The 2010 musical year in review was a rich one. It seemed to witness a huge leap for the indie music world, with more and more bands getting their sound out there via the Internet. No more fishing for big record label contracts. The 21st century technology has been kind to up-and-coming bands. Following are ten shows that you should have seen with a snippit from each review. Most of these acts are not considered radio staples, but probably should be. Go to the links for each concert to read my full review (shows are listed chronologically).
SPOON at the Tabernacle in Atlanta, 3/20/10 - "While Spoon has had their ups and downs, it seems as if they’re in for a future of 'ups.' On this night, Spoon was the tightest four-piece on the planet. Even with two encores, the band left fans wanting more." http://http://www.examiner.com/music-in-atlanta/spoon-rock-the-tabernacle
THE RUBY SUNS at the Drunken Unicorn in Atlanta, 3/22/10 - "Touring in support of their third studio album, Fight Softly (Sub Pop), the Ruby Suns spun some foot-tapping songs combining indie rock with world beats. At times, all three members were banging on drums. But usually, the tunes were made up of two synths and a drummer. With danceable beats and McPhun’s smooth voice, it frequently seemed as if all these people were enjoying an 80s new wave performance…in Hawaii." http://http://www.examiner.com/music-in-atlanta/ruby-suns-bring-the-tropics-to-atlanta
WILCO at the Fox Theatre in Atlanta, 3/26/10 - "As the evening progressed, the fans remained standing. The lush padding of the Fabulous Fox Theatre’s comfy seats was never utilized. The crowd stood the entire show (even much of the balcony). Tweedy recognized this and was impressed." http://http://www.examiner.com/music-in-atlanta/wilco-the-experience
VAMPIRE WEEKEND at the Tabernacle in Atlanta, 4/8/10 - "The band opened the show with the heavily-Paul Simon-influenced 'White Sky' from Contra. Next up was the ultra-manic 'Holiday.' The crowd, already whipped into a seemingly uncontrollable frenzy, would not stop moving and jumping and singing until show’s end." http://http://www.examiner.com/music-in-atlanta/vampire-weekend-live-atlanta
ARCADE FIRE at Verizon Wireless Amphitheatre in Alpharetta, 8/11/10 - "Audience participation was mind-blowing and that only made for a better show. Win Butler and company have made a fantastic new record, and fortunately for us, know how to play it live. The show ended with Arcade Fire's signature song from their first album. 'Wake Up' is one of those anthems that is instantly hummable and never forgettable. What a way to end the night." http://http://www.examiner.com/music-in-atlanta/arcade-fire-and-spoon-burn-up-alpharetta
ORYX + CRAKE at the EARL in Atlanta, 8/28/10 - "If you've heard the CD by now (and you should have heard it by now), you'll know that these are nine of the most talented musicians around. And live versions of the nine songs performed came out a bit edgier than those recorded. It was clear that the members of Oryx + Crake were pumped. Audience fervor is the only thing that overshadowed the band members' enthusiam. It was a full house of an appreciative and supportive crowd." http://http://www.examiner.com/music-in-atlanta/oryx-crake-have-arrived
CROWDED HOUSE at the House of Blues in Chicago, 9/5/10 - "The second song was 'Mean To Me,' from their 1986 debut album. This rocked even harder, with Finn's voice as perfect - if not better - than it ever was. And he is one of the most underrated and superbly skilled guitar players out there. Of course, his songwriting is the only thing that surpasses his voice and guitar work. He is frequently compared to Lennon and McCartney for a very good reason." http://http://www.examiner.com/music-in-atlanta/genius-of-crowded-house-proven-yet-again
JAMES at the Variety Playhouse in Atlanta, 9/22/10 - "During 'Say Something,' Booth traversed his way through the audience, shaking hands and walking down a row of seats across the armrests. At song's end, he was quite a distance from the stage, yelling to bandmates, 'What's the next song? What's the next song!' Then, the opening chords of 'Laid' began to a roaring crowd. He hastily made his way back to the stage and brought the house down with this excellent song." http://http://www.examiner.com/music-in-atlanta/james-return-to-atlanta-and-feel-the-love
PAVEMENT at the Tabernacle in Atlanta, 9/26/10 - "While Pavement never had a #1 hit, 'Cut Your Hair' and 'Gold Soundz' may have been close, as far as fans are concerned. Malkmus comes across reminiscent of a Stop Making Sense era David Byrne, with his quirky mannerisms and jumpy moves. He does, however, put everything he's got into his performance." http://http://www.examiner.com/music-in-atlanta/pavement-burn-through-atlanta-on-reunion-tour
LCD SOUNDSYSTEM at the Tabernacle in Atlanta, 10/4/10 - "One more decibal plus one more jumping fan would have seen the crowd plummet to the basement. Murphy, with all his youthful exuberance (he's a very young 40) and high octane energy, was exhausted at song's end, doubling over with hands on knees and huffing like a chain smoker. The fans felt the same way. And the show was off to a smashing start." http://http://www.examiner.com/music-in-atlanta/lcd-soundsystem-show-everyone-else-how-a-live-show-is-done
The new year of 2011 has some big shoes to fill. Better get started.
Showing posts with label Vampire Weekend. Show all posts
Showing posts with label Vampire Weekend. Show all posts
Tuesday, April 12, 2011
Sunday, April 11, 2010
Vampire Weekend live in Atlanta, 4/8/10
Lead singer Ezra Koenig celebrated his twenty-sixth birthday in front of a sold-out, hyperactive crowd in the confines of Atlanta’s fabulous Tabernacle. But the usual birthday celebration it was not. Vampire Weekend – touring in support of their new release Contra – are on top of the world in terms of popularity. For such a brief existence (2006), the band has achieved success the likes of which most bands only dream (those who do reach it are much older with years of struggles). Named “Best New Band” by Spin magazine in 2008, Vampire Weekend never really had to struggle. And when Contra debuted at number one on the Billboard 200 in January 2010, it was apparent that more than a few people loved this band.
To put Vampire Weekend’s sound into a category is difficult. They have been labeled, among other things, indie rock, world beat, chamber pop, and Upper West Side Soweto. However one may describe their sound, there is no doubt that it is kinetic, hyper, danceable, and highly enjoyable.
The band opened the show with the heavily-Paul-Simon-influenced “White Sky” from Contra. Next up was the ultra-manic “Holiday.” The crowd, already whipped into a seemingly uncontrollable frenzy, would not stop moving and jumping and singing until show’s end. Koenig’s smooth and likeable voice possessed great range and tone. On synthesizers, Mac, and occasionally guitar, Rostam Batmanglij has defined Vampire Weekend’s eclectic sound. He produced both albums and brings evidence of all those “labels” to the table. On drums, Chris Tomson adds to the speed of most songs, while bassist Chris Baio clearly feels the energy and apparently is no stranger to caffeine, dancing to every song as if he took lessons from Molly Ringwold. He enjoyed being there as much as the biggest fan. After finding each other at Columbia University, they formed the band that dresses Ivy League and looks like they’re forever trapped in 1980’s Massachusetts.
“Cape Cod Kwassa Kwassa” is a beautiful tune with the feel of the islands in the underlying groove. It is such a special song, in fact, that Peter Gabriel himself has done a cover of it. His name is dropped in it, after all (“But it feels so unnatural, Peter Gabriel too”). On “A-Punk,” the terrific number from the first album, the boys give a nod to the Ramones (“ay, ay, ay!”). The 100-year-old Tabernacle was shaking with half the crowd jumping up and down during this one.
Of the 21 songs from their two albums, they ended up playing 19 of those. At one point, Koenig announced, “We’re pulling from our back catalog for this one.” Back catalog? It’s only two years ago, Ezra! The new “Diplomat’s Son” begins with a wicked M.I.A. sample just before everything falls into its right place.
After playing for exactly one hour (remember, only two albums), the boys departed the stage for a short breather and a change out of their sopping wet clothes. One encore included “Horchata” with its African drumbeats, choruses of chanting, and steel drum goodness (“In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals / Whoaaaaa ooooh), “Mansard Roof,” and “Walcott” (“Walcott, don't you know that it's insane? / Don't you want to get out of Cape Cod, out of Cape Cod tonight?”). Well, Vampire Weekend have officially left Cape Cod and they don’t appear to be looking back.
Opening the evening was L.A.’s Abe Vigoda, an indie rock band with gothy undertones who were a good fit in this slot. When lead singer/guitarist Michael Vidal broke a string and was gone for what seemed like five minutes, another band member told the audience, “He’s very sensitive. We all only have one guitar each.” Ah, the plight of the opening band. Overall, though, Abe was very well received and played some fine rock and roll selections to a house full of Vampire Weekend fans.
Set List
White Sky
Holiday
Cape Cod Kwassa Kwassa
I Stand Corrected
M79
Bryn
California English
Cousins
Taxi Cab
Run
A-Punk
One (Blake’s Got A New Face)
Diplomat’s Son
Giving Up The Gun
Campus
Oxford Comma
Encore
Horchata
Mansard Roof
Walcott
To put Vampire Weekend’s sound into a category is difficult. They have been labeled, among other things, indie rock, world beat, chamber pop, and Upper West Side Soweto. However one may describe their sound, there is no doubt that it is kinetic, hyper, danceable, and highly enjoyable.
The band opened the show with the heavily-Paul-Simon-influenced “White Sky” from Contra. Next up was the ultra-manic “Holiday.” The crowd, already whipped into a seemingly uncontrollable frenzy, would not stop moving and jumping and singing until show’s end. Koenig’s smooth and likeable voice possessed great range and tone. On synthesizers, Mac, and occasionally guitar, Rostam Batmanglij has defined Vampire Weekend’s eclectic sound. He produced both albums and brings evidence of all those “labels” to the table. On drums, Chris Tomson adds to the speed of most songs, while bassist Chris Baio clearly feels the energy and apparently is no stranger to caffeine, dancing to every song as if he took lessons from Molly Ringwold. He enjoyed being there as much as the biggest fan. After finding each other at Columbia University, they formed the band that dresses Ivy League and looks like they’re forever trapped in 1980’s Massachusetts.
“Cape Cod Kwassa Kwassa” is a beautiful tune with the feel of the islands in the underlying groove. It is such a special song, in fact, that Peter Gabriel himself has done a cover of it. His name is dropped in it, after all (“But it feels so unnatural, Peter Gabriel too”). On “A-Punk,” the terrific number from the first album, the boys give a nod to the Ramones (“ay, ay, ay!”). The 100-year-old Tabernacle was shaking with half the crowd jumping up and down during this one.
Of the 21 songs from their two albums, they ended up playing 19 of those. At one point, Koenig announced, “We’re pulling from our back catalog for this one.” Back catalog? It’s only two years ago, Ezra! The new “Diplomat’s Son” begins with a wicked M.I.A. sample just before everything falls into its right place.
After playing for exactly one hour (remember, only two albums), the boys departed the stage for a short breather and a change out of their sopping wet clothes. One encore included “Horchata” with its African drumbeats, choruses of chanting, and steel drum goodness (“In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals / Whoaaaaa ooooh), “Mansard Roof,” and “Walcott” (“Walcott, don't you know that it's insane? / Don't you want to get out of Cape Cod, out of Cape Cod tonight?”). Well, Vampire Weekend have officially left Cape Cod and they don’t appear to be looking back.
Opening the evening was L.A.’s Abe Vigoda, an indie rock band with gothy undertones who were a good fit in this slot. When lead singer/guitarist Michael Vidal broke a string and was gone for what seemed like five minutes, another band member told the audience, “He’s very sensitive. We all only have one guitar each.” Ah, the plight of the opening band. Overall, though, Abe was very well received and played some fine rock and roll selections to a house full of Vampire Weekend fans.
Set List
White Sky
Holiday
Cape Cod Kwassa Kwassa
I Stand Corrected
M79
Bryn
California English
Cousins
Taxi Cab
Run
A-Punk
One (Blake’s Got A New Face)
Diplomat’s Son
Giving Up The Gun
Campus
Oxford Comma
Encore
Horchata
Mansard Roof
Walcott
Sunday, February 14, 2010
Vampire Weekend evolve with 'Contra'
This New York foursome came out of the gates in 2008 – guns-a-blazing – with their self-titled debut Vampire Weekend. It was rife with worldbeat beauties about being rich and prominent. Many critics eluded that these youngsters were posing and had stolen their fresh new sound from a variety of genres. The fact that the band's name itself evoked images of crazed teenage girls didn’t help attract serious music listeners either.
But as their tunes slowly dripped through speakers, more and more people reluctantly entered their lair. With the release of Contra (XL Recordings), expectations were high that this would be a carbon copy of the debut, which would have sufficed for their legions of supporters. But to the surprise of critics, lead singer Ezra Koenig and keyboardist Rostam Batmanglij had other plans. Batmanglij is the musical genius to Koenig’s lyrical genius in Vampire Weekend. He produced as well as provided much of the worldbeat feel to the new album.
On Contra, Vampire Weekend have evolved beyond even their own expectations. They have given their fans (and everyone else) a tighter, more mature, and downright better collection of songs. Arguably every single track on Contra has redeeming value.
This time though, Koenig has upped the ante on the lyrics, which are sometimes deep, frequently strange, and always intriguing. On the bouncy ska perfection of “Holiday,” Koenig sings, “Holiday, oh a holiday! / And the best one of the year / Dozing off underneath my sheets / While I cover both my ears / But if I wait for a holiday could it ever stop my fear? / To go away on a summer’s day seemed so clear.”
“Cousins,” the first single off Contra, is a high-octane, thousand-mile-per-hour punk/pop prize. The song showcases everything that is great about Vampire Weekend. Along with Koenig and Batmanglij, speed drummer Chris Tomson and bassist Chris Baio bring home solid musicianship (the four met and formed the band as students at Columbia University in 2006). The video is a direct hit as well.
On the eighties feel of “Giving Up The Gun,” the group drives a pop song through the roof with a solid and stomping rhythm section and smooth synths. A song like this could be a hit by itself on someone else’s album. On Contra, there are really no standout tracks. They’re all excellent.
As the songs flow, one may be reminded of Paul Simon. Maybe a little Graceland filters through. This was true on their first release, but becomes very noticeable on Contra with its depth, breadth, and synthesis of genres. A prime example is “Diplomat’s Son,” which kicks off with M.I.A. samples and an infectious vibe that ends way too soon. Simon’s influence is especially obvious in the opener, “Horchata,” which includes a soaring chorus of singers and tribal-ish drums. In this joyous selection, Koenig sings, “In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals.”
The closing track “I Think Ur A Contra,” is a beautiful creation combining piano, a string section (or the synth version of that), Koenig’s lilting voice, and a plea to possibly his own youth (“You wanted good schools / And friends with pools / You're not a Contra / You wanted Rock' n' Roll / Complete control / Well, I don't know”).
Contra proves that Vampire Weekend weren’t a fluke the first time around. If the rich kid mentality is too much for you, get over it. This album should end up on several top ten lists at year's end. Buy it now.
But as their tunes slowly dripped through speakers, more and more people reluctantly entered their lair. With the release of Contra (XL Recordings), expectations were high that this would be a carbon copy of the debut, which would have sufficed for their legions of supporters. But to the surprise of critics, lead singer Ezra Koenig and keyboardist Rostam Batmanglij had other plans. Batmanglij is the musical genius to Koenig’s lyrical genius in Vampire Weekend. He produced as well as provided much of the worldbeat feel to the new album.
On Contra, Vampire Weekend have evolved beyond even their own expectations. They have given their fans (and everyone else) a tighter, more mature, and downright better collection of songs. Arguably every single track on Contra has redeeming value.
This time though, Koenig has upped the ante on the lyrics, which are sometimes deep, frequently strange, and always intriguing. On the bouncy ska perfection of “Holiday,” Koenig sings, “Holiday, oh a holiday! / And the best one of the year / Dozing off underneath my sheets / While I cover both my ears / But if I wait for a holiday could it ever stop my fear? / To go away on a summer’s day seemed so clear.”
“Cousins,” the first single off Contra, is a high-octane, thousand-mile-per-hour punk/pop prize. The song showcases everything that is great about Vampire Weekend. Along with Koenig and Batmanglij, speed drummer Chris Tomson and bassist Chris Baio bring home solid musicianship (the four met and formed the band as students at Columbia University in 2006). The video is a direct hit as well.
On the eighties feel of “Giving Up The Gun,” the group drives a pop song through the roof with a solid and stomping rhythm section and smooth synths. A song like this could be a hit by itself on someone else’s album. On Contra, there are really no standout tracks. They’re all excellent.
As the songs flow, one may be reminded of Paul Simon. Maybe a little Graceland filters through. This was true on their first release, but becomes very noticeable on Contra with its depth, breadth, and synthesis of genres. A prime example is “Diplomat’s Son,” which kicks off with M.I.A. samples and an infectious vibe that ends way too soon. Simon’s influence is especially obvious in the opener, “Horchata,” which includes a soaring chorus of singers and tribal-ish drums. In this joyous selection, Koenig sings, “In December drinking horchata / I'd look psychotic in a balaclava / Winter's cold is too much to handle / Pincher crabs that pinch at your sandals.”
The closing track “I Think Ur A Contra,” is a beautiful creation combining piano, a string section (or the synth version of that), Koenig’s lilting voice, and a plea to possibly his own youth (“You wanted good schools / And friends with pools / You're not a Contra / You wanted Rock' n' Roll / Complete control / Well, I don't know”).
Contra proves that Vampire Weekend weren’t a fluke the first time around. If the rich kid mentality is too much for you, get over it. This album should end up on several top ten lists at year's end. Buy it now.
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