21 posts tagged “concert review”
Initially, I was a bit dismayed when I found out that Antony and the Johnsons would be playing the Pantages Theater on Valentine’s Day. His music has an underlying melancholy and heartache to it that I wasn’t sure would fit well with America’s most saccharine of holidays. But the show turned out to be the perfect antidote to all that sugary artificial sentiment, for Antony’s performance was about as real as they come, and was one of the most stripped down, vulnerable performances I’ve seen in recent memory.
Taking his place on the bench of the grand piano where he would stay
the entire show, Antony and his backing band of six musicians came out
to a warm ovation from the near capacity crowd at the Pantages. The
musicians (or Johnsons, if you will) consisted of a drummer, bassist,
cellist, and three others that swapped instruments throughout the
entire show, switching from violin to acoustic and electric guitars,
oboe, and saxophone during the course of the set. The orchestra
provided stellar support to Antony, whose delicate and understated
piano playing often guided the song forward at the onset, but never
really became the focus of the arrangements. That focus was placed
squarely on Antony’s beguiling falsetto, which carried the night to its
exalted heights and kept me awestruck and captivated all evening long.
His voice does take some getting used to, being part cabaret/part
operatic, but it’s filled with a level of emotion and honesty that
isn’t found in most modern music, and imbues his music with a haunting,
impassioned lucidity that is rare in any art form these days.
The stage remained shrouded in darkness throughout the performance (explaining the lack of quality in my photos), with the lighting and backdrop done up in understated white tones. Antony eased into the evening with “Where Is My Power,” a b-side to the “Epilepsy Is Dancing” single, taken from Antony’s brilliant new record The Crying Light. Things got a bit more solemn with the touching, eloquent “Her Eyes Are Underneath The Ground,” whose lyrics “In the garden with my mother I stole a flower” took on added significance by the fact that Antony’s mother, father and brother were all in attendance. He alluded to his time spent in Minneapolis by telling a story about walking by First Avenue earlier in the day, realizing the last time he’d been there was when his father took him to see Nina Hagen. He was too young at the time, so his dad had to get him in. Antony laughed when he said his father only stayed for a couple songs. “Epilepsy Is Dancing” was next, and it was a soaring tour de force. It’s truly an epic, heartbreaking track that escalated nicely to a dramatic, stunning finish. “One Dove” gave the band a chance to show off their chops a bit, with a stirring oboe solo that added a gorgeous layer to the song. The show really didn’t have any low points, other than very slight pacing problems, for the song selection was perfect throughout the set, and all the tracks were performed with an elegance and candor that isn’t often found in the music industry these days.
Other standouts from the superb set include “For Today I Am A Boy,” “Another World” and a version of “You Are My Sister” that brought forth audible gasps amongst the crowd around me. It was as moving and passionate as music can be, a touching ode to the dreams of loved ones getting realized, again made even more enthralling knowing that his family was in the crowd. “Twilight” followed, and was simply stunning, made even more so by the accompaniment of the orchestra, who guided the song to its tender finish along with Antony’s skillful piano work.
The night did have some lighter moments, like the bands playful cover of Beyonce’s “Crazy In Love,” that started out simple and sounded quite improvised, but took on added weight as Antony breathed new life into the lyrics and the band provided a steady accompaniment while Antony lost himself in the song. And, when that song was quickly followed by a soulful rendering of “Fist Full Of Love,” the pairing of seeing Antony on Valentine’s Day started making perfect sense. His songs are indeed filled with love, after all, either searching for it or remembering love lost. Either way, it was more of a tender, joyous affair than I was expecting, even with Antony struggling to find words after someone in the crowd wished him a happy Valentine’s Day. He sat silent at the piano bench, explaining how he didn’t have anything special planned, trying to find words to signify the day, and just couldn’t. Later in the show, he encouraged all of us to YouTube the “Hamster at the Piano” video, that the video would be his Valentine’s Day gift to us. Which is silly, in the end, since sharing his music with us was always going to be the best gift of them all.
After a rousing, electrified version of “Aeon” closed out the main set, Antony and his band left the stage to a standing ovation from the adoring and respectful audience, who were stone silent during most of the set, except when Antony invited us to have a conversation with him after he came out for the encore (which never seems to work out well in any show, and didn’t on this evening). Antony rambled on a bit about spoonfuls of peanut butter, and joked about how he had a few lately and was hoping that one of them would be “the magic spoonful that would send him to his grave.” But he was honestly horrified to find out that three people had died in Minnesota from salmonella poisoning linked to peanut butter, and begged our forgiveness for his insensitivity. It was a minor diversion before the encore began with a wonderful version of “Cripple and the Starfish” that again showed the talent and dexterity of the orchestra, who gave the song a mournful edge with their delicate accompaniment. The show finished the only way it could, with a jaw-dropping version of “Hope There’s Someone” that enraptured all in attendance with its stark, plaintive lyrics and Antony’s vulnerable, unadorned plea for someone to be there when he needs them most. It was absolutely beautiful. And everyone that gave the band another standing ovation as they left the stage seemed to agree.
So, spending Valentine’s Day with Antony and the Johnsons wasn’t
such an odd pairing after all, with Antony’s honest, heartfelt lyrics
playing the perfect foil to all the insincere sentiment being sold to
us everywhere we turn. The performance was as sincere and genuine as
any I’ve seen recently, and was far and away my favorite show of the
young year.
Please see my original review and much more @ www.culturebully.com. Cheers!
There are some rock shows where you close your eyes to avoid seeing the train wreck happening in front of you, diverting your attention from an artist clearly not ready for the stage they are on. And then there are shows, like last evening’s Fujiya & Miyagi/School Of Seven Bells show at the extremely sold out 7th Street Entry, where you close your eyes and let the sound wash over you and take you somewhere else entirely. Especially with the stunning identical twins Alejandra and Claudia Dehez on stage, School Of Seven Bells were best experienced (at least in my opinion) with eyes closed, without their beauty distracting from the music in any way. And both bands didn’t really get up to much on stage, so I let the music do most of the work for me, transporting me somewhere besides the extremely crowded Entry.
School Of Seven Bells opened with “Iamundernodisguise,” the first track on their excellent debut full-length Alpinisms, and right from the get-go, it was clear that guitarist Benjamin Curtis was working way too hard on his various effects pedals and knobs without having the sound in the room reflect his efforts. His sounds were buried too deep in the mix, and the vocal harmonies of the Dehez sisters, while pleasant enough, overwhelmed their sound and made a lot of their songs sound similar as a result. Perhaps it’s a conscious effort by Ben to not dominate their ethereal sound with his guitar work, because their mix was the same when I saw them open for M83 at the Triple Rock a couple months ago. But, in my opinion, their music suffers a bit under that arrangement, for he’s way too talented to be relegated to merely a bit player in the group, and their album is filled with varied and interesting sounds that he creates which don’t come across nearly as clear when performed live.
That’s not to say that the show wasn’t without it’s highlights, for when the band hit their stride, the music is quite intoxicating. “Wired For Light,” “My Cabal” and “Connjur” were all enchanting sonic experiments that worked well in the live setting, and filled the club with the band’s airy sound. On record, the band’s sound is much more soaring and exalted, but those heights aren’t quite reached by their live set. Their songs are enjoyable, but ultimately don’t really go anywhere all that interesting in the end. I think with more of an impact from Ben, their live sound could match the elegant soundscapes found on their record, but for the time being, their live show suffers from a lack of his guitar and effects in the mix.
Surprisingly, the club cleared out ever so slightly for headliners
Fujiya & Miyagi, and those that left missed out on a group that has
clearly found their sound and polished it to electronic perfection. The
band was tight and balanced, and their sound was superb. During the
middle of the Brighton band’s second song, I was wondering why there
was even a drum kit set up for the evening, for SVIIB didn’t employ a
drummer and up until that point Fujiya & Miyagi weren’t either
(they’ve been a three-piece with a drum machine prior to this tour).
But new member Lee Adams came out from behind the curtain to sit behind
the kit, and helped bring “Ankle Injuries” to a propulsive close. He
brought a more natural, organic sound to their music, and in my mind is
a welcome addition to the group’s hypnotic live show. Frontman David
Best was affable and accomplished all evening, as his intricate guitar
work guided the songs, and the “rhythm section” of Steve Lewis and Matt
Hainsby gave the songs their depth and atmospheric dimensions.
Touring behind their splendid new record Lightbulbs, their set leaned heavily on their new material as well as songs from 2007’s Transparent Things.
Standouts included “Cassettesingle,” “Pussyfooting” and “In One Ear.”
Their songs are tightly wound constructions that have a catchy
underlying beat that always seems to get heads nodding. But there is
quite a bit of space to be found in their music as well, no matter how
dense it may sound. And plenty of people in the crowd were free to get
lost in that space throughout the show, even though there wasn’t much
room available to dance in. Best’s lyrics are rather goofy at times,
reminiscent of the often dead-pan delivery of Jermaine and Bret from
Flight Of The Concords (especially on a track like “Pickpocket”). The
real innovative aspect of the band is their funky, enthralling sound,
which was mixed pristinely last night, with all the nuances of their
music perfectly audible and crisp.
It was a show I spent a good majority of in my own head, with the music providing a spatial soundtrack to my thoughts as well as conveying me out of the crowded Entry into somewhere much more pleasant but rather hard to define. I think School Of Seven Bells have yet to reach the promise that is hinted at in their debut record, but touring with a taut and focused band like Fujiya & Miyagi will only help them to flesh out their live sound and add dimension to their music. Fujiya & Miyagi have really solidified their sound and nailed down their live show, and when it’s mixed right, as it was last night, their sound can take you to all corners of the globe with their varying influences and styles. Or, it can simply just make you dance, provided you have the room.
Please see my original review, and more of Jon's incredible photos at culturebully.com. Cheers!
Last night was a true hometown celebration in downtown Minneapolis, with local bands Solid Gold and Tapes ‘n Tapes managing to completely sell-out First Avenue’s main room (and then some). The large venue allowed Twin City music fans the opportunity to pack the club and show their love to both bands, and gave the groups the chance to fill the room with the sounds and spirit that have garnered them all of the acclaim in the first place. Tapes ‘n Tapes have already made their way rapidly up the musical hierarchy and from all indication Solid Gold should soon join them on the national stage—last night’s entertaining and energetic show was further proof why both bands warrant all of the attention and accolades.
Normally, when you have three bands on the bill for a show at First
Ave., people are still filing in while the opener is finishing its set.
Friday night however, the club was good and packed by the time Solid
Gold took the stage. That must have been quite a confidence boost to
the band (who were playing one of their largest Twin Cities shows to
date), because they came out sounding tight and focused, with their mix
sounding superb and their smooth sound easily permeating the entire
club. By the time they played their second song of the night, “Armored
Cars,” they were settled in and the club was theirs for the taking.
They rattled through most of their stellar debut record, even playing
one new song that fit seamlessly into the flow of the set, and other
than thanking Tapes ‘n Tapes for having them as openers, kept strictly
to the music.
Tapes ‘n Tapes selecting Solid Gold to open the show was quite a smart move, and certainly no accident. Their longer than usual set (for an opening act) confirmed not only that they were a local band that Tapes were generously providing a larger stage (and audience) to for the night, but also that the band has the kind of sound and appeal that can fill First Ave. on their own, which I’m sure they will soon. I’m curious to see how they go over in Austin for SXSW but based on their captivating performance last night national success should be imminent. And these guys certainly deserve it for they have crafted one of the most unique and listenable local records in recent memory with Bodies Of Water, and have an enthralling live show to match. Solid Gold were given a golden opportunity to play to a full room at First Ave. and they stepped up and delivered a knock out set to an admiring audience that will most assuredly propel them on to bigger and better things.
Following Solid Gold’s set would prove to be a difficult affair for any band, and New Hampshire’s Wild Light, while being a tight live band with anthemic songs and earnest choruses, were a bit of a let down after such a stirring opening set. Under different circumstances their sound and style would perhaps be more engrossing, but I found myself anticipating the headliners more and more as their set progressed. “California On My Mind” is a hell of a song though, and was the highlight of their set for me.
With the club now packed well beyond capacity, Tapes ‘n Tapes didn’t waste any time in tearing into the beginning of “The Dirty Dirty” before the projection screen covering the stage was still rising, starting a fiercely paced set that rarely let up all night. Due to incessant touring and a burgeoning familiarity with their material, they have become an even tighter band since I last saw them headline the main room last year. Their sound last night was buoyed even more by the addition of drummer Jeremy Hanson’s brother Jacob on guitar during part of their set. It was clear right from the start that the boys were on point and out to set fire to the place, tearing through early set highlights “Hang ‘Em All,” “The Illiad” and “Headshock” without so much as a word to the capacity crowd nor much of a chance to catch their own breath. It was a blazing start that was inevitably bound to subside a bit, as it did with “Conquest,” which finally allowed front man Josh Grier the time to acknowledge the capacity crowd and thank us all for coming.
After a sped up and feisty version of “In Houston,” the set really took off with the rousing one-two punch of “10 Gallon Ascots” and “Insistor” that reminded me why these guys blew up in the first place. They tore through these familiar songs with the same intensity and energy that they did when the songs were first written, fleshing them out with a grittier sound and a potency born from years now spent on the road. Josh went on to say that this is the first time they’ve played Minneapolis while being in the middle of their tour, and it was nice to be home after three weeks on the road. The band also debuted a few new songs during their set that had a fresh and lively sound that will fit right in with their varied and distinctive catalog.
The set did have a few lags in energy (it would have been nearly impossible for any band to keep up that level of ferocity all evening), so while songs like “Demon Apple” and “Say Back Something” were good additions to the set, they just lacked the whip-crack potency of the earlier part of the show. That strength of sound returned quick enough, though, with the slow build of the cacophonous “Manitoba” and the frenetic set closer “Jakov’s Suite” that had a good part of the capacity crowd thrashing right along with the band. The encore was as tightly wound and focused as the main set, with the band wasting little time backstage before storming back out to play spirited and explosive versions of “Cowbell” and “Just Drums” that proved to be a perfect finale to a set that found the local band showcasing their continually evolving talent and dexterity before an audience that has been rooting for them since the beginning.
And that’s what the night ultimately became—a celebration of two local bands that, while already having achieved great things, are hopefully both bound for more. And if all goes well, the enormous crowd that greeted them at First Avenue last night will just grow in numbers and stick with them every step of the way. I know I will.
Please see my original review with many more of Jon's great photos at www.culturebully.com. Cheers!
It was quite a celebration on Saturday night at First Avenue, as a sold-out crowd showed a lot of love towards local hip-hop crew Doomtree, who in turn gave a lot of love right back, as well as an energetic performance that highlighted a collective that is currently hitting on all cylinders. With a handful of records out over the last year or so, as well as their first ever full-length under the full-crew Doomtree umbrella, and forthcoming records due out early next year from P.O.S., Sims, and Dessa, Doomtree had a lot of banging tracks to chose from, and most of them were on offer during the two-set, nearly three-hour Fourth Annual Blowout.
The fuse did take a little while to get lit though, as the early start time, combined with long lines at the door, had people filtering in (and warming up-damn it was a cold night in Mpls) while the first set was going. But the gang clearly was ready to provide whatever enthusiasm the crowd might have been lacking, initially, with the smile on P.O.S.'s face enough to light up the club on its own. So, while it took a while for the crowd to get into it, the band certainly was on point right from the get go, with the spotlight at the start of the show falling on the rhymes of Mike Mictlan, Sims, and P.O.S., who simply owned First Ave's revamped stage, with its small stairway leading down from the stage into the crowd adding to the engaging atmosphere in the club . It's been quite a year for the Doomtree crew, and Saturday night was a bash to celebrate everything they have achieved, and how a lot of their dreams and aspirations have been realized. Backed by DJ's Paper Tiger and Lazerbeak, the beats were solid and slamming all night, and each MC brought their different styles (and solo material) to the mic, blending their disparate techniques deftly throughout the entire show.
Cecil Otter stayed in the background for the beginning part of the set, but tore things up when he got the chance on an old track from his 'False Hopes' record, and really brought the first set to life with his rhymes. P.O.S. gave us just a little taste of his new record that's dropping in February, blowing up on 'Drum Roll.' I was actually hoping for a few more tracks from that record, but I'll have to wait until he perhaps does a record release show (or at least a local headlining show for his tour that begins in February) for 'Never Better.' Dessa also performed a few sultry tracks that might find a place on her forthcoming record in the new year as well. But this was a Doomtree show, after all, and a majority of the tracks the crew tore up (and seemed to enjoy performing the most) were from their excellent collaborative 'Doomtree' record. So, 'Drumsticks,' 'Gander Back,' and first set closer 'Game Over,' were all early set highlights that were brazen examples of how strong that record is.
So, after a short break, Cecil Otter came on stage, unaccompanied, and did a stirring trio of songs from his 'Rebel Yellow' record, that not only shows how improved his stage presence has become over the years, but how clever and self-deprecating a wordsmith he is. Next up was Mike Mictlan, who also did a rousing set of songs from his Lazerbeak produced 'Hand Over Fist' record. Mike announced the birth of his daughter to the crowd, before dedicating a spirited full band version of 'Prizefight' to her, which just might have been the best song of the night. And from that point on, the place was on fire. The room had reached beyond maximum capacity, and the hyped crowd just added to the groups energy. 'Accident' really tore things up, and then the crew literally tore things up, tearing off the huge letters that spelled out Doomtree on the DJ decks, and throwing them into the ecstatic crowd. The band even brought out I Self Devine on guest vocals for an incendiary version of 'Twentyfourseven' that had the whole crowd throwing their hands (and wings) into the air.
So, it was quite the revelry taking place on Saturday night, one where the band was nearly as happy as the audience, with all they've accomplished throughout the year. And the crowd made sure to show their appreciation, for not only all the great releases they've been responsible for over the years, but for an amazing show as well. One where the true talents of the band were on full display, as were the excellent songs that have now piled up in the Doomtree catalog. They had enough killer tracks to fill a nearly three-hour set and leave the audience breathless (at least those of us on the floor were.) So, well done, Doomtree crew. This show was a real celebration of all you have you have accomplished over the last year or so. And with such good records looming on the horizon, we know you aren't even close to being finished yet.
Please check out my review of this concert on culturebully.com, which features some excellent photos from the show.
It's never a good sign when the first thing Bradford Cox says to the audience is "I've got some bad news to tell you." I immediately became worried that the show was in jeopardy, but it turned out that guitarist Whitney Petty was back at the hotel with the flu, and wouldn't be making the gig. So, it would be up to Bradford and Lockett Pundt to manage the guitar assault for the evening, a task which they took to admirably once the sound issues were worked out. It's also never a good sign when Bradford has to yell "This monitor is fucked" during opening track 'Cryptograms.' The song sounded amazing from the crowd, incidentally, with no audible buzzing in the vocals that Bradford would allude to. So, with encouragement from the crowd, the band soldiered on into 'Never Stops,' one of my favorite tracks from Deerhunter's incredible new record 'Microcastle.' But Bradford had enough of the monitor issue, stopping the song outright, and demanding that the issue get resolved before the band continued, more for the crowds benefit than the bands, with Bradford exclaiming that he didn't want us to have to listen to a lousy show and have a bad trip. So, after the tech fixed the issue, Bradford joked 'Take it from the chorus...Just kidding. We're starting the song again,' and with that, finally, the show took off.
'Never Stops' soared, being led by the bouncy bass line of Josh Fauver, and the two guitar attack brought the song to a cacophonous finish. 'Dr. Glass,' off the Fluorescent Grey E.P. was next, and it was clear that the band were locked in at this point, or at least locked in after drummer Moses Archuleta returned from his mid-set between-song bathroom break. It certainly wasn't the smoothest of starts for Deerhunter, but the sublime sound of their music more than made up for any glitches, be they technical or, ahem, physical.
The band has really fleshed out the live sound of their older tracks, adding Sonic Youth-style layers of noise on to tracks like 'Hazel St.' and 'Like New,' that really turned them into massive, sonorous live songs. The Triple Rock has always been my favorite sounding room in the city, and after the opening fiasco, the sound was fantastic for the duration of the show. And it was clear that after the hi-jinks of past performances, the band was much more into their music now than any sort of on-stage theater, and the set was tightly focused, forceful, and as stirring as any of their shows were in the past. And the strength and vision of their new record is a big reason for that, as well, with the new songs building and crashing over the audience in exquisite waves of sound. The last two or three minutes of 'Nothing Ever Happens,' was absolutely sublime (not to mean that the first part of the song was shit, or anything), and really was the highpoint of the show.
The band built on that momentum with a stunning guitar heavy version of 'Octet,' that built up gradually, until the song filled the room and had everyone around me at least smiling if they weren't moving something. The band really were able to lose themselves completely during the number, with all the members locked into the groove and lost in the sound. 'Microcastle' slowed things down a bit, until its rousing finish sparked the show back to life again, and 'Vox Celeste' proved to be the nights only offering from 'Weird Era Cont.' the excellent bonus album released with 'Microcastle.' 'Calvary Scars,' found the band stretching the song out a bit and experimenting musically, with Bradford turning knobs extensively in search of that perfect sound, and the other members turning their backs on the audience as they focused on the sound coming out of their amps. It was fantastic, and eased the band off the stage.
Remnants of the song were still being looped repeatedly as Bradford came back on stage, much to his annoyance as he tried to thank the audience for coming out on a cold Monday night. 'Agoraphobia,' was the first encore, and while sounding incredible, it was also somewhat sleepy, and that continued into set closer 'Twilight At Carbon Lake,' which Bradford introduced as 'a lullaby for baby roaches.' So the encore proved to be somewhat languid, until the end of 'Twilight,' which brought discord and feedback galore, again echoing Sonic Youth, and ended the set on a high note.
It's never a good thing when a band has to work through technical issues that plague their sound, but Deerhunter showed great fortitude and dedication in not only working though the issues at the start of the set, but turning in a stellar show once the sound was sorted out. They are touring for a fantastic record, and last night they put on a show worthy of the quality of their entire catalog, and, despite perhaps lacking the theatrics of past shows, the concert was musically sound and experimental in its own right, and certainly made braving the cold on a Monday night worthwhile.
Deerhunter Setlist:
Cryptograms
Never Stops
Dr. Glass
Hazel St.
Like New
Little Kids
Nothing Ever Happened
Octet
Microcastle
Vox Celeste
Saved By Old Times
Calvary Scars
Encore:
Agoraphobia
Twilight At Carbon Lake
I need to make special mention of Chicago's Disappears (featuring Brian Case from The Ponys), who opened the night with a strong set of guitar heavy minimalist rock that was reminiscent of Velvet Underground and Television, and with our show being their last on the tour with Deerhunter, we were lucky to have them kick off the night. Times New Viking, from Columbus, Ohio, were up next, and while making that sort of racket with their nominal stage set was admirable, their songs suffered from sounding too similar and not really having any real direction, with just simple keyboards and guitar to drive the song along with the drums. Their set was met with approval by most of the crowd, but not necessarily with me, especially when compared to the superb sounds of Deerhunter.
Please see the original review, with more of Jeremy's great pics on CultureBully.com.
I was surprised by a lot of things during Saturday night's sold-out Blitzen Trapper show at the Turf Club in St. Paul, not the least of which was the fact that the show was sold-out in the first place. I guess the large audience was partly based on the fact that The Current plays the title track to BT's new record 'Furr,' constantly, but more likely the turn out was a testament to the fact that 'Furr' is a fantastic record, solid from start to finish, and those tunes were on full display during the bands rousing set.
Another surprising aspect of the show was how loud it was. The new record is a bit more acoustic and mellow than its raucous predecessor 'Wild Mountain Nation,' and I expected the show to reflect that subtle transition. But the Portland sextet raised one hell of a racket right from the get-go, with their sound blaring and crisp as they tore through their new record nearly in order (or, perhaps it just seemed loud when compared to the hushed set of openers Horse Feathers, who were good, but their quiet, string heavy music was unfortunately over-matched by the loud Saturday night crowd at the Turf-a more intimate venue would suit their sound a bit more.) Clearly, touring with Stephen Malkmus recently has aided in Blitzen Trapper's live performance, with the new songs much more guitar heavy and clamorous than on record, and the band tighter and more assured than in past performances. Blitzen Trapper were a band hitting on all cylinders on Saturday night, with a large and adoring audience thrilled by everything the band played.
Sure, 'Furr' got the loudest applause during the set (it's a hell of a song, and deserves the omnipresent radio play it has been receiving as of late,) but I was surprised at the live potency of other new songs like 'Gold For Bread,' 'God + Suicide,' and 'Fire + Fast Bullets,' which was a boisterous highlight of the set for me. This self-assurance and confidence in their material really aided in fleshing out the full sound of the band's older tracks, as well, as songs like 'Wild Mountain Nation,' which roused the set from its brief and only lull, and 'Devil's A-Go-Go,' finally receiving the stirring and spirited live treatments that were absent in past performances of theirs that I've seen. Blitzen Trapper have simply become a better band, both live and in the studio, and they've managed to catch up to all the accolades that were bestowed on them before they even had a chance to become a cogent group. And that was perhaps the most surprising thing of all on Saturday night, how much Blitzen Trapper have progressed since their initial chaotic concerts in Minneapolis, and how good a live band they've become.
The strong hour long set ended with the crowd clearly wanting more, so three of the members sheepishly came back out to do a passionate cover of Dolly Parton's 'The Last Thing On My Mind,' complete with three part harmonies reminiscent of fellow Northwestern band Fleet Foxes. It was a great cover, and during the ovation the rest of the band came out for a lively version of 'Miss Spiritual Tramp,' that while not exactly being the electric guitar laden nod to Malkmus' former band Pavement as it is on record, was still a fun and feisty song that closed the set well, and left all in attendance happy and satisfied. Blitzen Trapper have realized the tremendous promise and talent that is inherent in their brilliant records, and while I hope they don't ever become content with that, they should be proud that their live show has become as formidable and solid as their records are loose and inventive.
I also need to make a special mention of show openers These United States, from Lexington, KY, who set the table for the night quite nicely. They were a great fit with the sound of the headliners, with the drummer even joining BT for their last song. Their bluegrass tinged songs of Americana and crimes (and crimes against America) went over well with the crowd, and they provided me with the biggest laugh of the night, when the singer asked the crowd to stick around for the next two bands, on the off chance that there were people there only to see them. Then asking them 'What the fuck is wrong with you.' Indeed, the sold out crowd was definitely there to see Blitzen Trapper, but if These United States come back to the Cities, I wholeheartedly recommend you check them out. Chances are there will be people there only to see them next time.
Original post appeared on culturebully.com. Please check out that review for more of Jon's fantastic pictures.
Wow, Gregg Gillis sure can throw one hell of a party. With just a laptop and a copious amount of streamers, confetti, and toilet paper, the man known professionally as Girl Talk completely invigorated a sold out First Avenue, and turned a relatively tranquil Monday night into Dance Party U.S.A. With the stage completely filled with dancing audience members by the time the first few beats came out of the speakers, and the floor awash with flailing arms and mad gyrations, Gregg and his trusty laptop completely energized the room and, despite the lack of any real instruments being played and original music being created, Girl Talk put on one incredible show.
I think the appeal of Girl Talk is that there is a little something in his music for everyone, no matter what your tastes. He isn't just raiding the record collection of the indie kid, or the hip-hop head, it's a bit of all our collections that are incorporated into his music. If you just listen long enough, you are bound to hear the strains of a song you recognize and love in a new and unique way, and chances are you'll be bobbing your head to it. And once his set got started, it became a game of name that tune, with Beck beats over Cassidy lyrics, Weezer melodies meshing with Lil Wayne rhyme's, and a blur of NIN, Styx, Boogie Down Productions, and, well, Blur. And when thinking about my review, I was struggling with whether or not I should list what was 'played' by the song titles from Girl Talk records, or the actual songs he's sampling from. But it doesn't really matter. What matters is that the room was full, hands were in the air, heads were nodding, and Gregg was bouncing around nearly as much as the audience, clearly feeling the vibes and the heat of the crowd.
I was worried that First Ave would be one endless mosh pit based on what I've read and heard about Girl Talks live shows, and while both the main floor and stage was teeming with ardent dancers, there was still plenty of room to move on the periphery of the crowd and just enjoy yourself (perhaps because so much of the audience was up on stage.) So, it was nice to just nod my head to the music and bear witness to the madness unfolding in front of me. And there was plenty to take in, with the stage remaining full of dancing audience members all set long, and constant waves of streamers jetting out into the crowd. And everywhere you turned, people were smiling, which I think is essentially Gregg's ultimate goal with his musical mashups; playing songs that make people smile (and shake their ass, of course.)
It was quite a spectacle, and actually enlivened me this morning to the grand event taking place today (or, I should say events-voting, then Mr. Dylan.) And the timing of the show was perhaps the only unfortunate thing about Girl Talks set, for the party that took place last evening at First Ave would have been perfectly suited for tonight, around midnight, when hopefully these winds of change that have been blowing for some time now shake the foundations of this country and Barack Obama is elected President of the United States. We could all just put on Girl Talk's records really loud, invite as many friends as we can to come over and dance on our couch, throw confetti all over the place, and relive the experience as best we could. I truly hope it happens. My place is always available.
Please see my original post on this concert, along with more of Jon's great photos, @ Culture Bully. Also, check out more of Jon's wonderful photos at his Flickr Page.
The 7th Street Entry is a venue built specifically, it seems, for loud, sweaty rock shows. The intimacy (and, frankly, the grunginess of the place) lends itself nicely to dissonant, thunderous rock shows where you can't help but bounce of the person next to you simply because there's no room to move. Unfortunately, at last nights The Rumble Strips/Birdmonster show, there was too much room to move, with attendance barely pushing 100 people by the time the headliners got on stage. And while I try not to let crowds affect my judgment and enjoyment of a show one way or the other, good or bad, the sparse attendance did seem to have a bit of an impact on the bands, specifically the set of San Francisco's Birdmonster.
I have spent the last few days listening to Birdmonster's excellent debut 'No Midnight,' in preparation for the show, growing excited to hear these songs live. And, while I understand that they are touring their new record, 'From The Mountain To The Sea,' it was a touch frustrating not to hear more than just a couple songs from their first album. The new album, as the title of it hints at, is certainly a stylistic shift for the band, away from the loose, electric guitar based songs of their debut, to a more organic, acoustic driven, keyboard aided sound. And while their new songs are good, the band seems to be a bit more restrained while playing them. The older songs had a much more untethered feel, specifically 'Cause You Can,' which came third in the set, and really invigorated a somewhat stagnant start to the show, in my opinion. The slow start could perhaps be attributed to the fact that there were barely 30 or 40 people there during their set, prompting lead singer Peter Arcuni to remark "You guys are so quiet. We'll just take that as you being respectful."
But it seemed like the band, instead of trying to draw energy from a crowd clearly not supplying it, all drew themselves inward and used the vivacity of each other to drive the rest of the set, with each member singing energetically along with Peter to the songs (most of the time not even into their microphones), and Peter and bassist/keyboardist Justin Tenuto resting their heads on each other as they caught a grove. And, from 'Cause You Can,' (which was incredible) onwards, the set soared. 'New Country,' 'The Only One,' and 'Lost At Sea,' were real standouts from the new album, which, I admit, I need to become more familiar with. And hopefully, by the time that happens, Birdmonster will come back through town again, next time as headliners, and hopefully to a full room. Although, while talking to guitarist David Klein after the show, he wasn't bothered by the attendance, and thought it was a fun show. He also added that we are spoiled with great venues in this city. They've now played the 400 Bar, The Varsity Theater, and The Entry, and he just can't believe how many great rooms we have in this town. He's quite right, and perhaps that wealth of musical options partly explains why the gig was so sparsely attended.
Attendance had just about doubled by the time London's (by way of Tavistock) The Rumble Strips ambled onstage. But the band didn't need a full room to get things going, they were there to have a good time, and to get the people that were there dancing with their infectious, energetic songs. Starting the show with 'No Soul,' the lead-off track from their debut record 'Girls And Weather,' the 5 piece band's horn heavy, Madness-like rock sound clearly enlivened the audience. Frontman Charlie Waller has a soulful, resonant voice, and his expressive vocals, when combined with the splendid horn work of Henry Clark and Tom Gorbut, carried the songs to exuberant heights. 'Girls And Boys In Love' was an early highlight, with the jaunty, piano driven melody getting the room bouncing, and the band's debut single 'Motorcycle,' a glorious rumination on wanting something better for ourselves, was a dynamic, soaring anthem that found the band really losing themselves in the music.
The band played a majority of their album during their 13 song set, with a couple of new songs sprinkled in as well. 'Walk Alone,' was the first new one, which Charlie referred to as a sad song, and it slowed things down a bit, losing some of the momentum built by the strong start of the set (quickly regained with the grand 'Motorcycle,') and 'Hardway,' another new song, was a high-spirited tune that shows the band is heading in a good direction, especially with Mark Ronson signing on to produce their second record . But the bulk of the set was spent on songs from 'Girls And Weather,' which really is a strong and confident record, especially for a debut. The songs have a playful, instantly catchy quality to them, and that transfers really well to their live show.
'Clouds,' was a simple, but fun, exploration of a lazy day spent gazing at, what else, clouds. 'Alarm Clock' was an upbeat, lively number about getting your life together, driven by the percussion of Matthew Wheeler and the horns. It's hard to escape the horns in the music of The Rumble Strips, and who would want to. They add a modern ska-like touch to the bands buoyant pop songs, and that carefree sensibility drives the music as opposed to the lyrics, which are a touch simple at times, perhaps intentionally so. The anthemic 'Time' closed out the main set, and it's euphoric chorus, with it's promise of time passing and things getting better, had me singing along in full voice with the rest of the band. The crowd coaxed the band back out for an encore, which was a loose and lively cover of Thin Lizzy's 'The Boys Are Back In Town,' that was featured on the band's 'Alarm Clock E.P.'
It was an affable way to end quite a spirited set that even had some crossovers from the Ritmo Caliente night in the Mainroom coming in to dance along. The Rumble Strips certainly made their first foray into Minneapolis a successful and entertaining one. It's just too bad that more people weren't there to see it. Perhaps after Mark Ronson adds his touch to their new songs on their next record, the band will start to attract a wider audience in the States. But for last night, at least, there was plenty of room to dance.
The Rumble Strips Setlist:
No Soul
Hate Me (You Do)
Girls And Boys In Love
Walk Alone
Motorcycle
Don't Dumb Down
Oh Creole
Clouds
Hardway
Alarm Clock
Hands
Time
Encore:
The Boys Are Back In Town
Please check out CultureBully.com for my review along with more of Jon's amazing photos, and a video capture of The Rumble Strips performing 'Oh Creole.'
"It's really, really good to be back here," proclaimed TVotR's guitarist/singer Kyp Malone, shortly after arriving on stage to a full First Avenue Mainroom. Monday's show was the first of a two-night residency at First Ave for the band (and the I.D. show. All ages is tonight), one of only two two-night stays the band has on their current US tour (the other was in their hometown of Brooklyn.) So, the band knows it has a pretty rabid fanbase in Minneapolis, and the packed and passionate audience greeted them warmly.
So warmly, in fact, that the band had to extend it's intro to 'Young Liars,' to allow for the applause to die down. And what a sensational way to start. 'Young Liars,' found the band putting the pedal down early, finding their grove right from the get go. Lead singer Tunde Adebimpe certainly found his comfort zone quickly, gyrating and shimmying around the stage in time to the beat, all the while delivering his impassioned vocals with aplomb. And they certainly kept the momentum going with a fervent version of 'Wrong Way,' which built to quite an intense crescendo, helped along with the addition of Martin Perna from Antibalas Afrobeat Orchestra on saxophone. It was an interesting way to start off the concert, part of a tour for their excellent new record 'Dear Science,' with two of the oldest songs in their cannon, but the fuse was certainly lit, and the band built on that energy with a fiery version of 'Golden Age' that was the first new song of the evening, and got the crowd around me dancing, as most of the new tracks would throughout the night.
The new record is very steeped in horns, and the live tracks would have been missing something had Martin not been there, and his presence was a welcome addition to nearly every song. Another new member of the touring band was Katrina Ford, lead singer of the band Celebration, whose debut record not only was produced by TVotR's Dave Sitek, but features guest appearances from all of the band's members on vocals on various tracks. While I don't think her vocals were high enough in the mix to be heard completely, she has a lovely voice and an exuberant stage presence, and was a pleasant female addition to the rather testosterone heavy lineup.
I do believe the band hit a bit of a lull after 'Golden Age,' or perhaps there was just no way to keep up the intensity of the first three songs, because while I really enjoyed hearing the new songs 'Crying,' and 'Halfway Home,' the songs seemed to be a bit restrained when performed live, and I couldn't help but notice that the band lost the rapt attention of the audience around me during these numbers. That's not to say that the gradual buildup of 'Halfway Home,' and it's subsequent explosion of sound at the end didn't stir me, because it did, and it certainly got the attention of the crowd back as well. Which is a good thing, because the place really went off during 'Wolf Like Me,' with the main floor awash with dancing, fist pumps, and pogoing. I personally think this is one of the best rock songs written in the 'Aught's' (is that decade reference really catching on?), certainly one of the best to get any radio play, and apparently so did the audience, who collectively lost it during this number. It was great to see the energy of the band transferred to the audience, and back again, as the band was dancing and pogoing along with the audience.
And really, from this point on the concert was incendiary, with hardly a break to catch one's breath. It would be hard for an average band to play anything after 'Wolf Like Me,' which is why most band's would save a single like that for their last number, knowing they couldn't top it. But TV On The Radio aren't an average band, not by a long shot, and they kept rolling with 'Dirtywhirl,' that was a perfect near comedown from the heights of 'Wolf,' which blended perfectly into a stunningly beautiful version of 'Province,' again aided by the addition of Katrina and Martin. 'Province' was absolutely beautiful, and most assuredly would have been the highlight of the set on a typical night, but again, this was not a typical night. This was the most creatively consistent American band making music today, and they had a full arsenal of hits left.
Going into this show, the song I wanted to hear most (and the one I've listened to the most) from the new record was 'Shout Me Out,' and what do you know, it was next. This song really is an exultant call to arms, a sonic eruption that instead of being discordant, is instead unifying and brotherly. "Storm, cast me out. So I can feel it in another way I won't talk about...Lord, if you got lungs, c'mon and shout me out." It was the definite highlight of the show for me. The chaotic bits were given a different touch live, punctuated with Tunde shouting 'Hey,' in time with the beat that just elevated the cacophony. 'Dancing Choose,' was next, and it was relentless in it's urgency, utterly vital and loud. Tunde's lyrics were just another layer of noise, with the band really laying out for this one, especially Martin. It was a brief but potent moment in the show.
'Let The Devil In,' while not the percussive titan it was at their last First Ave show (when the entire band as well as opener Subtle grabbed something to drum on) was still a driving, booming beast of a song that still found most of the members of the band beating on something, and Katrina's vocals really shining through on the later half of the song. The set closed with Tunde and the band circling around to play 'Satellite,' from the Young Liars e.p. It was a really funky, jazzed up rendition, that again had the band expanding their sonic template and giving the song the freedom to evolve from the recorded version into something else entirely, closing out the main set on a complete high.
While the crowd roared it's approval, the band didn't really waste much time coming back out for the encore. And they eased back into the grove with a sublime version of 'Love Dog,' that was engaging and gorgeous. Tunde grabbed a cymbal to beat on for the next song, and Dave brought out another bass drum for a spirited, percussion driven 'A Method,' that was a treat to hear, and from the looks of it, was fun for the band to play as well.
With their music, and exuberant performance, the band seemed to be leading us towards a brighter day that hopefully is right around the corner. It was a jubilant performance by my favorite American band, and it solidified TV On The Radio's reputation for being an innovative, provocative live act. TVotR is making some of the most interesting and inspired music today, and it was a true pleasure to see them play these songs live. It was an incredible concert. Now, do I go and do it again tonight for the all ages show?
Setlist:
Young Liars
Wrong Way
Golden Age
Crying
Halfway Home
Wolf Like Me
Dirtywhirl
Province
Shout Me Out
Dancing Choose
Let The Devil In
Satellite
Encore:
Love Dog
A Method
Staring At The Sun
Thanks to Dave @ https://twitter.com/dtrip01 for the live video. I appreciate the use of your footage.
To say I was going into this Ryan Adams & The Cardinals show with a bit of trepidation would be an understatement. Based on past Ryan shows (the infamous First Avenue meltdown, last years abbreviated show at the State Theater), I wasn't sure if this was going to be worth the time (4 hour drive from Minneapolis) and the money (ticket, hotel and gas), but I love the man and his music enough to take that chance, and boy was I rewarded. This was The Show in every sense, a three hour, 31 song marathon, with Ryan in a cheerful mood, the band sounding tight and focused, and the venue among the best I've ever had the pleasure to see a show in. The stars (gone blue, of course) were aligned perfectly this evening, and I was fortunate enough to witness one of my favorite shows of the year.
First off, I would be remiss if I didn't mention the glorious Overture Hall in Madison. It is a first-rate, intimate venue (2,251 seats), with sublime acoustics and perfect sight lines. I think the venue went a long way in adding to the show, both from the fans standpoint and the bands-everyone appeared to be happy to be there that night, and it showed. I would recommend this venue to anyone contemplating seeing a show here, it is worth it, and the people of Madison are lucky to have this in their city.
The show (just Ryan & The Cardinals, no opening act) started with two new songs, 'Cobweb' and 'Sinking Ship', and while I had heard bootlegs of both songs, they didn't quite do them justice. Tonight, they was rocking and tight, atmospheric and driving, setting the stage for an evening filled with a healthy mix of new songs and old, and a whole lot of guitar. 'Everybody Knows,' was next, and it sounded like Ryan's vocals were a touch buried in the mix, with the guitars really carrying well (almost overwhelmingly so) in the hall. The band and soundman were searching for a common ground with the acoustics of the place, a balance between guitar and vocals that thankfully were figured out by the time Ryan strummed the opening chords of 'Wonderwall.' This was the first time, in the six or seven times I've seen Ryan, that he has played this song in concert, and it was at this point, especially with the hushed admiration of the crowd, that I knew we were in for something special. The mellow blue lighting of the Roses on stage were the only thing keeping us from total darkness, and the song was solemn and stunning. It was nice to hear the bands skillful and understated accompaniment to the song, as well, as opposed to the stark acoustic version on record. It was simply incredible. The band kept the momentum going with 'Come Pick Me Up,' that was as rowdy and loud as 'Wonderwall' was hushed and pensive. With the sound and vocal issues worked out, the band seemed to be fully locked in and taking full advantage of the venue's superb acoustics. It was a stellar two-song combo that really made it clear to the respectful (for the most part) and admiring audience that we were in for a great show.
With a new album, 'Cardinology' coming out on October 28th, we were treated to 6 of the album's 12 tracks over the course of the night, and the first single from the record, 'Fix It' was next up, and it was really all about Ryan's guitarwork. I've always felt that you can tell how much Ryan is into his solo's by how much time he spends standing on one foot, and he spent a majority of this song just trying to balance while he absolutely killed the funky guitar line for this song. It does have a slightly poppy chorus, but the song is driven by Ryan's guitar, and his guitars (even his 'scary' metal one) were on fire all night, with him taking every opportunity to extend and amplify his solos, and his interworking with Neal and Jon was on point all night. The whole band seemed to be freed by the space and sound of the room to really lengthen and improvise their solos and fills, and it was quite a jammy set, especially set two.
This review would get quite wordy if I were to describe every song in the 31 song set, so I won't bore you with that. Suffice it to say, the boys were on and enjoying themselves, with very little banter between the crowd and Ryan. He was very focused, and like I said earlier, on fire with the guitar (it must be the Iron Maiden shirt). The only crowd interaction he had in the first set, other than thanking the crowd, was shouting down a fan yelling for Whiskeytown songs, saying 'You're about 11 years late on that one. It sucked when we played the song then, and would probably suck if we played it now. We'll just play what we have written down and traveled all this way to play. I don't say that to be a prick, just in defense of all the people that came here with an open mind. And partly to be a prick.' Awesome. And that shut up the fans yelling for songs for the most part, and set the band loose to explore fully the songs they chose for us. 'Goodnight Rose,' was really stretched out, and the harmonies on 'Peaceful Valley,' sounded incredible in the hall. 'Desire' also demands a special mention, not only because I was surprised it was played, but more specifically because it was so fragile and wistful, with the crowd stone-silent and completely under Ryan's spell. It was magical.
'Rescue Blues,' found Ryan at the keyboard, and the band blowing the roof off Overture Hall. It was a funky, revved up version that had Ryan singing the vocals in full voice, hopping on the piano bench for emphasis, and soloing away on the keys at the end of the song. It was a definite highlight of the set (as it always must be.) After a stirring 'Oh My God...' that had the band shrouded in darkness and the crowd swooning, Ryan announced that they were going to take a '10 minute break so we can go smoke a cigarette and you can get a drink or whatever.' This was after 15 songs and an hour and 15 minutes-to give you an example of how shortchanged we were at the State Theater show last year, we got 16 songs, same amount of time, and the set was over. Here, it was just starting. Again, we were in for something special this particular evening.
So, 14 minutes and a wardrobe change for Ryan later, the band returned with another new song, 'Crossed Out Name,' that eased the stragglers back into their seats and gave us all more reasons to be excited for the new record. Ryan strapped on a harmonica for an enthralling and tender version of 'Why Do They Leave,' that was completely breathtaking. It was one of the only slower moments during a second set that found the band predominantly jamming and improvising on nearly every song, specifically 'Off Broadway,' that was turned into a sprawling, churning rocker, instead of the rather subdued version on 'Easy Tiger,' and 'Magnolia Mountain,' that was reminiscent of the Grateful Dead both in sound and length, clocking in at 8+ minutes easy. All the while, the band showed no signs of stopping, with Ryan changing guitars and checking the setlist, going from one song to the next with abandon and enthusiasm. 'Shakedown On 9th Street,' 'Easy Plateau,' 'What Sin,' all went by in a blur, as the band rolled on, tight and together, all the while the sound in Overture Hall remained impeccable, with every note and nuance accentuated by the building's superior acoustics.
An impassioned, emotional 'Please Do Not Let Me Go,' found the show stretching past the 11 p.m. curfew (and the 2 and a half hour mark), but the band still didn't show any signs of stopping, rolling right into a sped up, reworked 'Dear Chicago,' that was made less sad and depressing by the modifications, but no less affecting. And, with Ryan doing his own song request, shouting 'Hey, can we play that one song!' the band launched into a wonderful 'Freeway To The Canyon' with Neal on vocals and Ryan absolutely shredding on guitar (on one foot nearly the whole time.) After a bluesy take on 'A Kiss Before I Go,' the band became aware that they have gone well past curfew at the venue. Ryan didn't really seem to be too bothered by this, though, exclaiming 'We've been up here just jamming away, and completely lost track of time. I bet we'll be fined a thousand million dollars! Wait, I wonder how much it just cost me to say that.' So, after a 'band huddle' that found them all laughing and seemingly drawing plays to go long like grade school football games, Ryan declared 'We better make this one count,' before launching into the wonderful set closer, 'When The Stars Go Blue,' that was still bluesy and beautiful, stretched out somewhat, even with the time constraints.
And with a bunch of waves to the crowd, the band left with smiles on their faces to a standing ovation from an adoring Madison audience. We were treated to a special night, three blissful hours and 31 fantastic songs that would have continued on even longer had the building not had a curfew. The band was tight and focused all evening, with Ryan pouring his energy into his guitar all night (as opposed to his rambling, humorous stories), and the band delivered a knockout performance that would have made a drive of any length completely worth it. Thank you, Cardinals, for a wonderful night that will live on in my memory (and hopefully on my headphones, if/when a recording becomes available.) This truly was a remarkable show in a majestic venue that I hope to visit again.
SETLIST:
1. Cobweb
2. Sinking Ship
3. Everybody Knows
4. Wonderwall
5. Come Pick Me Up
6. Fix It
7. Goodnight Rose
8. Peaceful Valley
9. Like Yesterday
10. La Cienega Just Smiled
11. Let it Ride
12. Desire
13. Sun Also Sets
14. Rescue Blues (Ryan on Keys)
15. Oh My God Whatever, Etc
Set Break:
16. Crossed Out Name
17. Why Do They Leave (Ryan on Harmonica)
18. Mockingbird
19. Off Broadway
20. Magnolia Mountain
21. Shakedown on 9th Street
22. Go Easy
23. Easy Plateau
24. Two
25. What Sin
27. Please Do Not Let Me Go
28. Dear Chicago
29. Freeway to the Canyon
30. A Kiss Before I Go
31. When The Stars Go Blue
Special thanks to Brian for my liberal use of his wonderful pictures of the evening.
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