouse shared their performance via Bandcamp, followed by Richmond staple Prabir Mehta’s single “Today” in April and power pop group Flora & The Fauna’s B-Side “Little Flame” in May.
“It’s really cool to see Live at Anyfolk pop up on the various music platforms for sure,” Meacham said. “One of the things that really matters to me as a host and curator is that the artists feel like they are coming away from the show with really great material to share, whether that’s photography or the set recordings or new listeners, so as we start to see artists releasing their sets, it signals to me that what we’re aiming for is working.”
Bringing to life the music of Pollen Bomb definitely matches that aim. Live At Anyfolk doesn’t just preserve a remarkable performance, it amplifies its reach, letting listeners everywhere feel the stillness of that Hardywood room and the communal weight of every word Per Ohrstrom sang. In doing so, it reaffirms the quiet power of intention, vulnerability, and shared space, all of which are core tenets of both Pollen Bomb’s artistry and Anyfolk’s mission. As this series continues to grow, performances like these will shape its legacy, reminding us all why we gather in the first place: to listen, to feel, and to be moved.
Live At Anyfolk is set for release to all streaming platforms on Friday, June 13th. For news on future releases and show announcements, make sure to follow Pollen Bomb on social media.
Anyfolk returns on Wednesday, June 18th at Triple Crossing Fulton with a 6 PM social hour and music beginning at 7 PM. Follow Anyfolk on social media and subscribe to their newsletter for updates on future showcases.
Top Photo Credit: Miranda Jean
