ACHTUNG!
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Monday, September 2, 2019
Tuesday, May 21, 2013
Atlanta welcomes Dead Can Dance
Live review: Dead Can Dance with David Kuckhermann at The Cobb Energy Performing Arts Centre in Atlanta, 9/5/12
Born of the early eighties growing gothic movement, Dead Can Dance evolved musically until 1996, with the release of their final studio album, Spiritchaser, was released. And that's the last new music fans heard from DCD - until last month, with the release of Anastasis (PIAS). The ensuing tour gave hardcore fans a dose of the new stuff, as well as some classics.
The duo, made up of Brendan Perry and Lisa Gerrard, were joined by a full band. But there was no doubt about who to watch. Perry and Gerrard stood stoically through each number, barely uttering a word between songs, except to give a few thank yous (and that was just Perry - Gerrard only smiled). The bulk of the crowd was dressed in black leather and all things Goth. There may have been a few holdovers from the DragonCon parade the weekend before in downtown Atlanta.
Visually, the duo seems to be from different worlds. Gerrard, with the golden voice, has the look of a royal deity (there may even have been a pale halo over her head), while Perry looks like Mike from Breaking Bad with a voice you may have heard from a Joy Division show. Together, however, they make magic. Each led their own songs throughout the evening, but even those excellent vocals were transcended when they worked in harmony.
DCD opened the show with the leadoff track from Anastasis, “Children Of The Sun,” a seven minute gem that sounded perfect. Credit should be given to the incredible acoustics at the Cobb Energy Centre, but the band rightly deserves it. With a sound straight out of the Middle Ages, DCD seem to have mastered that Renaissance and European folk sound.
A highlight was the Tim Buckley classic, “Song To The Siren” during the second encore. This song was woven into Perry/Gerrard fabric and became their own.
Opening the show was the remarkable hand pan and hang drum artist David Kuckhermann. For those unaware, the hand pan looks like an enclosed steel drum and sounds similar to the island instrument. He also plays other types of drums and tamborine-type instruments. But it’s so much more, especially in the hands of Kuckhermann. He set out to mesmerize the crowd for roughly thirty minutes. The angelic sounds drifted throughout the Energy Centre and no one wanted this dream to end.
The limited banter he had with the audience was appreciative and polite, in his thick German accent. Kuckhermann also creates instructional DVDs which have become highly popular around the world. He has also release his first studio album entitled The Path of the Metal Turtle.
Setlist
Children Of The Sun, Anabasis, Rakim, Kiko, Lamma Bada, Agape, Amnesia, Sanvean, Nierika, Opium, The Host Of Seraphim, Ime Prezakias, Now We Are Free, All In Good Time
Encore 1
The Ubiquitous Mr. Lovegrove, Dreams Made Flesh
Encore 2
Song To The Siren (Tim Buckley cover), Return Of The She-King
Encore 3
Rising Of The Moon
..
 |
| Dead Can Dance (www.deadcandance.com) |
Born of the early eighties growing gothic movement, Dead Can Dance evolved musically until 1996, with the release of their final studio album, Spiritchaser, was released. And that's the last new music fans heard from DCD - until last month, with the release of Anastasis (PIAS). The ensuing tour gave hardcore fans a dose of the new stuff, as well as some classics.
The duo, made up of Brendan Perry and Lisa Gerrard, were joined by a full band. But there was no doubt about who to watch. Perry and Gerrard stood stoically through each number, barely uttering a word between songs, except to give a few thank yous (and that was just Perry - Gerrard only smiled). The bulk of the crowd was dressed in black leather and all things Goth. There may have been a few holdovers from the DragonCon parade the weekend before in downtown Atlanta.
Visually, the duo seems to be from different worlds. Gerrard, with the golden voice, has the look of a royal deity (there may even have been a pale halo over her head), while Perry looks like Mike from Breaking Bad with a voice you may have heard from a Joy Division show. Together, however, they make magic. Each led their own songs throughout the evening, but even those excellent vocals were transcended when they worked in harmony.
DCD opened the show with the leadoff track from Anastasis, “Children Of The Sun,” a seven minute gem that sounded perfect. Credit should be given to the incredible acoustics at the Cobb Energy Centre, but the band rightly deserves it. With a sound straight out of the Middle Ages, DCD seem to have mastered that Renaissance and European folk sound.
A highlight was the Tim Buckley classic, “Song To The Siren” during the second encore. This song was woven into Perry/Gerrard fabric and became their own.
Opening the show was the remarkable hand pan and hang drum artist David Kuckhermann. For those unaware, the hand pan looks like an enclosed steel drum and sounds similar to the island instrument. He also plays other types of drums and tamborine-type instruments. But it’s so much more, especially in the hands of Kuckhermann. He set out to mesmerize the crowd for roughly thirty minutes. The angelic sounds drifted throughout the Energy Centre and no one wanted this dream to end.
The limited banter he had with the audience was appreciative and polite, in his thick German accent. Kuckhermann also creates instructional DVDs which have become highly popular around the world. He has also release his first studio album entitled The Path of the Metal Turtle.
Setlist
Children Of The Sun, Anabasis, Rakim, Kiko, Lamma Bada, Agape, Amnesia, Sanvean, Nierika, Opium, The Host Of Seraphim, Ime Prezakias, Now We Are Free, All In Good Time
Encore 1
The Ubiquitous Mr. Lovegrove, Dreams Made Flesh
Encore 2
Song To The Siren (Tim Buckley cover), Return Of The She-King
Encore 3
Rising Of The Moon
..
The Head: Power pop punks
Live review: The Head at The EARL in Atlanta, 8/2/12
The phrase "support local music" has not been uttered recently. It needs to be. Those bands that sell millions of albums every year had to start somewhere. Usually, there's a grass-roots movement to garner exposure for some local group that you feel "has it." Well, Atlanta's The Head "have it." Last night's turn-out was less than stellar, though. Sure, it was a Thursday night. Yes, it had just rained like hell. Okay, the Olympics are on, I get it! Still, none of these excuses could justify missing such a great night of rock music.
The Head, consisting of twin brothers Mike (bass, lead vocals) and Jack Shaw (drums, vocals) along with Jacob Morrell (drums, vocals) have a recipe for success. They just need more taste-testers. This power pop trio has an energy level exceeding Red Bull 5. Their songs are expertly crafted with smart lyrics and terrific musicianship. What's not to love? With two full-lengths under their belts, 2009's Puckered and last year's Hang On (produced and engineered by Don McCollister), The Head has a proven track record. "Tony" is the latest single and is about as close to a perfect song as you'll find.
Are you ready for the zinger? The Head offer up all their music for free via their website. Now, if and when you actually see them live, you can grab everything they've recorded (in a variety of CD and vinyl formats) along with free t-shirts. All they ask is that you leave your email. Gotta build that fan base.
Among the standout tracks were "Separate Bodies," "Only One," "Tony," "I'm Lost" and "Gotta Fall." Some of the band's influences that bleed into their music are The Stone Roses, Pavement, Big Star and even Carole King (their words!). There are definitely some 60s influences ingrained in these tunes. Put The Head on your list of must-see bands. It's worth it.
Opening the show was Atlanta's power indie rock collective Summer Dare. These guys complemented the evening well with a bit harder edge, but still heavy-hooked, catchy stuff. Summer Dare also supplied fans with their self-titled EP for free. This is the only way to go. They also provide the EP as a free download on Bandcamp or their Facebook page.
Paul Melancon hit the stage next, with a bevy of musicians and sweet sounds. Obvious influences include The Beatles, E.L.O. and Neil Finn. Indie pop was meant to sound like this and Melancon has cornered the market with his sound. It was a lively set of harmonies, wit and talent. Sitting in on drums was Pete McDade (Uncle Green/3 lb. Thrill), who had the skins turned up to 11. It's unclear whether he'll play any more shows with Melancon, but it was a match that worked.
Melancon's self-depracating humor kept the crowd giggling in between songs, but once the music started, they were swaying and tapping their toes. One of the foremost local singer-songwriters of the indie-pop persuasion, Melancon has released two widely lauded solo CDs. You can pick up Slumberland and/or Camera Obscura on the Music page of his website, iTunes or CD Baby.
Also known for astute covers of excellent songs, Melancon posts a video of a cover every Monday on his website. Check out his triumphunt version of E.L.O.'s "Mr. Blue Sky."
Now, get out there and support your local bands!
 |
| The Head (photo by John Boydston) |
The phrase "support local music" has not been uttered recently. It needs to be. Those bands that sell millions of albums every year had to start somewhere. Usually, there's a grass-roots movement to garner exposure for some local group that you feel "has it." Well, Atlanta's The Head "have it." Last night's turn-out was less than stellar, though. Sure, it was a Thursday night. Yes, it had just rained like hell. Okay, the Olympics are on, I get it! Still, none of these excuses could justify missing such a great night of rock music.
The Head, consisting of twin brothers Mike (bass, lead vocals) and Jack Shaw (drums, vocals) along with Jacob Morrell (drums, vocals) have a recipe for success. They just need more taste-testers. This power pop trio has an energy level exceeding Red Bull 5. Their songs are expertly crafted with smart lyrics and terrific musicianship. What's not to love? With two full-lengths under their belts, 2009's Puckered and last year's Hang On (produced and engineered by Don McCollister), The Head has a proven track record. "Tony" is the latest single and is about as close to a perfect song as you'll find.
Are you ready for the zinger? The Head offer up all their music for free via their website. Now, if and when you actually see them live, you can grab everything they've recorded (in a variety of CD and vinyl formats) along with free t-shirts. All they ask is that you leave your email. Gotta build that fan base.
Among the standout tracks were "Separate Bodies," "Only One," "Tony," "I'm Lost" and "Gotta Fall." Some of the band's influences that bleed into their music are The Stone Roses, Pavement, Big Star and even Carole King (their words!). There are definitely some 60s influences ingrained in these tunes. Put The Head on your list of must-see bands. It's worth it.
Opening the show was Atlanta's power indie rock collective Summer Dare. These guys complemented the evening well with a bit harder edge, but still heavy-hooked, catchy stuff. Summer Dare also supplied fans with their self-titled EP for free. This is the only way to go. They also provide the EP as a free download on Bandcamp or their Facebook page.
Paul Melancon hit the stage next, with a bevy of musicians and sweet sounds. Obvious influences include The Beatles, E.L.O. and Neil Finn. Indie pop was meant to sound like this and Melancon has cornered the market with his sound. It was a lively set of harmonies, wit and talent. Sitting in on drums was Pete McDade (Uncle Green/3 lb. Thrill), who had the skins turned up to 11. It's unclear whether he'll play any more shows with Melancon, but it was a match that worked.
Melancon's self-depracating humor kept the crowd giggling in between songs, but once the music started, they were swaying and tapping their toes. One of the foremost local singer-songwriters of the indie-pop persuasion, Melancon has released two widely lauded solo CDs. You can pick up Slumberland and/or Camera Obscura on the Music page of his website, iTunes or CD Baby.
Also known for astute covers of excellent songs, Melancon posts a video of a cover every Monday on his website. Check out his triumphunt version of E.L.O.'s "Mr. Blue Sky."
Now, get out there and support your local bands!
Saturday, July 28, 2012
BoDeans bring new album (and line-up) to Atlanta
Live review: BoDeans with Heather Luttrell at Variety Playhouse in Atlanta, 6/20/12The absence of Llanas is a blow to that unique BoDeans sound, but Neumann has done a fine job in setting a high bar and delivering a very good album. And to see this band live is an enhanced experience. Everything sounds better when they're onstage. "Good Work" got things rolling in a quick way, followed by "Flyaway" from the new album. This track is currently getting video play on CMT. On "Stay," Neumann explained that he wrote this one for his two daughters and explained how he asked them to stay young, since he was constantly on the road and missing out on their lives. This is a bittersweet song for any parent. ("Why must you say goodbye? / Why don't you stay a while?").
The band is covering the U.S. through early October. Catch them in a town near you: TOUR.
Atlantan Heather Luttrell had opening slot duties and wowed the crowed with her powerful and soulful voice. You may remember her as a contestant from the 2005 reality show Rockstar: INXS, in which she was aiming for a spot with the legendary 80s band. The fact that she lost out to J.D. Fortune is possibly a good thing, as this opportunity may have boxed her in (and according to the merch guy, "Do NOT ask her to play any INXS!").
Her vocal stylings were more along the lines of a countryfied, folksy Janis Joplin. During her acoustic set, Luttrell was accompanied by her father, who stood next to her playing slide guitar. ("The whole 'Daddy' thing isn't as weird when people find out he's really my Dad.") It was a good sound and local fans were supporting her in force.
Watch Heather sing "Georgia On My Mind."
Keep an eye out for this talented songwriter. Check her tour schedule HERE.
Wednesday, June 20, 2012
Atlanta warms up to The Cult
Live Review: The Cult with Against Me! and The Icarus Line at the Tabernacle in Atlanta, 6/17/12
For fans of 80s music, The Cult should definitely be on the favorites list. Not just a rock band, but not heavy metal. Somewhere in between, with a Doors-like mysticism. Leader Ian Astbury could very well be chanelling Jim Morrison. The Cult's post-punk/gothic rock sound set them apart from other groups of the 80s. Rolling out of London in 1984 with their first major label debut Dreamtime, The Cult gained fame quickly and eventually conquered America.
Touring in support of their ninth studio album Choice of Weapon (Cooking Vinyl), the band is enjoying the fruits of its labor from the past three decades. They have definitely not lost a lot, with Astbury's vocals close to what they were in the heyday, and the band tighter than ever. Granted, only Astbury and guitarist Billy Duffy remain as original members, with John Tempesta and Chris Wyse rounding out the rhythm section.
At times, Astbury wanted more from the crowd, yelling, "Get up off your fucking asses!" He almost came off as an angry Gene Simmons. After throwing a tamborine into the crowd, he seemed to be motioning to get it back several times the rest of the evening. Not sure what became of it. In the end, though, he was very appreciative of the fans and told them so.
Listen: "For The Animals"
Opening the show was the loud and proud sounds of The Icarus Line. Clearly inspired by acts such as Black Flag and The Stooges, lead singer Joe Cardamone aspires to be a 21st century Iggy Pop, with no shirt and skinny jeans. Iggy never screamed like that, though. This was one loud set, with Cardamone doing plenty of strutting and spitting. It was raw and raucous.
Middle band Against Me! was the real surprise of the evening, with an exceptionally tight sound and a set of terrific songs. You may have read in the news about frontman Tom Gabel's recent transgender process to become Laura Jane Grace. On this night, he simply wore eyeliner and very high heals, along with what appeared to be an all-leather outfit. Standard rockstar garb. Gabel's voice, though, was the attraction. Falling somewhere in the neighborhood of Cheap Trick's Robin Zander, this thing is one powerful instrument. The band tore through a victorious set, including "Thrash Unreal," "Stop!," "New Wave" and the excellent "I Was A Teenage Anarchist."
Besides the obvious talent of Gabel, 21-year-old drummer Jay Weinberg was the heart of the band. He ripped through each song like a veteran and kept the intensity dial on 11 (incidentally, Jay is the son of drummer Max Weinberg, of the E Street Band).
Listen: "I Was A Teenage Anarchist"
To catch this tour before it heads to Europe, go here: Tour info.
For fans of 80s music, The Cult should definitely be on the favorites list. Not just a rock band, but not heavy metal. Somewhere in between, with a Doors-like mysticism. Leader Ian Astbury could very well be chanelling Jim Morrison. The Cult's post-punk/gothic rock sound set them apart from other groups of the 80s. Rolling out of London in 1984 with their first major label debut Dreamtime, The Cult gained fame quickly and eventually conquered America.
Touring in support of their ninth studio album Choice of Weapon (Cooking Vinyl), the band is enjoying the fruits of its labor from the past three decades. They have definitely not lost a lot, with Astbury's vocals close to what they were in the heyday, and the band tighter than ever. Granted, only Astbury and guitarist Billy Duffy remain as original members, with John Tempesta and Chris Wyse rounding out the rhythm section.
At times, Astbury wanted more from the crowd, yelling, "Get up off your fucking asses!" He almost came off as an angry Gene Simmons. After throwing a tamborine into the crowd, he seemed to be motioning to get it back several times the rest of the evening. Not sure what became of it. In the end, though, he was very appreciative of the fans and told them so.
Listen: "For The Animals"
Opening the show was the loud and proud sounds of The Icarus Line. Clearly inspired by acts such as Black Flag and The Stooges, lead singer Joe Cardamone aspires to be a 21st century Iggy Pop, with no shirt and skinny jeans. Iggy never screamed like that, though. This was one loud set, with Cardamone doing plenty of strutting and spitting. It was raw and raucous.
Middle band Against Me! was the real surprise of the evening, with an exceptionally tight sound and a set of terrific songs. You may have read in the news about frontman Tom Gabel's recent transgender process to become Laura Jane Grace. On this night, he simply wore eyeliner and very high heals, along with what appeared to be an all-leather outfit. Standard rockstar garb. Gabel's voice, though, was the attraction. Falling somewhere in the neighborhood of Cheap Trick's Robin Zander, this thing is one powerful instrument. The band tore through a victorious set, including "Thrash Unreal," "Stop!," "New Wave" and the excellent "I Was A Teenage Anarchist."
Besides the obvious talent of Gabel, 21-year-old drummer Jay Weinberg was the heart of the band. He ripped through each song like a veteran and kept the intensity dial on 11 (incidentally, Jay is the son of drummer Max Weinberg, of the E Street Band).
Listen: "I Was A Teenage Anarchist"
To catch this tour before it heads to Europe, go here: Tour info.
Punch Brothers bring a little bit of fantastic to Atlanta
Live review: Punch Brothers and Jesca Hoop at the Variety Playhouse in Atlanta, 4/21/12
If Wilco can be called the American Radiohead, then surely Punch Brothers can be considered the Bluegrass Radiohead. Not that all bands must be held to the Radiohead standard, but when a band evolves, takes chances and goes all experimental, the comparison is allowed. Even Punch Brothers basic song construction, in some cases, sounds a bit Radioheadish. Leader of the group Chris Thile (Nickel Creek, The Goat Rodeo Sessions) also exhibits a thing for Thom Yorke's group. "Kid A" is featured prominently on the new Who's Feeling Young Now? (Nonesuch) and the boys have covered a number of their songs live.
The wonderful "Don't Get Married Without Me" kicked off the set. Thile (prounounced "THEE-lee") and the rest of the "newgrass" quintet seem as close to virtuosos a five-piece can get. Rounding out the band are Gabe Witcher (violin), Noam Pikelny (banjo), Chris Eldridge (acoustice guitar) and Paul Kowert (stand-up bass). These guys are all rock stars and not the traditional kind. No drums, no electric guitars, no synth. Just five dudes standing on stage, playing the strings. Total rock stars. If you don't believe it, check them out. Thile does the solos like Eddie Van Halen, just in a purer form. And with a mandolin.
All five Brothers had established careers playing with other people and got together in 2006. The name was taken from the Mark Twain short story "Punch, Brothers, Punch." Using a Twain title is perfect: likeable and pervasively honest, just like the band. Various members of the group joked and chatted with audience members throughout the evening, but it was the music that mattered.
World class original music is their specialty, but they are also known for all those covers. This evening was no different, as the band played some great tunes from the likes of Beck, Radiohead (of course), Gillian Welch and The Cars (see set list below). For the finale, a wonderfully emotional cover of The Band's "The Weight" (it had only been two days since the passing of Levon Helm). This was a tribute by Punch Brothers, but as you see in the video, the entire audience was involved.
Watch "The Weight"
It was a lively evening and Punch Brothers are now known as one of those collectives that create a hybrid sound. This was their fourth trip to the Variety Playhouse in Atlanta and the first to sell out. It appears that their sound - however experimental it may be - is a refreshing change from the status quo that you get on the radio hour after hour. Please, see them live.
Californian Jesca Hoop warmed up the crowd very nicely with a guitar and an exquisite voice that can be compared with no one elses. She has toured with Elbow and Peter Gabriel and exhibits a powerful presence while remaining somewhat grounded in her banter. With a very dry sense of humor, her opening gig was almost a conversation with fans. Very funny and very effective. New fans were made that night.
Touring in support of her upcoming release The House That Jack Built (June 25), Hoop has built a following with her sensual and personal style of performing. Thile joined her onstage for a sweet duet, and she returned the favor by joining the boys for a song. Before she had a chance to begin, though, Punch Brothers sang her a rousing "Happy Birthday." She was embarassed. And happy.
Punch Brothers Set list
Don't Get Married Without Me, New York City, Next To The Trash, Flippen, Who's Feeling Young Now?, Clara, Missy, The Blind Leaving The Blind, Sexx Laws (Beck cover), Train On The Island, Hundred Dollars, Kid A (Radiohead cover), Wayside/Back In Time (Gillian Welch cover), Happy Birthday (w/Jesca Hoop), Just What I Needed (The Cars cover), Watch 'at Breakdown, Rye Whiskey.
Encore:
Patchwork Girlfriend, Movement And Location, The Weight (The Band cover).
If Wilco can be called the American Radiohead, then surely Punch Brothers can be considered the Bluegrass Radiohead. Not that all bands must be held to the Radiohead standard, but when a band evolves, takes chances and goes all experimental, the comparison is allowed. Even Punch Brothers basic song construction, in some cases, sounds a bit Radioheadish. Leader of the group Chris Thile (Nickel Creek, The Goat Rodeo Sessions) also exhibits a thing for Thom Yorke's group. "Kid A" is featured prominently on the new Who's Feeling Young Now? (Nonesuch) and the boys have covered a number of their songs live.
World class original music is their specialty, but they are also known for all those covers. This evening was no different, as the band played some great tunes from the likes of Beck, Radiohead (of course), Gillian Welch and The Cars (see set list below). For the finale, a wonderfully emotional cover of The Band's "The Weight" (it had only been two days since the passing of Levon Helm). This was a tribute by Punch Brothers, but as you see in the video, the entire audience was involved.
Watch "The Weight"
It was a lively evening and Punch Brothers are now known as one of those collectives that create a hybrid sound. This was their fourth trip to the Variety Playhouse in Atlanta and the first to sell out. It appears that their sound - however experimental it may be - is a refreshing change from the status quo that you get on the radio hour after hour. Please, see them live.
Californian Jesca Hoop warmed up the crowd very nicely with a guitar and an exquisite voice that can be compared with no one elses. She has toured with Elbow and Peter Gabriel and exhibits a powerful presence while remaining somewhat grounded in her banter. With a very dry sense of humor, her opening gig was almost a conversation with fans. Very funny and very effective. New fans were made that night.
Touring in support of her upcoming release The House That Jack Built (June 25), Hoop has built a following with her sensual and personal style of performing. Thile joined her onstage for a sweet duet, and she returned the favor by joining the boys for a song. Before she had a chance to begin, though, Punch Brothers sang her a rousing "Happy Birthday." She was embarassed. And happy.
Punch Brothers Set list
Don't Get Married Without Me, New York City, Next To The Trash, Flippen, Who's Feeling Young Now?, Clara, Missy, The Blind Leaving The Blind, Sexx Laws (Beck cover), Train On The Island, Hundred Dollars, Kid A (Radiohead cover), Wayside/Back In Time (Gillian Welch cover), Happy Birthday (w/Jesca Hoop), Just What I Needed (The Cars cover), Watch 'at Breakdown, Rye Whiskey.
Encore:
Patchwork Girlfriend, Movement And Location, The Weight (The Band cover).
Monday, April 9, 2012
Kaiser Chiefs predict (and get) a riot in Atlanta
Live review: Kaiser Chiefs with Walk the Moon and Transfer at the Tabernacle in Atlanta, 3/10/12
Ricky Wilson, the bold and brassy lead singer of Leeds natives Kaiser Chiefs, seemed a tad pissed as the show kicked off in Atlanta. Maybe this was because the Tabernacle did not sell out. After all, the band had been hailed as the next Jam when they released their debut Employment in 2005. Maybe it's because Wilson and the boys really want to exude that punk rock attitude, so pissed is how to do that.
Whatever the reason, they cheered up themselves and warmed up the crowd quickly. The energy level was locked on 11 the entire evening. Touring in support of the new release Start the Revolution Without Me (B-Unique), the band performed songs from all four albums, but relied on the brilliant Employment for much of the evening. The show kicked off with the wicked "Everyday I Love You Less And Less," and Wilson was all over the stage (and off it, some). With a history of injuries from jumping off the stage, he surely was being careful. Like when he climbed the rope ladder into the balcony and walked through the shocked crowd while singing his song and prodding those jammed on the floor to scream.
Wilson and the band were very chatty between songs and showed off that dry English sense of humor. "Next time we return to Atlanta," Wilson yelled, "be sure to bring your friends." Kaiser Chiefs gave it 110% to the adoring fans, who made it sound like a sold out Tabernacle. It was a fantastically supercharged concert and no one left wanting more. Except they could have played more. That's all. One of their most popular tunes, "I Predict A Riot" brought down the house with its return-to-mod feel and a tip of the hat to the Jam. Paul Weller must be proud.
For the final song, the group played their first single from 2004, "Oh My God." Wilson jumped off the stage and singled out one young lady, singing, "Oh my God I can't believe it / I never been this far away from home" as if he was simultaneously living the moment and wanting to flee.
It was a quick one, with a total of 17 rapid fire songs that sounded flawless. Though the band has yet to repeat the success it had with the first album, they've still got the hunger and skill to keep going for quite a while.
With Wilson, the band is comprised of Andrew White (guitar), Simon Rix (bass), Nick Baines (keys) and Nick Hodgson (drums). The band was tight and loud and missed not a beat. Hodgson on drums was reminiscent of Keith Moon or Brad Elvis in appearance, clothing and drumming style. Which means he killed it. As the show ended, the very British Hodgson exclaimed, "You make me proud to be an American. All of you."
San Diego's Transfer opened the evening with their fresh, progressive rock sounds. This band is clearly ready to move to the next level. All they need is a little more exposure. That will be gained with this tour and a few important stops, including SXSW.
Cincinnati's Walk the Moon delivered some nice power pop as a segue to Kaiser Chiefs. Their huge hit from last summer, "Anna Sun," paved the way for the band to get some massive exposure around the world. You may remember the exciteable and overly happy video that went viral in a very short time. Their unsigned career got a jolt of caffeine with that single as well as calls from agents and labels.
The Anna Sun EP is out now and can be downloaded directly from their site. They are scheduled to play SXSW, Sasquatch and NYC's Governor's Ball as well as a host of other events and TV shows.
Set List:
Everyday I Love You Less And Less, Never Miss A Beat, Little Shocks, Everything Is Average Nowadays, Good Days Bad Days, Modern Way, Listen To Your Head, Ruby, The Angry Mob, Na Na Na Na Naa, Starts With Nothing, I Predict A Riot, Kinda Girl You Are, Take My Temperature, On The Run.
Encore:
Love's Not A Competetion (But I'm Winning), Oh My God.
Ricky Wilson, the bold and brassy lead singer of Leeds natives Kaiser Chiefs, seemed a tad pissed as the show kicked off in Atlanta. Maybe this was because the Tabernacle did not sell out. After all, the band had been hailed as the next Jam when they released their debut Employment in 2005. Maybe it's because Wilson and the boys really want to exude that punk rock attitude, so pissed is how to do that.
Whatever the reason, they cheered up themselves and warmed up the crowd quickly. The energy level was locked on 11 the entire evening. Touring in support of the new release Start the Revolution Without Me (B-Unique), the band performed songs from all four albums, but relied on the brilliant Employment for much of the evening. The show kicked off with the wicked "Everyday I Love You Less And Less," and Wilson was all over the stage (and off it, some). With a history of injuries from jumping off the stage, he surely was being careful. Like when he climbed the rope ladder into the balcony and walked through the shocked crowd while singing his song and prodding those jammed on the floor to scream.
Wilson and the band were very chatty between songs and showed off that dry English sense of humor. "Next time we return to Atlanta," Wilson yelled, "be sure to bring your friends." Kaiser Chiefs gave it 110% to the adoring fans, who made it sound like a sold out Tabernacle. It was a fantastically supercharged concert and no one left wanting more. Except they could have played more. That's all. One of their most popular tunes, "I Predict A Riot" brought down the house with its return-to-mod feel and a tip of the hat to the Jam. Paul Weller must be proud.
For the final song, the group played their first single from 2004, "Oh My God." Wilson jumped off the stage and singled out one young lady, singing, "Oh my God I can't believe it / I never been this far away from home" as if he was simultaneously living the moment and wanting to flee.
It was a quick one, with a total of 17 rapid fire songs that sounded flawless. Though the band has yet to repeat the success it had with the first album, they've still got the hunger and skill to keep going for quite a while.
With Wilson, the band is comprised of Andrew White (guitar), Simon Rix (bass), Nick Baines (keys) and Nick Hodgson (drums). The band was tight and loud and missed not a beat. Hodgson on drums was reminiscent of Keith Moon or Brad Elvis in appearance, clothing and drumming style. Which means he killed it. As the show ended, the very British Hodgson exclaimed, "You make me proud to be an American. All of you."
San Diego's Transfer opened the evening with their fresh, progressive rock sounds. This band is clearly ready to move to the next level. All they need is a little more exposure. That will be gained with this tour and a few important stops, including SXSW.
Cincinnati's Walk the Moon delivered some nice power pop as a segue to Kaiser Chiefs. Their huge hit from last summer, "Anna Sun," paved the way for the band to get some massive exposure around the world. You may remember the exciteable and overly happy video that went viral in a very short time. Their unsigned career got a jolt of caffeine with that single as well as calls from agents and labels.
The Anna Sun EP is out now and can be downloaded directly from their site. They are scheduled to play SXSW, Sasquatch and NYC's Governor's Ball as well as a host of other events and TV shows.
Set List:
Everyday I Love You Less And Less, Never Miss A Beat, Little Shocks, Everything Is Average Nowadays, Good Days Bad Days, Modern Way, Listen To Your Head, Ruby, The Angry Mob, Na Na Na Na Naa, Starts With Nothing, I Predict A Riot, Kinda Girl You Are, Take My Temperature, On The Run.
Encore:
Love's Not A Competetion (But I'm Winning), Oh My God.
Grimes makes Monday fun in Atlanta
Live review: Grimes with Born Gold and Dog Bite at the Drunken Unicorn in Atlanta, 3/5/12
The Drunken Unicorn may not be a place one would choose for a relaxing night out on the town. For the typical music connoisseur, this may be a venue of a less-than-favorable comfort level. First of all, the place is nearly impossible to find, GPS or not. Once you actually get there, good luck locating the entrance. It's a dark descent down concrete steps into the small doorway. The interior is tiny - almost too small for any band. An annex space is taken up by a nice bar.
Once the show began, the smoky and hot room became very crowded. But when an act is good enough, this is all worth it. Grimes (born Claire Boucher) is a Canadian wondergirl who appears to be master of her domain. The cute and down-to-earth musician handles the gig box - complete with Mac and effects machines - with her left hand, while keeping up on the synth with her right. When not singing, the mic is securely stuck between chin and shoulder. All this plus a dreamy voice helped the mostly male fan club forget about the undesireable venue conditions.
Touring in support of her new release Visions (4AD), Grimes is a consumate performer, constantly talking to the crowd and explaining how this didn't sound right or sorry for that. Things that no one would notice without her self-deprecating style of pointing them out. The new critically acclaimed Visions provided much content for this too-short set. "Oblivion" and the excellent "Genesis" were big hits. For the more complex tunes, Born Gold joined Grimes onstage.
While the set was short, the scene was intense. It was a good night for Grimes, who is continuing on the tour with a stopover at SXSW and then on to several European dates beginning in May.
Listen to Grimes: "Genesis"
Atlanta's Dog Bite is the brainchild of former Washed Out collaborator Phil Jones. With his self-described folk/surf/trance sound, the boys warmed up the crowd nicely. After coming off a tour, he had the desire to record more of his own songs. With the absence of the required chillwave computer, he used his guitar and went through the process.
With an amalgam of pop, rock, indie and chill, Dog Bite has a unique and intriguing sound. Be on the lookout for the upcoming LP Velvet Changes.
Listen to Dog Bite: "Prettiest Pills"
Up next was the three ring circus of fellow Canadians Born Gold. This was like no other live experience around. Cecil Frena, formerly using the name Gobble Gobble, put on a mindblowing show that ranks right up there with Cirque du Soleil. Seriously. Beginning with his biker jacket covered in lights (which seemed to be controlled by his movements and read through a Mac). Attached gloves also reacted to motion, and looked like something out of the Iron Man movie.
With a fine release last year entitled Bodysongs (Hovercraft), Frena has crafted some wonderful music that is only surpassed by its presentation. On his Facebook page, he has described himself/his music this way: "I'M A CASKET DANCER, TAPPING OUT TOE MORSE TO THE THIRSTY SILENCE." That explains it perfectly. If you don't get it, then you get it.
Frena's two minions have been trained to conform to the insanity. If they're not standing on the small stage facing the crowd holding two black hand fans (that would light up frequently) while wearing black masks (ala Black Swan) - they're walking through the sardine-packed crowd on stilts while playing what looked like a shovel (though it did possess much electronic prowess). Needless to say, it was a show. If you EVER get the chance to see Born Gold, you must do it. Your life really may depend on it.
Listen to Born Gold: "Alabaster Bodyworlds"
Watch Born Gold (if you dare): "Alabaster Bodyworlds"
The Drunken Unicorn may not be a place one would choose for a relaxing night out on the town. For the typical music connoisseur, this may be a venue of a less-than-favorable comfort level. First of all, the place is nearly impossible to find, GPS or not. Once you actually get there, good luck locating the entrance. It's a dark descent down concrete steps into the small doorway. The interior is tiny - almost too small for any band. An annex space is taken up by a nice bar.
Once the show began, the smoky and hot room became very crowded. But when an act is good enough, this is all worth it. Grimes (born Claire Boucher) is a Canadian wondergirl who appears to be master of her domain. The cute and down-to-earth musician handles the gig box - complete with Mac and effects machines - with her left hand, while keeping up on the synth with her right. When not singing, the mic is securely stuck between chin and shoulder. All this plus a dreamy voice helped the mostly male fan club forget about the undesireable venue conditions.
Touring in support of her new release Visions (4AD), Grimes is a consumate performer, constantly talking to the crowd and explaining how this didn't sound right or sorry for that. Things that no one would notice without her self-deprecating style of pointing them out. The new critically acclaimed Visions provided much content for this too-short set. "Oblivion" and the excellent "Genesis" were big hits. For the more complex tunes, Born Gold joined Grimes onstage.
While the set was short, the scene was intense. It was a good night for Grimes, who is continuing on the tour with a stopover at SXSW and then on to several European dates beginning in May.
Listen to Grimes: "Genesis"
Atlanta's Dog Bite is the brainchild of former Washed Out collaborator Phil Jones. With his self-described folk/surf/trance sound, the boys warmed up the crowd nicely. After coming off a tour, he had the desire to record more of his own songs. With the absence of the required chillwave computer, he used his guitar and went through the process.
With an amalgam of pop, rock, indie and chill, Dog Bite has a unique and intriguing sound. Be on the lookout for the upcoming LP Velvet Changes.
Listen to Dog Bite: "Prettiest Pills"
Up next was the three ring circus of fellow Canadians Born Gold. This was like no other live experience around. Cecil Frena, formerly using the name Gobble Gobble, put on a mindblowing show that ranks right up there with Cirque du Soleil. Seriously. Beginning with his biker jacket covered in lights (which seemed to be controlled by his movements and read through a Mac). Attached gloves also reacted to motion, and looked like something out of the Iron Man movie.
With a fine release last year entitled Bodysongs (Hovercraft), Frena has crafted some wonderful music that is only surpassed by its presentation. On his Facebook page, he has described himself/his music this way: "I'M A CASKET DANCER, TAPPING OUT TOE MORSE TO THE THIRSTY SILENCE." That explains it perfectly. If you don't get it, then you get it.
Frena's two minions have been trained to conform to the insanity. If they're not standing on the small stage facing the crowd holding two black hand fans (that would light up frequently) while wearing black masks (ala Black Swan) - they're walking through the sardine-packed crowd on stilts while playing what looked like a shovel (though it did possess much electronic prowess). Needless to say, it was a show. If you EVER get the chance to see Born Gold, you must do it. Your life really may depend on it.
Listen to Born Gold: "Alabaster Bodyworlds"
Watch Born Gold (if you dare): "Alabaster Bodyworlds"
Sunday, March 4, 2012
Radiohead: Perfect in Atlanta
Live Review: Radiohead and Other Lives at Philips Arena, 3/1/12
Those who admittedly "don't get" Radiohead have clearly never experienced a live show. But others, who have been fans of the band since the beginning, have found it easier to appreciate Radiohead's music as the band has evolved over nearly 20 years on the scene. Despite their electronic/experimental leanings, anyone would be a convert after being witness to one of these astonishing productions.
With the phenomenal musicianship of each member of the band, every song was brilliantly performed - even those unfamiliar to many in the audience sounded like hits. There has been little if any radio play for Radiohead's songs since the beginning ("Creep," "High And Dry" and "Karma Police" are exceptions, which had limited success in America - none of which are played live very often). To be honest, The King of Limbs Radiohead is a far cry from the more accessible Pablo Honey Radiohead of 1993.
Lead singer/frantic dancer Thom Yorke (who also skillfully handled guitars, keyboards and piano) commanded a perfect evening for Atlanta fans on the third stop of the King of Limbs tour. Ed O'Brien (guitars, backing vocals, electronics), brothers Colin (bass guitars, keyboards) and Jonny Greenwood (guitars, keyboards, etc.), and Phil Selway (drums, percussion) round out this critically acclaimed British quintet. A majority of tracks off of the new album were played and sounded spectacular live. The 20,000+ rabid fans filled the sold-out Philips Arena and were possibly the only thing louder than the band. Radiohead definitely felt the love that night, crowd surfers and all.
Besides creating music that no one can predict, this group is also known for breathtaking visuals. On the new tour, there are twelve giant screens (each measuring roughly five feet by five feet) hanging high above the stage, showing live images of each member. Several cameras were mounted stage left and right. The huge wall behind the band looked more like bubble wrap, but soon would be host erratic and colorful designs via thousands of LEDs which may or may not have been responsible for seizures throughout the throngs of crazy fans. As the show progressed, those colossal screens began to slowly lower until they were hanging at various angles just above the bandmember's heads. This mezmerising effect made every seat in the house a front row experience. The screens raised and lowered throughout the show.
Yorke has transcended into Rock God status. At the beginning and end of every song, enamored fans hooted, hollared and screamed their approval. The same thing happened each time he spoke. Even clearing his throat brought applause. Yorke seems the epitome of contentment as he danced and jumped and flailed around the stage, much like Michael Stipe was known to do. Stipe and R.E.M. were one of Radiohead's inspirations and they opened for the Georgia natives a few times in the nineties.
After an incredible set of 16 wonderful songs, the band gave two encores. In all respects, Yorke was extremely appreciative and thanked the fans repeatedly. Ending the first encore, he sat at the keyboard and sang a few bars of R.E.M.'s "The One I Love" which lead seamlessly into the marvelous "Everything In Its Right Place," one of the evening's most well-received tunes. When Yorke sings, "Yesterday I woke up sucking a lemon / Yesterday I woke up sucking a lemon," it's hard to imagine that's his life now. The dude was smiling more and dancing more and living more. At concert's end, the band had surpassed the two-hour mark.
As Radiohead continue to evolve musically, they also improve upon their live performances. This night in Atlanta should rank up their with their most flawless of evenings. Everything seemed to be in its right place. The only drawback was that many songs were not played due to time constraints and/or the band's own lack of willingness to play them. Nevertheless, every serious music fan should add Radiohead to their short list of "must see" shows.
Oklahoma's Other Lives opened the show with a fantastic set. Supporting Radiohead on the first leg of the tour, Other Lives culled most of the songs from last year's Tamer Animals (TBD) album, including the incredible "For 12." Just last summer, the band was in Atlanta opening for the Rosebuds in the much smaller EARL venue. They've come a long way in a few short months.
Frontman Jesse Tabish lead the six-piece ensemble through a too-brief set of beautiful tunes. Their sound is relatively close to the Radiohead neighborhood of music and the audience recognized that. They will finish out this American tour with Radiohead, then move on and evolve, as all great bands do.
Set List:
Bloom, Little By Little, Airbag, Weird Fishes / Arpeggi, Morning Mr. Magpie, The Gloaming, Kid A, Pyramid Song, Nude, Identikit, Lotus Flower, There There, Feral, Idioteque, The Daily Mail, Bodysnatchers
Encore:
Separator, You And Whose Army?, Myxomatosis, The One I Love / Everything In Its Right Place
Encore 2:
Staircase, Reckoner, Street Spirit (Fade Out)
Those who admittedly "don't get" Radiohead have clearly never experienced a live show. But others, who have been fans of the band since the beginning, have found it easier to appreciate Radiohead's music as the band has evolved over nearly 20 years on the scene. Despite their electronic/experimental leanings, anyone would be a convert after being witness to one of these astonishing productions.
With the phenomenal musicianship of each member of the band, every song was brilliantly performed - even those unfamiliar to many in the audience sounded like hits. There has been little if any radio play for Radiohead's songs since the beginning ("Creep," "High And Dry" and "Karma Police" are exceptions, which had limited success in America - none of which are played live very often). To be honest, The King of Limbs Radiohead is a far cry from the more accessible Pablo Honey Radiohead of 1993.
Lead singer/frantic dancer Thom Yorke (who also skillfully handled guitars, keyboards and piano) commanded a perfect evening for Atlanta fans on the third stop of the King of Limbs tour. Ed O'Brien (guitars, backing vocals, electronics), brothers Colin (bass guitars, keyboards) and Jonny Greenwood (guitars, keyboards, etc.), and Phil Selway (drums, percussion) round out this critically acclaimed British quintet. A majority of tracks off of the new album were played and sounded spectacular live. The 20,000+ rabid fans filled the sold-out Philips Arena and were possibly the only thing louder than the band. Radiohead definitely felt the love that night, crowd surfers and all.
Besides creating music that no one can predict, this group is also known for breathtaking visuals. On the new tour, there are twelve giant screens (each measuring roughly five feet by five feet) hanging high above the stage, showing live images of each member. Several cameras were mounted stage left and right. The huge wall behind the band looked more like bubble wrap, but soon would be host erratic and colorful designs via thousands of LEDs which may or may not have been responsible for seizures throughout the throngs of crazy fans. As the show progressed, those colossal screens began to slowly lower until they were hanging at various angles just above the bandmember's heads. This mezmerising effect made every seat in the house a front row experience. The screens raised and lowered throughout the show.
Yorke has transcended into Rock God status. At the beginning and end of every song, enamored fans hooted, hollared and screamed their approval. The same thing happened each time he spoke. Even clearing his throat brought applause. Yorke seems the epitome of contentment as he danced and jumped and flailed around the stage, much like Michael Stipe was known to do. Stipe and R.E.M. were one of Radiohead's inspirations and they opened for the Georgia natives a few times in the nineties.
After an incredible set of 16 wonderful songs, the band gave two encores. In all respects, Yorke was extremely appreciative and thanked the fans repeatedly. Ending the first encore, he sat at the keyboard and sang a few bars of R.E.M.'s "The One I Love" which lead seamlessly into the marvelous "Everything In Its Right Place," one of the evening's most well-received tunes. When Yorke sings, "Yesterday I woke up sucking a lemon / Yesterday I woke up sucking a lemon," it's hard to imagine that's his life now. The dude was smiling more and dancing more and living more. At concert's end, the band had surpassed the two-hour mark.
As Radiohead continue to evolve musically, they also improve upon their live performances. This night in Atlanta should rank up their with their most flawless of evenings. Everything seemed to be in its right place. The only drawback was that many songs were not played due to time constraints and/or the band's own lack of willingness to play them. Nevertheless, every serious music fan should add Radiohead to their short list of "must see" shows.
Oklahoma's Other Lives opened the show with a fantastic set. Supporting Radiohead on the first leg of the tour, Other Lives culled most of the songs from last year's Tamer Animals (TBD) album, including the incredible "For 12." Just last summer, the band was in Atlanta opening for the Rosebuds in the much smaller EARL venue. They've come a long way in a few short months.
Frontman Jesse Tabish lead the six-piece ensemble through a too-brief set of beautiful tunes. Their sound is relatively close to the Radiohead neighborhood of music and the audience recognized that. They will finish out this American tour with Radiohead, then move on and evolve, as all great bands do.
Set List:
Bloom, Little By Little, Airbag, Weird Fishes / Arpeggi, Morning Mr. Magpie, The Gloaming, Kid A, Pyramid Song, Nude, Identikit, Lotus Flower, There There, Feral, Idioteque, The Daily Mail, Bodysnatchers
Encore:
Separator, You And Whose Army?, Myxomatosis, The One I Love / Everything In Its Right Place
Encore 2:
Staircase, Reckoner, Street Spirit (Fade Out)
Uncle Green resurrected
Live review: Uncle Green / 3 lb. Thrill CD release party with Pink Pompeii and The Head at Smith's Olde Bar in Atlanta, 2/25/12
For fans of 90s alt-rockers Uncle Green (who became 3 lb. Thrill with a label deal), last night's reunion show was a godsend. Although that major label thing did not last, the following did. After the successful Kickstarter campaign last year to master and self-release Rycopa, die-hard fans have been chomping at the bit awaiting this reunion show. The foursome did not disappoint.
And it also seems as if the band picked up right where it left off. Some rust is always expected for a reunion show. Seriously, these guys haven't played a gig together for six years. Despite that, they sounded fresh and tight. And all those Rycopa songs from 1997? Still sounding relevant.
The boys joked and poked fun at each other throughout the night, exhibiting a friendship that is still apparently intact. Drummer Pete McDade, who did all the heavy lifting in finding those tapes, is raising a family in Atlanta. Bassist Bill Decker also resides in Atlanta while Jeff Jensen (vocals, guitar) lives in Washington, D.C. and Matt Brown (vocals, guitar) calls New Jersey home.
While the band revisited the glory days with many classics that the fans really were yearning for, the night was ruled by the highly listenable tracks from Rycopa. The driving "Not In Range," was a favorite as was the awesome "Geronimo." The dueling vocals of Jensen and Brown work together seamlessly. All four are seasoned musicians who play together as if that 15-year break was 15 days.
The wonderful "Pretty Good Lie" joins many other songs that could easily have made it on the radio back in '97 (or even today). But somehow this is sweeter, after the aging process has matured these tunes and allowed them to percolate to perfection. Regarding the audience, it was a full house of old school Uncle Green / 3 lb. Thrill fanatics, who appeared to know all the words to all the songs. Even the new stuff.
Brown was fighting a scratchy throat and informed fans that he'd researched this on the Internet and put all his faith in one website, which instructed him to drink pineapple juice. He commenced to drinking that stuff like shots at the bar. Many are asking about another album, another show. No real answers yet, but if the support for Rycopa and this "one-off" show are any indication, these guys still have an audience. To pick up the new release, go to CD Baby.
Listen: "Not In Range" & "Pretty Good Lie"
Atlanta trio The Head opened the show with an energy that can only be possessed by the youth. Idealistic, catchy power-pop never sounded this good from what has to be Atlanta's best kept secret. Twin brothers Jack (drums, lead vocals) and Mike Shaw (bass, keys, lead vocals) joined with their best friend Jacob Morrell (guitar, backing vocals) to bring an urgent and excellent sound to the stage. Supporting their latest release, Hang On, this group is poised to hit it big in a very short time.
The stunningly packaged CD was - get this - given away free at the show in exchange for an email. That's how you do it, people. The live show is intense. Both brothers can sing and all three are exceptional musicians. Hints of the Stone Roses peeked out of a few songs, as did a tad of Arctic Monkeys. Be that as it may, The Head is all original power-pop and very talented. Go to The Head Music for free downloads of all their music. You will not regret it.
Listen & Download: Hang On
Pink Pompeii filled the gap with their unique sound. Rob Gal (production, guitar, synth) is joined by Nan Kemberling (vocals, cello) and Courtney King (vocals, guitar, synth) to create something completely different. Pink Pompeii describe themselves as "computer + guitar + cello + vocals + love + bass + keys = pp." That about nails it. This electropop outfit from Atlanta has the classical-music-meets-the-dancefloor market all sewn up.
Pink Pompeii songs such as "Trash," "Dark Cloud" and "Please Help Me Out" are crafted with a precision very few groups achieve, yet it was a let-yourself-go kind of set bowing to no rules. The ultra-perky Kemberling lit up the room with her smile and her voice. It's good to see someone enjoying their work so much.
Gal, who is credited for production work on Rycopa, seemed to be the ring leader of the trio. He joined Uncle Green/3 lb. Thrill onstage for a few songs, as well.
Listen: "Dark Cloud"
This was a great night of diverse musical styles. Each band complemented the next and prepped the audience for a very enjoyable evening. Let's hope it can be repeated soon.
Uncle Green / 3 lb. Thrill Set List
I Don’t Wanna Know About It, He’s The Man, Elmira Place, Pretty Good Lie, Not In Range, Karen Dine, Daddy’s Got Money Again, Wake Up Now, Save A Seat For Me, Miracle Of Me, Geronimo, It's A Red, Red, Red, Red, Redneck World, Diana, Don’t Fix It If It Works, Gunshow, Grrrranimal Party
Encore
Dymaxion, House With No Windows, I Always Knew You'd Come To Me
For fans of 90s alt-rockers Uncle Green (who became 3 lb. Thrill with a label deal), last night's reunion show was a godsend. Although that major label thing did not last, the following did. After the successful Kickstarter campaign last year to master and self-release Rycopa, die-hard fans have been chomping at the bit awaiting this reunion show. The foursome did not disappoint.
And it also seems as if the band picked up right where it left off. Some rust is always expected for a reunion show. Seriously, these guys haven't played a gig together for six years. Despite that, they sounded fresh and tight. And all those Rycopa songs from 1997? Still sounding relevant.
The boys joked and poked fun at each other throughout the night, exhibiting a friendship that is still apparently intact. Drummer Pete McDade, who did all the heavy lifting in finding those tapes, is raising a family in Atlanta. Bassist Bill Decker also resides in Atlanta while Jeff Jensen (vocals, guitar) lives in Washington, D.C. and Matt Brown (vocals, guitar) calls New Jersey home.
While the band revisited the glory days with many classics that the fans really were yearning for, the night was ruled by the highly listenable tracks from Rycopa. The driving "Not In Range," was a favorite as was the awesome "Geronimo." The dueling vocals of Jensen and Brown work together seamlessly. All four are seasoned musicians who play together as if that 15-year break was 15 days.
The wonderful "Pretty Good Lie" joins many other songs that could easily have made it on the radio back in '97 (or even today). But somehow this is sweeter, after the aging process has matured these tunes and allowed them to percolate to perfection. Regarding the audience, it was a full house of old school Uncle Green / 3 lb. Thrill fanatics, who appeared to know all the words to all the songs. Even the new stuff.
Brown was fighting a scratchy throat and informed fans that he'd researched this on the Internet and put all his faith in one website, which instructed him to drink pineapple juice. He commenced to drinking that stuff like shots at the bar. Many are asking about another album, another show. No real answers yet, but if the support for Rycopa and this "one-off" show are any indication, these guys still have an audience. To pick up the new release, go to CD Baby.
Listen: "Not In Range" & "Pretty Good Lie"
Atlanta trio The Head opened the show with an energy that can only be possessed by the youth. Idealistic, catchy power-pop never sounded this good from what has to be Atlanta's best kept secret. Twin brothers Jack (drums, lead vocals) and Mike Shaw (bass, keys, lead vocals) joined with their best friend Jacob Morrell (guitar, backing vocals) to bring an urgent and excellent sound to the stage. Supporting their latest release, Hang On, this group is poised to hit it big in a very short time.
The stunningly packaged CD was - get this - given away free at the show in exchange for an email. That's how you do it, people. The live show is intense. Both brothers can sing and all three are exceptional musicians. Hints of the Stone Roses peeked out of a few songs, as did a tad of Arctic Monkeys. Be that as it may, The Head is all original power-pop and very talented. Go to The Head Music for free downloads of all their music. You will not regret it.
Listen & Download: Hang On
Pink Pompeii filled the gap with their unique sound. Rob Gal (production, guitar, synth) is joined by Nan Kemberling (vocals, cello) and Courtney King (vocals, guitar, synth) to create something completely different. Pink Pompeii describe themselves as "computer + guitar + cello + vocals + love + bass + keys = pp." That about nails it. This electropop outfit from Atlanta has the classical-music-meets-the-dancefloor market all sewn up.
Pink Pompeii songs such as "Trash," "Dark Cloud" and "Please Help Me Out" are crafted with a precision very few groups achieve, yet it was a let-yourself-go kind of set bowing to no rules. The ultra-perky Kemberling lit up the room with her smile and her voice. It's good to see someone enjoying their work so much.
Gal, who is credited for production work on Rycopa, seemed to be the ring leader of the trio. He joined Uncle Green/3 lb. Thrill onstage for a few songs, as well.
Listen: "Dark Cloud"
This was a great night of diverse musical styles. Each band complemented the next and prepped the audience for a very enjoyable evening. Let's hope it can be repeated soon.
Uncle Green / 3 lb. Thrill Set List
I Don’t Wanna Know About It, He’s The Man, Elmira Place, Pretty Good Lie, Not In Range, Karen Dine, Daddy’s Got Money Again, Wake Up Now, Save A Seat For Me, Miracle Of Me, Geronimo, It's A Red, Red, Red, Red, Redneck World, Diana, Don’t Fix It If It Works, Gunshow, Grrrranimal Party
Encore
Dymaxion, House With No Windows, I Always Knew You'd Come To Me
Sunday, February 19, 2012
Cloud Nothings fill the EARL
Live Review: Cloud Nothings with Gold-Bears and A Classic Education at the EARL, 2/17/12
Kids these days. Just think they know everything. Well, Cloud Nothings' Dylan Baldi decided to give it a shot and put his money where his mouth allegedly was. Dropping out of college at 18 and stocking up on CD-Rs, he had an album. Since then, the Cleveland band has been signed to Carpark Records and last month released the critically acclaimed Attack on Memory. Although the first single, "No Future/No Past," is a broodingly dark track (accompanied by a wickedly creepy video), it does not have the same uptempo, indie rock sound as pretty much the remainder of the album.
Having said that, Baldi even cranked those tracks up to 11. As with most young people (it was not immediately clear if he was even allowed to attend this 21+ event), he gets excited on stage and the screaming Dylan Baldi took over for several songs. Gotta give it to him though, he gave 110% on every song.
Most of Memory was performed, along with a few earlier selections, including "Hey Cool Kid," "Forget You All The Time" and "Understand At All." It's the new stuff, though, that is garnering attention from fans and critics alike. A departure from the lo-fi beginnings, Memory is reaching out to a bigger audience. Whether channeling Nirvana or The Strokes, Cloud Nothings have that indie edge that keeps your foot a-tapping.
Opening the evening was Atlanta's Gold-Bears, a "crash pop" band that hit the ground running. The driving indie-pop songs were mostly fueled by the new drummer ("the old drummer sucked"), who burned a million calories that night. Promoting last year's Are You Falling in Love, the Bears have a clean sound that the crowd clearly appreciated.
The night's big surprise was Italy's A Classic Education. With a tight band, great musicians and a lead singer with a great voice and stage presence, there's no where to go but up for these guys. Playing several catchy tunes from their two full-lengths Call it Blazing and Hey There Stranger (both on Lefse Records), the band did a fine job keeping the energy going, after just flying in the day before from Europe.
Kids these days. Just think they know everything. Well, Cloud Nothings' Dylan Baldi decided to give it a shot and put his money where his mouth allegedly was. Dropping out of college at 18 and stocking up on CD-Rs, he had an album. Since then, the Cleveland band has been signed to Carpark Records and last month released the critically acclaimed Attack on Memory. Although the first single, "No Future/No Past," is a broodingly dark track (accompanied by a wickedly creepy video), it does not have the same uptempo, indie rock sound as pretty much the remainder of the album.
Having said that, Baldi even cranked those tracks up to 11. As with most young people (it was not immediately clear if he was even allowed to attend this 21+ event), he gets excited on stage and the screaming Dylan Baldi took over for several songs. Gotta give it to him though, he gave 110% on every song.
Most of Memory was performed, along with a few earlier selections, including "Hey Cool Kid," "Forget You All The Time" and "Understand At All." It's the new stuff, though, that is garnering attention from fans and critics alike. A departure from the lo-fi beginnings, Memory is reaching out to a bigger audience. Whether channeling Nirvana or The Strokes, Cloud Nothings have that indie edge that keeps your foot a-tapping.
Opening the evening was Atlanta's Gold-Bears, a "crash pop" band that hit the ground running. The driving indie-pop songs were mostly fueled by the new drummer ("the old drummer sucked"), who burned a million calories that night. Promoting last year's Are You Falling in Love, the Bears have a clean sound that the crowd clearly appreciated.
The night's big surprise was Italy's A Classic Education. With a tight band, great musicians and a lead singer with a great voice and stage presence, there's no where to go but up for these guys. Playing several catchy tunes from their two full-lengths Call it Blazing and Hey There Stranger (both on Lefse Records), the band did a fine job keeping the energy going, after just flying in the day before from Europe.
They Might Be Giants rock the Variety
Live Review: They Might Be Giants and Jonathan Coulton at the Variety Playhouse in Atlanta, 2/10/12
In the first of a two-night sold out weekend at Atlanta's Variety Playhouse, They Might Be Giants took a well-deserved break from the "family" shows. Don't misunderstand, the typical family show takes place at 2:00PM on a Saturday afternoon, and is filled with gems from the TMBG kid-era No! and the Here Comes series (the ABCs, the 123s, Science). These back-to-normal regular shows are all rock and grown-up talk. Originally a duo with John Linnell and John Flansburgh gracing small stages in the mid- to late-eighties with a guitar, an accordian and a drum machine, the Two Johns now have a phenomenol backing band that really know how to rock.
The evening was filled with 25 years of TMBG hits, but especially songs from the latest 18-track release Join Us (Idlewild Records). From that, "Can't Keep Johnny Down," "You Probably Get That A Lot," "Old Pine Box," "Celebration" and "When Will You Die" were standouts. They have brought back some of that early sound that made them famous in the fist place (catchy, quirky, hooky and fun).
Interspersed between songs were the Avatars of They (John and John's alter-egos in puppet form). The two sock puppets are able to say inappropriate things and get all political but it's okay. They're only puppets. The crowd was also part of the show, as when they were divided down the middle by a spotlight from the stage to the balcony. Stage left was apes, while stage right was people. Each side competed by raising fists in the air and screaming. People won.
From the old stuff, fans heard "Subliminal," "Birdhouse In Your Soul," "Snowball In Hell," "Cowtown," "James K. Polk," "Particle Man," "The Guitar" and "Fingertips." Two encores included "Doctor Worm" and "Istanbul (Not Constantinople)" among others. The band is rounded out by Dan Miller, Danny Weinkauf and power drummer Marty Beller. These three guys complete TMBG. The Two Johns have come along way since the drum machine days. This is an excellent band.
The opening act was Jonathan Coulton ("and the Coultoneers"), a trio assembled not unlike the Giants (quirky, poppy melodies with smart and witty lyrics). Coulton played much of his recent release Artificial Heart (Jocoserious Records), plus fan favorites "Code Monkey" and "Still Alive." But it was "Re: Your Brains" that really got the crowd involved. The song is about a poor schlub who becomes a zombie and now wants to return to work. The audience quickly learned the chorus ("All we want to do is eat your brains") and Coulton filled in the rest of the song with hilarious lyrics ("We're not unreasonable, I mean no one's gonna eat your eyes"). It's an instant classic and possibly the most memorable song of the entire evening.
Look for both on tour and enjoy great music and videos at tmbg.com and/or jonathancoulton.com
In the first of a two-night sold out weekend at Atlanta's Variety Playhouse, They Might Be Giants took a well-deserved break from the "family" shows. Don't misunderstand, the typical family show takes place at 2:00PM on a Saturday afternoon, and is filled with gems from the TMBG kid-era No! and the Here Comes series (the ABCs, the 123s, Science). These back-to-normal regular shows are all rock and grown-up talk. Originally a duo with John Linnell and John Flansburgh gracing small stages in the mid- to late-eighties with a guitar, an accordian and a drum machine, the Two Johns now have a phenomenol backing band that really know how to rock.
The evening was filled with 25 years of TMBG hits, but especially songs from the latest 18-track release Join Us (Idlewild Records). From that, "Can't Keep Johnny Down," "You Probably Get That A Lot," "Old Pine Box," "Celebration" and "When Will You Die" were standouts. They have brought back some of that early sound that made them famous in the fist place (catchy, quirky, hooky and fun).
Interspersed between songs were the Avatars of They (John and John's alter-egos in puppet form). The two sock puppets are able to say inappropriate things and get all political but it's okay. They're only puppets. The crowd was also part of the show, as when they were divided down the middle by a spotlight from the stage to the balcony. Stage left was apes, while stage right was people. Each side competed by raising fists in the air and screaming. People won.
From the old stuff, fans heard "Subliminal," "Birdhouse In Your Soul," "Snowball In Hell," "Cowtown," "James K. Polk," "Particle Man," "The Guitar" and "Fingertips." Two encores included "Doctor Worm" and "Istanbul (Not Constantinople)" among others. The band is rounded out by Dan Miller, Danny Weinkauf and power drummer Marty Beller. These three guys complete TMBG. The Two Johns have come along way since the drum machine days. This is an excellent band.
The opening act was Jonathan Coulton ("and the Coultoneers"), a trio assembled not unlike the Giants (quirky, poppy melodies with smart and witty lyrics). Coulton played much of his recent release Artificial Heart (Jocoserious Records), plus fan favorites "Code Monkey" and "Still Alive." But it was "Re: Your Brains" that really got the crowd involved. The song is about a poor schlub who becomes a zombie and now wants to return to work. The audience quickly learned the chorus ("All we want to do is eat your brains") and Coulton filled in the rest of the song with hilarious lyrics ("We're not unreasonable, I mean no one's gonna eat your eyes"). It's an instant classic and possibly the most memorable song of the entire evening.
Look for both on tour and enjoy great music and videos at tmbg.com and/or jonathancoulton.com
Uncle Green or 3 lb. Thrill: Whatever you call them, they're back
Review: Rycopa by Uncle Green/3 lb. Thrill
It was the late-eighties and for Uncle Green, the dream was coming true. They were a well known college rock band that was successfully touring. Soon came the big label deal, exposure, chance of a lifetime. After a short stint on the label, it was back to the drawing board. Several attempts to regain label support failed and the four members continued on with their lives and the business of raising families.
After years of wondering, drummer Pete McDade decided to hunt down the "lost tapes" that were ready for release back in '97. Those songs were recorded in that now-famous rented house in Atlanta's Little 5 Points. After nearly two years of searching, the tapes were discovered buried deep in a Sony warehouse. Many emails, calls and sleepless nights later, he had them in his hands. Now what?
The members of the band, which formed in high school in the early '80s in New Jersey, were scattered about the country. McDade began the arduous task of reconnecting musically (see The Blues Brothers: "We're putting the band back together."). Remaining members of the band, Matt Brown (vocals, guitar), Jeff Jensen (guitar, vocals) and Bill Decker (bass) were all open to the idea of self-releasing the newfound tapes. A Kickstarter campaign ensued to fund the mastering and the fans came through - in a big way.
The massive Rycopa (a 32-song blast) hits you from all fronts. To list all the apparent influences would be tough. From "Standing Out In The Rain" (Ben Folds) to "St. Lazaro" (Squeeze - in fact, if that's not Difford and Tilbrook, I owe a man some money) to "Sunrise Lullaby" (Beatles) to "Super Kitty Uh Huh" (Monster-era R.E.M.), Rycopa is hitting on all cylinders. But to say that Rycopa is just an amalgam of all these apparent influences would be unfair. Like their previous life, Uncle Green/3 Lb Thrill have definitely created their own personality. From Brown's vocals to each members contributions, they are easily identifiable with a distinctive sound.
Rycopa kicks off with "Not In Range," a rolling rocker that is officially dubbed the first single, in this writer's humble opinion. Throughout several tracks, the boys keep their sense of humor ("Lucy In The Streets With Dimetapp," "It's A Red, Red, Red, Red, Redneck World"). But don't expect to hear that instant hit with addictive hooks. Rycopa takes a few listens - then you're hooked.
In honor of the foursome's belated release, a special one-off reunion show will take place Saturday, February 25 at Smith's Olde Bar in Atlanta. For all those fans of Uncle Green and 3 lb. Thrill, this is a gift from the heavens. It will showcase all the fantastic stuff from Rycopa, as well as a trip down memory lane, performing all those songs the fans know by heart from the nineties. To grab a copy of the new release, go to CD Baby. For ticket information, move quickly to Ticket Alternative. Tickets are only $12.
Openers for the show will be The Head and Pink Pompeii. Also, be sure to catch a very special in-store performance (family friendly!) at 3:30 the day of the show at Decatur CD.
It was the late-eighties and for Uncle Green, the dream was coming true. They were a well known college rock band that was successfully touring. Soon came the big label deal, exposure, chance of a lifetime. After a short stint on the label, it was back to the drawing board. Several attempts to regain label support failed and the four members continued on with their lives and the business of raising families.
After years of wondering, drummer Pete McDade decided to hunt down the "lost tapes" that were ready for release back in '97. Those songs were recorded in that now-famous rented house in Atlanta's Little 5 Points. After nearly two years of searching, the tapes were discovered buried deep in a Sony warehouse. Many emails, calls and sleepless nights later, he had them in his hands. Now what?
The members of the band, which formed in high school in the early '80s in New Jersey, were scattered about the country. McDade began the arduous task of reconnecting musically (see The Blues Brothers: "We're putting the band back together."). Remaining members of the band, Matt Brown (vocals, guitar), Jeff Jensen (guitar, vocals) and Bill Decker (bass) were all open to the idea of self-releasing the newfound tapes. A Kickstarter campaign ensued to fund the mastering and the fans came through - in a big way.
The massive Rycopa (a 32-song blast) hits you from all fronts. To list all the apparent influences would be tough. From "Standing Out In The Rain" (Ben Folds) to "St. Lazaro" (Squeeze - in fact, if that's not Difford and Tilbrook, I owe a man some money) to "Sunrise Lullaby" (Beatles) to "Super Kitty Uh Huh" (Monster-era R.E.M.), Rycopa is hitting on all cylinders. But to say that Rycopa is just an amalgam of all these apparent influences would be unfair. Like their previous life, Uncle Green/3 Lb Thrill have definitely created their own personality. From Brown's vocals to each members contributions, they are easily identifiable with a distinctive sound.
Rycopa kicks off with "Not In Range," a rolling rocker that is officially dubbed the first single, in this writer's humble opinion. Throughout several tracks, the boys keep their sense of humor ("Lucy In The Streets With Dimetapp," "It's A Red, Red, Red, Red, Redneck World"). But don't expect to hear that instant hit with addictive hooks. Rycopa takes a few listens - then you're hooked.
In honor of the foursome's belated release, a special one-off reunion show will take place Saturday, February 25 at Smith's Olde Bar in Atlanta. For all those fans of Uncle Green and 3 lb. Thrill, this is a gift from the heavens. It will showcase all the fantastic stuff from Rycopa, as well as a trip down memory lane, performing all those songs the fans know by heart from the nineties. To grab a copy of the new release, go to CD Baby. For ticket information, move quickly to Ticket Alternative. Tickets are only $12.
Openers for the show will be The Head and Pink Pompeii. Also, be sure to catch a very special in-store performance (family friendly!) at 3:30 the day of the show at Decatur CD.
Future Islands freak out a lot of people (in a good way)
Live Review: Future Islands at the EARL in Atlanta, 11/26/11
To call Baltimore’s Future Islands “interesting” would be a gross understatement. Lead singer/growler Samuel T. Herring takes the listener on a journey on par with the most disturbing David Lynch creations. He drifts seamlessly from a guttural grunt to a strong and stunning voice, sometimes flirting with a falsetto. And he’s funny. It’s as if Henry Rollins and Jack Black had a love child. A dark and brooding love child.
Imagine all this with a backdrop of synth-rock epicness and you’ll understand the essence of Future Islands. I can guarantee that this is like nothing you’ve ever seen or heard. And after most songs, Herring spit out a “Fuck right!” to somehow underscore how awesome that last song was. No reminder necessary. His passion and sweaty performance convinced the roomful of listeners at the EARL that this was a very special Thanksgiving weekend treat.
Herring’s scary demeanor aside, this was one hell of a rock show. The trio also includes the talented Gerrit Welmers (keyboards and programming) and William Cashion (guitars). No eye contact among the three was witnessed. Maybe Welmers and Cashion are afraid of Herring, too. They simply did their thing and kept their eyes averted for most of the evening.
Touring in support of their recent release On the Water (Thrill Jockey), the boys grooved into hints of vintage New Order and Cure. Some songs take you down three different roads at once, as if three genres have collided. Songs like “Balance” and “Before The Bridge,” from the new album, along with terrific selections from last year’s In Evening Air including “Vireo’s Eye,” “Walking Through That Door,” “Tin Man” and “An Apology” were a welcome change from the usual riff raff heard in local bars. This is a band to watch and you owe it to yourself to check them out now.
Self-proclaimed “stump rockers” Lonnie Walker opened the show and exceeded the crowd’s expectations being the first band in a three-band evening. The Raleigh natives played like headliners. Drawing comparisons with the dB’s and the Feelies, these 80s-college-rock-sounding dudes are for real. Such righteous songs as “Grape Juice” and “Teenage Poem” gained the audience’s attention immediately. The band is currently touring in support of These Times Old Times (Terpsikhore).
Ed Schrader's Music Beat stunned and amazed with reckless abandon. Two guys: one banging a single drum while singing, the other one (Devlin Rice) playing the bass and being ginormously intimidating. If these guys require a label for their music, it has not yet been invented.
Ranging from screaming anger (“Gas Station Attendant”) to low-key, funny hooks (“Rats”), Schrader’s songs thrilled and delighted virtually everyone in the room. He repeatedly echoed what one fan apparently stated, that he was reminiscent of Jim Morrison (the truth is, he sounded very much like the late Doors man). These two woke up the room (and everyone else within a ten-mile radius). Three one-of-a-kind acts on the same stage and the same night. The EARL hit a homerun with this one.
To call Baltimore’s Future Islands “interesting” would be a gross understatement. Lead singer/growler Samuel T. Herring takes the listener on a journey on par with the most disturbing David Lynch creations. He drifts seamlessly from a guttural grunt to a strong and stunning voice, sometimes flirting with a falsetto. And he’s funny. It’s as if Henry Rollins and Jack Black had a love child. A dark and brooding love child.
Imagine all this with a backdrop of synth-rock epicness and you’ll understand the essence of Future Islands. I can guarantee that this is like nothing you’ve ever seen or heard. And after most songs, Herring spit out a “Fuck right!” to somehow underscore how awesome that last song was. No reminder necessary. His passion and sweaty performance convinced the roomful of listeners at the EARL that this was a very special Thanksgiving weekend treat.
Herring’s scary demeanor aside, this was one hell of a rock show. The trio also includes the talented Gerrit Welmers (keyboards and programming) and William Cashion (guitars). No eye contact among the three was witnessed. Maybe Welmers and Cashion are afraid of Herring, too. They simply did their thing and kept their eyes averted for most of the evening.
Touring in support of their recent release On the Water (Thrill Jockey), the boys grooved into hints of vintage New Order and Cure. Some songs take you down three different roads at once, as if three genres have collided. Songs like “Balance” and “Before The Bridge,” from the new album, along with terrific selections from last year’s In Evening Air including “Vireo’s Eye,” “Walking Through That Door,” “Tin Man” and “An Apology” were a welcome change from the usual riff raff heard in local bars. This is a band to watch and you owe it to yourself to check them out now.
Self-proclaimed “stump rockers” Lonnie Walker opened the show and exceeded the crowd’s expectations being the first band in a three-band evening. The Raleigh natives played like headliners. Drawing comparisons with the dB’s and the Feelies, these 80s-college-rock-sounding dudes are for real. Such righteous songs as “Grape Juice” and “Teenage Poem” gained the audience’s attention immediately. The band is currently touring in support of These Times Old Times (Terpsikhore).
Ed Schrader's Music Beat stunned and amazed with reckless abandon. Two guys: one banging a single drum while singing, the other one (Devlin Rice) playing the bass and being ginormously intimidating. If these guys require a label for their music, it has not yet been invented.
Ranging from screaming anger (“Gas Station Attendant”) to low-key, funny hooks (“Rats”), Schrader’s songs thrilled and delighted virtually everyone in the room. He repeatedly echoed what one fan apparently stated, that he was reminiscent of Jim Morrison (the truth is, he sounded very much like the late Doors man). These two woke up the room (and everyone else within a ten-mile radius). Three one-of-a-kind acts on the same stage and the same night. The EARL hit a homerun with this one.
Holy Ghost! bring salvation to Hell
Live Review: Holy Ghost! on the Masquerade Hell Stage, 11/21/11
Brooklyn's Holy Ghost! have been on a steady incline this past year, getting a thrust from their Static on the Wire EP release last year and especially their self-titled release this past spring. The New York duo of Nick Millhiser and Alex Frankel have know each other since first grade, and been making music almost that long.
It all began with some bluesy covers, then the move into hip hop, and now they've created a sort of 21st century disco, for those who care to listen. Apparently, there are a lot who care to listen. Promoted on James Murphy's DFA Records, Holy Ghost! have received rave reviews and have been hitting the pavement hard this past year. Still, the band is not a household name in America. (And yes, it's that James Murphy, of the wonderful - and missed - LCD Soundsystem)
This was the third trip through Atlanta in 2011 for Holy Ghost! Back in March, they swept through, supporting the terrific Cut/Copy tour. Then in August, they were part of the electronic/DJ Identity Fest. Now, on a headlining tour, Millhiser and Frankel have proven to be ready for the challenge.
Playing nearly the entire album, as well as some tracks from 2010's Static on the Wire, Holy Ghost! pleased their fans with some excellent late 70s/early 80s sounds that do not seem dated. It's an update on that era, with a 2011 NYC spin. "Hold On," "Do It Again," "Wait & See" and "Hold My Breath" were just a few of the tunes performed.
So, with a little more exposure and a lot more touring, American may just be ready for a little salvation with Holy Ghost!
Brooklyn's Holy Ghost! have been on a steady incline this past year, getting a thrust from their Static on the Wire EP release last year and especially their self-titled release this past spring. The New York duo of Nick Millhiser and Alex Frankel have know each other since first grade, and been making music almost that long.
It all began with some bluesy covers, then the move into hip hop, and now they've created a sort of 21st century disco, for those who care to listen. Apparently, there are a lot who care to listen. Promoted on James Murphy's DFA Records, Holy Ghost! have received rave reviews and have been hitting the pavement hard this past year. Still, the band is not a household name in America. (And yes, it's that James Murphy, of the wonderful - and missed - LCD Soundsystem)
This was the third trip through Atlanta in 2011 for Holy Ghost! Back in March, they swept through, supporting the terrific Cut/Copy tour. Then in August, they were part of the electronic/DJ Identity Fest. Now, on a headlining tour, Millhiser and Frankel have proven to be ready for the challenge.
Playing nearly the entire album, as well as some tracks from 2010's Static on the Wire, Holy Ghost! pleased their fans with some excellent late 70s/early 80s sounds that do not seem dated. It's an update on that era, with a 2011 NYC spin. "Hold On," "Do It Again," "Wait & See" and "Hold My Breath" were just a few of the tunes performed.
Hold My Breath - Holy Ghost! from DFA Records on Vimeo.
Holding court on the Hell Stage of Atlanta's Masquerade is no small task when the metal/hardcore Thrash and Burn tour is pounding away on the Heaven Stage (upstairs). The boys laughed it off and actually seemed to be using the thumping from above as a sort of programmed drum machine. Somehow, it worked.So, with a little more exposure and a lot more touring, American may just be ready for a little salvation with Holy Ghost!
Wilco enlighten Atlanta with The Whole Love
Live review: Wilco with Nick Lowe at the Cobb Energy Centre in Atlanta, 9/29/11
After initially being pegged as a "country rock" band, Wilco has shed that skin over the past few years. Critics hail the band as "The American Radiohead." With the release of The Whole Love (dBpm), it's clearly time to reconsider this and begin saying, "Radiohead is the English Wilco" (listen to the lead-off track "Art Of Almost" and you'll understand).
The Chicago group, headed up by Jeff Tweedy, has once again released a critically acclaimed and commercially successful album. The first single, "I Might," is more pop than usual, with a sixties organ keeping it happy. Wilco kicked off the Atlanta show with "One Sunday Morning," a beautiful song, despite it's twelve-minute length. As he played the Rickenbacker and sang those songs, Tweedy exceeded his annual quota on smiles. Dude was having a good time. And how could he not be? Looking at all that talent surrounding him: the indomitable Nels Cline shredding the guitar, bassist John Stirratt, drummer Glenn Kotchke and multi-instrumentalists Pat Sansone and Mikael Jorgenson. It was a master class on rock.
"We'd like to announce a special guest we've had on stage this evening. Nels is playing Duane Allman's guitar. He is borrowing it for the night," Tweedy announced. "This is like using Picasso's brush or Noah's hammer." One could argue that it's like Monet borrowing Picasso's brush. The band played most of the excellent new Whole Love, seamlessly weaving in these songs with classics from such albums as Sky Blue Sky, Yankee Hotel Foxtrot, Being There and Wilco (the Album).
More than once, Tweedy mentioned how much better this second night crowd was than the previous group. Of course, this is standard operating procedure for a band to announce and will always garner cheers and applause. However, it was somehow believable, especially when he said, "They were just weird." For sure the energy level was turned up to 11 during this second show, as several fans who attended both shows attested. At times, the crowd's voices far outblasted those of the band, which can be a blessing and a curse for an artist (It's reassuring that everyone knows our lyrics, but shut up and let me sing). It's a nice problem to have.
Wilco played for about 90 minutes before retiring backstage to wait for the inevitable encore. Then another seven songs and 30 minutes later, they called it a night. One downside was that Mr. Lowe had joined them in a couple songs during the previous night's encore. Not tonight. He was probably halfway back to England when the lights came up.
It was a phenomenal performance and the venue's superlative acoustics only added to the experience. Wilco continue on the Whole Love tour in the states, then jump over to Europe, than back to the U.S. They'll wrap up in Chicago in mid-December. If you see one concert this year, make sure it's Wilco.
Nick Lowe, a.k.a. "The Jesus of Cool," proved why he's the britpop/new wave god responsible for inspiring so many artists. His sound is at once folksy ballads and acoustic-style Clash. And a minimalist set it was from Mr. Lowe, accompanied only by his acoustic guitar and that voice. And that white head of hair held together with those black Buddy Holly glasses. But the songwriting is among the best. It was a treat hearing his 1979 hit "Cruel To Be Kind" in such a setting.
Lowe performed several cuts from his new release The Old Magic (Yep Roc Records). His songs continue to be an amalgam of witty storytelling and deep thinking. Always a winning combination. Lowe surely felt the love in the room as fans roared between songs. Though there was no "(What's So Funny 'Bout) Peace, Love and Understanding" or "I Knew The Bride (When She Used To Rock And Roll)" it was a moving performance and made this two-for-one bill priceless. "All Men Are Liars," "What's Shakin' On The Hill," "I Love The Sound Of Breaking Glass" and "The Beast In Me" more than satifsied hardcore Nick fans.
Wilco Set List
One Sunday Morning
Art Of Almost
I Might
Muzzle Of Bees
I Am Trying To Break Your Heart
One Wing
At Least That's What You Said
Capital City
Misunderstood
Jesus, Etc.
Born Alone
Box Full Of Letters
War On War
Standing O
Rising Red Lung
Impossible Germany
Dawned On Me
Shot In The Arm
Encore
Whole Love
California Stars
Hate It Here
Walken
Red-Eyed & Blue
I Got You
Outta Mind (Outta Sight)
After initially being pegged as a "country rock" band, Wilco has shed that skin over the past few years. Critics hail the band as "The American Radiohead." With the release of The Whole Love (dBpm), it's clearly time to reconsider this and begin saying, "Radiohead is the English Wilco" (listen to the lead-off track "Art Of Almost" and you'll understand).
The Chicago group, headed up by Jeff Tweedy, has once again released a critically acclaimed and commercially successful album. The first single, "I Might," is more pop than usual, with a sixties organ keeping it happy. Wilco kicked off the Atlanta show with "One Sunday Morning," a beautiful song, despite it's twelve-minute length. As he played the Rickenbacker and sang those songs, Tweedy exceeded his annual quota on smiles. Dude was having a good time. And how could he not be? Looking at all that talent surrounding him: the indomitable Nels Cline shredding the guitar, bassist John Stirratt, drummer Glenn Kotchke and multi-instrumentalists Pat Sansone and Mikael Jorgenson. It was a master class on rock.
"We'd like to announce a special guest we've had on stage this evening. Nels is playing Duane Allman's guitar. He is borrowing it for the night," Tweedy announced. "This is like using Picasso's brush or Noah's hammer." One could argue that it's like Monet borrowing Picasso's brush. The band played most of the excellent new Whole Love, seamlessly weaving in these songs with classics from such albums as Sky Blue Sky, Yankee Hotel Foxtrot, Being There and Wilco (the Album).
More than once, Tweedy mentioned how much better this second night crowd was than the previous group. Of course, this is standard operating procedure for a band to announce and will always garner cheers and applause. However, it was somehow believable, especially when he said, "They were just weird." For sure the energy level was turned up to 11 during this second show, as several fans who attended both shows attested. At times, the crowd's voices far outblasted those of the band, which can be a blessing and a curse for an artist (It's reassuring that everyone knows our lyrics, but shut up and let me sing). It's a nice problem to have.
Wilco played for about 90 minutes before retiring backstage to wait for the inevitable encore. Then another seven songs and 30 minutes later, they called it a night. One downside was that Mr. Lowe had joined them in a couple songs during the previous night's encore. Not tonight. He was probably halfway back to England when the lights came up.
It was a phenomenal performance and the venue's superlative acoustics only added to the experience. Wilco continue on the Whole Love tour in the states, then jump over to Europe, than back to the U.S. They'll wrap up in Chicago in mid-December. If you see one concert this year, make sure it's Wilco.
Nick Lowe, a.k.a. "The Jesus of Cool," proved why he's the britpop/new wave god responsible for inspiring so many artists. His sound is at once folksy ballads and acoustic-style Clash. And a minimalist set it was from Mr. Lowe, accompanied only by his acoustic guitar and that voice. And that white head of hair held together with those black Buddy Holly glasses. But the songwriting is among the best. It was a treat hearing his 1979 hit "Cruel To Be Kind" in such a setting.
Lowe performed several cuts from his new release The Old Magic (Yep Roc Records). His songs continue to be an amalgam of witty storytelling and deep thinking. Always a winning combination. Lowe surely felt the love in the room as fans roared between songs. Though there was no "(What's So Funny 'Bout) Peace, Love and Understanding" or "I Knew The Bride (When She Used To Rock And Roll)" it was a moving performance and made this two-for-one bill priceless. "All Men Are Liars," "What's Shakin' On The Hill," "I Love The Sound Of Breaking Glass" and "The Beast In Me" more than satifsied hardcore Nick fans.
Wilco Set List
One Sunday Morning
Art Of Almost
I Might
Muzzle Of Bees
I Am Trying To Break Your Heart
One Wing
At Least That's What You Said
Capital City
Misunderstood
Jesus, Etc.
Born Alone
Box Full Of Letters
War On War
Standing O
Rising Red Lung
Impossible Germany
Dawned On Me
Shot In The Arm
Encore
Whole Love
California Stars
Hate It Here
Walken
Red-Eyed & Blue
I Got You
Outta Mind (Outta Sight)
Blondie and the Romantics enjoy the fruits of their labor
Live Review: Blondie with The Romantics at Verizon Wireless Amphitheatre in Atlanta, 9/23/11
The punk/post-punk/new wave movement has been littered with bodies since it changed the musical landscape in the late seventies and early eighties. There are few bands who have withstood the test of time and still remain relevant. Very few. Blondie appears to be one of the lucky ones. The relevance is underscored with the new release Panic of Girls this month, a near-return to Blondie's early eighties glory.
Sixty-something rock veteran Debbie Harry showed real vim and vigor and exhibited why she became famous in the first place. Many songs were off the new record and fell smoothly within the realm of Blondie's early work. Along with Harry, guitarist Chris Stein and drumming wonder Clem Burke remain from the original line up. Burke, who is clearly a Keith Moon devotee, tore through those drums like he was 20 again, CBGB shirt and all.
And Harry sang like her 20-year-old self. It's one thing to do reunion tours. It's a whole other thing to do these tours behind a new album of original material. Good material. All the old favorites were on the set list, including "Atomic," "Call Me" and "Rapture," which led seamlessly into a full-on cover of the Beastie Boys' "Fight For Your Right." This was a surprise to many in the audience and sounded incredible. The encore consisted of two of their biggest songs, "The Tide Is High" and "Heart Of Glass."
The Romantics proved yet again why they were MTV and Top 40 darlings in the early eighties. The sing-along hits were all played. "Talking In Your Sleep," "Rock You Up," "She's Got Everything" and the big one, "What I Like About You." Lead singer Wally Palmar tours with Ringo Starr's All Starr Band when on hiatus with The Romantics. Brad Elvis raised the bar for the Romantics hits with his precision drumming skills. Often referred to as the "four-handed drummer," Elvis entertained fans with his hijinks behind the kit. But the real draw is his efficient use of the space-time continuum on those skins. One must see it to believe it, but this dude's one of the best drummers in the country. Like Burke, Elvis is a dyed-in-the-wool Moonie (Keith, that is), and would fit right in on the next Who tour (listen up, Pete and Roger).
It was a night to reminisce and be nostalgic of an era that changed music. To see both bands still performing at the same level - or maybe higher - is reassuring.
The punk/post-punk/new wave movement has been littered with bodies since it changed the musical landscape in the late seventies and early eighties. There are few bands who have withstood the test of time and still remain relevant. Very few. Blondie appears to be one of the lucky ones. The relevance is underscored with the new release Panic of Girls this month, a near-return to Blondie's early eighties glory.
Sixty-something rock veteran Debbie Harry showed real vim and vigor and exhibited why she became famous in the first place. Many songs were off the new record and fell smoothly within the realm of Blondie's early work. Along with Harry, guitarist Chris Stein and drumming wonder Clem Burke remain from the original line up. Burke, who is clearly a Keith Moon devotee, tore through those drums like he was 20 again, CBGB shirt and all.
And Harry sang like her 20-year-old self. It's one thing to do reunion tours. It's a whole other thing to do these tours behind a new album of original material. Good material. All the old favorites were on the set list, including "Atomic," "Call Me" and "Rapture," which led seamlessly into a full-on cover of the Beastie Boys' "Fight For Your Right." This was a surprise to many in the audience and sounded incredible. The encore consisted of two of their biggest songs, "The Tide Is High" and "Heart Of Glass."
The Romantics proved yet again why they were MTV and Top 40 darlings in the early eighties. The sing-along hits were all played. "Talking In Your Sleep," "Rock You Up," "She's Got Everything" and the big one, "What I Like About You." Lead singer Wally Palmar tours with Ringo Starr's All Starr Band when on hiatus with The Romantics. Brad Elvis raised the bar for the Romantics hits with his precision drumming skills. Often referred to as the "four-handed drummer," Elvis entertained fans with his hijinks behind the kit. But the real draw is his efficient use of the space-time continuum on those skins. One must see it to believe it, but this dude's one of the best drummers in the country. Like Burke, Elvis is a dyed-in-the-wool Moonie (Keith, that is), and would fit right in on the next Who tour (listen up, Pete and Roger).
It was a night to reminisce and be nostalgic of an era that changed music. To see both bands still performing at the same level - or maybe higher - is reassuring.
Chromeo nearly brings down the house in Atlanta
Live Review: Chromeo at the Masquerade in Atlanta, 9/22/11
Please don't tell Dave-1 or P-Thugg that disco is dead. And if it was, Montreal's Chromeo have revived it bigger than the Frankenstein monster. The electro-funk duo got together in 2004 and has been filling dance floors and bursting eardrums ever since. Having been compared to a swath of such 80s icons as Klymaxx, Sylvester and even Hall & Oates, Chromeo play familiar sounds but with a cutting edge. Check out this amazing collaboration with Daryl Hall from Live from Daryl's House.
The duo is made up of Dave-1, the charismatic frontman who sings and plays guitar, looking like he just stepped off the set of Miami Vice. P-Thugg is the DJ synth master who looks like your plumber with shirt unbuttoned and belly hanging out (speaking and singing ONLY through the talkbox - think Frampton Comes Alive). It's an unlikely duo, both visually and musically. Maybe that's why it works. The fans believe it works. Before the duo even took the stage, the crowd was chanting "Chromeo, ohhhh-ohhh!" sounding like a 21st century remix of The Wizard of Oz munchkins.
Touring in support of their latest release, Business Casual, Chromeo have brought back 70s funk with an 80s synth feel and a 2011 attitude. Contemporaries Hot Chip, Holy Ghost!, Cut Copy and LCD Soundsystem would all concur. "Hot Mess," "Night By Night," "Fancy Footwork," "Bonafied Lovin" and "Momma's Boy" each brought down the house. This is not music you'll hear on your local Top 40 radio station because it does not fit within the constraints of that music. When someone says, "Think outside the box", they're talking about Chromeo.
The floor at the Heaven Stage (upstairs) of the Masquerade was giving several inches as hundreds of crazed Chromeo fans jumped up and down in unison. If the floor survived this show, it will be intact for eternity.
Opening the show was Sammy Bananas, who's DJ skills were only topped by his saxophone skills. That's right, he's working the turntables, filling the dancefloor, dropping some wicked beats - then out comes a saxophone. Not a saxophone file played from his Mac, but a REAL saxophone. It was a welcome surprise and the crowd went batty.
On deck were Mayer Hawthorne & The County, providing "blue-eyed R&B" to a happy throng of dancers. Imagine the best R&B/Soul music fronted by this young white dude who sounds like Smokey Robinson (but with more confidence). Hawthorne most definitely wanted all eyes on him as he is a first-class showman and wanted no fan to miss a second. "Okay Atlanta, let's put the phones away and act like the show is happening right now!" he said, with a touch of sarcasm. The band acted like they were the headliner, and got the love and respect as such from fans.
Please don't tell Dave-1 or P-Thugg that disco is dead. And if it was, Montreal's Chromeo have revived it bigger than the Frankenstein monster. The electro-funk duo got together in 2004 and has been filling dance floors and bursting eardrums ever since. Having been compared to a swath of such 80s icons as Klymaxx, Sylvester and even Hall & Oates, Chromeo play familiar sounds but with a cutting edge. Check out this amazing collaboration with Daryl Hall from Live from Daryl's House.
The duo is made up of Dave-1, the charismatic frontman who sings and plays guitar, looking like he just stepped off the set of Miami Vice. P-Thugg is the DJ synth master who looks like your plumber with shirt unbuttoned and belly hanging out (speaking and singing ONLY through the talkbox - think Frampton Comes Alive). It's an unlikely duo, both visually and musically. Maybe that's why it works. The fans believe it works. Before the duo even took the stage, the crowd was chanting "Chromeo, ohhhh-ohhh!" sounding like a 21st century remix of The Wizard of Oz munchkins.
Touring in support of their latest release, Business Casual, Chromeo have brought back 70s funk with an 80s synth feel and a 2011 attitude. Contemporaries Hot Chip, Holy Ghost!, Cut Copy and LCD Soundsystem would all concur. "Hot Mess," "Night By Night," "Fancy Footwork," "Bonafied Lovin" and "Momma's Boy" each brought down the house. This is not music you'll hear on your local Top 40 radio station because it does not fit within the constraints of that music. When someone says, "Think outside the box", they're talking about Chromeo.
The floor at the Heaven Stage (upstairs) of the Masquerade was giving several inches as hundreds of crazed Chromeo fans jumped up and down in unison. If the floor survived this show, it will be intact for eternity.
Opening the show was Sammy Bananas, who's DJ skills were only topped by his saxophone skills. That's right, he's working the turntables, filling the dancefloor, dropping some wicked beats - then out comes a saxophone. Not a saxophone file played from his Mac, but a REAL saxophone. It was a welcome surprise and the crowd went batty.
On deck were Mayer Hawthorne & The County, providing "blue-eyed R&B" to a happy throng of dancers. Imagine the best R&B/Soul music fronted by this young white dude who sounds like Smokey Robinson (but with more confidence). Hawthorne most definitely wanted all eyes on him as he is a first-class showman and wanted no fan to miss a second. "Okay Atlanta, let's put the phones away and act like the show is happening right now!" he said, with a touch of sarcasm. The band acted like they were the headliner, and got the love and respect as such from fans.
Elbow bring unapologetic optimism to Atlanta
Live review: Elbow at Centerstage Theater in Atlanta, 9/20/11
A band like Elbow only comes along once a decade, or so. This is a special thing, this band. Another one of those special things would be R.E.M. After hearing the news Wednesday that they were calling it quits, one cannot help but speculate that Michael Stipe was in that packed crowd at Centerstage the night before in Atlanta. Witnessing that special thing called Elbow. And he summized that yes, there is one greater than us. Why go on?
The irrepressible and eternally glass-is-half-full Guy Garvey brought his British quintet back to Atlanta last night. The fans were there. The love was there. It was a terrific evening of music. The unbelievable story here, is that Elbow is not yet a household name in America. Despite the sonic perfection that they have created on each of their five studio albums (and a hundredfold playing live), they haven't cracked the U.S. yet with that one career-defining song. But the rest of the world is a bit more musically evolved. "We used to be cool," said Garvey. Only a cool person would say such a thing. For their previous release, 2009's masterpiece The Seldom Seen Kid, Elbow won the prestigious Mercury Prize. Nominated again this year for Build a Rocket Boys!, they just missed.
Garvey had a chat with the fans, asking for a regional or traditional song he could sing. Someone yelled out "Freebird!" People booed. One young lady got Guy's attention and her recommendation was the "chop chant" from the Atlanta Braves. While chanting this, one must move the arm up and down, as if weilding a tomahawk. I'm sure the Cherokee and Creek were turning in their graves. Anyway, Guy ran with this, did a little call-and-response with the fans, and it morphed into the chant from "Grounds For Divorce." It was such a perfect transition that either this girl was a plant in the audience or Guy Garvey is a musical genius. It is definitely the latter. This was one of the more upbeat rockers played Tuesday night, and at times the crowd's voices overpowered Garvey's.
To make a short list of highlights would be unfair to the band and the fan. Let's just say there were no "low-lights." Garvey's magnificent voice paired with his wit and charisma made every song the best song. This year marks the 20th anniversary of Elbow's inception, and the audience sang to them as they indulged in a round of shots. Over the course of those twenty years, they have amassed a bit of a cult following. Suffice it to say, everyone knows the songs. Between fans singing/yelling the lyrics, and screaming song requests, Garvey politely shushed them once or twice. "We're taking no requests at this time, thank you." he quietly stated. But these songs make you happy. And each band member plays at an advanced level, making the songs - many orchestral in nature - that much better.
Towards the end of the evening, a fan shouted, "Play something unapologetically optimistic!" Garvey responded, "That's all we play! Everything we've ever done is unapologetically optimistic!" In fact, after returning for the encore, the band played "Starlings," "Station Approach" and possibly the most beautiful and uplifting song in Elbow's repertoire, "One Day Like This." The song begins after and alcohol-induced fight the night before. It goes on to discuss growing old together. Garvey sings, "Cause holy cow I love your eyes / And only now I see the light / Yeah, lying with you half awake / Oh anyway, it's looking like a beautiful day." With victory in his voice and the surge of violins, you are compelled to sing along, "So throw those curtains wide / One day like this a year would see me right." I challenge you to find a mightier song.
Opener Glasser showed off her minimal set and Bjorkian ways. Her set was clearly a complement to that of the headliner's, but a thankless job nonetheless (most openers are). Her voice, however, was rich and powerful, and when she let go, it soared. Garvey would later admit that having her on the tour makes them hip and cool.
Set List (thanks to Setlist.fm):
1.The Birds
2.The Bones of You
3.Mirrorball
4.Neat Little Rows
5.Grounds for Divorce
6.The Loneliness of a Tower Crane Driver
7.Great Expectations
8.The Night Will Always Win
9.Puncture Repair
10.The River
11.Lippy Kids
12.Weather to Fly
13.Open Arms
Encore:
1.Starlings
2.Station Approach
3.One Day Like This
A band like Elbow only comes along once a decade, or so. This is a special thing, this band. Another one of those special things would be R.E.M. After hearing the news Wednesday that they were calling it quits, one cannot help but speculate that Michael Stipe was in that packed crowd at Centerstage the night before in Atlanta. Witnessing that special thing called Elbow. And he summized that yes, there is one greater than us. Why go on?
The irrepressible and eternally glass-is-half-full Guy Garvey brought his British quintet back to Atlanta last night. The fans were there. The love was there. It was a terrific evening of music. The unbelievable story here, is that Elbow is not yet a household name in America. Despite the sonic perfection that they have created on each of their five studio albums (and a hundredfold playing live), they haven't cracked the U.S. yet with that one career-defining song. But the rest of the world is a bit more musically evolved. "We used to be cool," said Garvey. Only a cool person would say such a thing. For their previous release, 2009's masterpiece The Seldom Seen Kid, Elbow won the prestigious Mercury Prize. Nominated again this year for Build a Rocket Boys!, they just missed.
Garvey had a chat with the fans, asking for a regional or traditional song he could sing. Someone yelled out "Freebird!" People booed. One young lady got Guy's attention and her recommendation was the "chop chant" from the Atlanta Braves. While chanting this, one must move the arm up and down, as if weilding a tomahawk. I'm sure the Cherokee and Creek were turning in their graves. Anyway, Guy ran with this, did a little call-and-response with the fans, and it morphed into the chant from "Grounds For Divorce." It was such a perfect transition that either this girl was a plant in the audience or Guy Garvey is a musical genius. It is definitely the latter. This was one of the more upbeat rockers played Tuesday night, and at times the crowd's voices overpowered Garvey's.
To make a short list of highlights would be unfair to the band and the fan. Let's just say there were no "low-lights." Garvey's magnificent voice paired with his wit and charisma made every song the best song. This year marks the 20th anniversary of Elbow's inception, and the audience sang to them as they indulged in a round of shots. Over the course of those twenty years, they have amassed a bit of a cult following. Suffice it to say, everyone knows the songs. Between fans singing/yelling the lyrics, and screaming song requests, Garvey politely shushed them once or twice. "We're taking no requests at this time, thank you." he quietly stated. But these songs make you happy. And each band member plays at an advanced level, making the songs - many orchestral in nature - that much better.
Towards the end of the evening, a fan shouted, "Play something unapologetically optimistic!" Garvey responded, "That's all we play! Everything we've ever done is unapologetically optimistic!" In fact, after returning for the encore, the band played "Starlings," "Station Approach" and possibly the most beautiful and uplifting song in Elbow's repertoire, "One Day Like This." The song begins after and alcohol-induced fight the night before. It goes on to discuss growing old together. Garvey sings, "Cause holy cow I love your eyes / And only now I see the light / Yeah, lying with you half awake / Oh anyway, it's looking like a beautiful day." With victory in his voice and the surge of violins, you are compelled to sing along, "So throw those curtains wide / One day like this a year would see me right." I challenge you to find a mightier song.
Opener Glasser showed off her minimal set and Bjorkian ways. Her set was clearly a complement to that of the headliner's, but a thankless job nonetheless (most openers are). Her voice, however, was rich and powerful, and when she let go, it soared. Garvey would later admit that having her on the tour makes them hip and cool.
Set List (thanks to Setlist.fm):
1.The Birds
2.The Bones of You
3.Mirrorball
4.Neat Little Rows
5.Grounds for Divorce
6.The Loneliness of a Tower Crane Driver
7.Great Expectations
8.The Night Will Always Win
9.Puncture Repair
10.The River
11.Lippy Kids
12.Weather to Fly
13.Open Arms
Encore:
1.Starlings
2.Station Approach
3.One Day Like This
Identity Fest steamrolls through Atlanta
Live review: Identity Festival at Aaron’s Lakewood Amphitheatre in Atlanta, 8/23/11
The shaking ground you felt and that thumping you heard last Tuesday was not a result of the earthquake. It was a special collection of electronic artists and DJs cranking it up to 11 on the volume dial. Lakewood Amphitheatre was host to the Identity Festival, a loud and raging affair sponsored by Skullcandy. It was also hot. For those not in the covered seat area for the main stage, it was even hotter. The Advent Stage was located in the parking lot. And with Atlanta temps hitting the mid-90s, it was a cooker.
One of the early acts to hit the stage was Afrobeta. Hailing from Miami, the avant-dance duo are Cuci Amador and Tony Smurphio. Sadly, their set was scheduled a bit before the students and workers of Atlanta stormed Lakewood, so a smattering of fans were present. Their energy and enthusiasm were there, as well as some very danceable music. But it was early. “Hey Atlanta,” Cuci yelled, “Do you guys party? Maybe? After the valium wears off?” This comment could have resulted from frustration, but it was fair. Later, Cuci told the Atlanta Music Examiner, “No, we weren’t upset! We’re new and not many people have even heard of us. It’s great to be on this tour. I just like messing with people.”
The Afrobeta set was a spirited one, featuring the new addictive single, “Play House” from the forthcoming Under the Streets (Aug. 30 on Do IT). A true highlight of the set was their electronic and excellent cover of Nirvana’s “Lithium.” They should put this one on a record.
The New York collective Hercules and Love Affair offered listeners some wonderfully wild songs. Again, playing to a small audience can be challenging, but they performed as if to a crowd of 20,000. Touring in support of their impressive new release Blue Songs (Moshi Moshi Records), the group inspired much dancing, sounding at times like a modern day version of Erasure (but with tremendous vocals).
Holy Ghost! brought there electronica-meets-eighties sound to the festival. While still playing to a somewhat thin crowd, these New Yorkers showed us why they’re one of the hottest bands out there today. The band – headed up by Nick Millhiser and Alex Frankel are out on the road with the Identity Fest playing terrific selections from their latest self-titled release (DFA Records) including “Do It Again,” “Static On The Wire,” “Hold On” and the terrific “Wait And See.”
They took the small crowd in stride and played through the oppressive heat. You can catch them later in the fall in Atlanta at the Masquerade, according to lead singer Alex Frankel.
The Crystal Method, headed up by birthday boy Scott Kirkland along with Ken Jordan are pretty much the granddaddies of this tour, having been around since the early nineties. But by contrast, these guys had more energy than many of the newer artists combined. By the time they took the stage, the largest crowd of the day had gathered and more approached in a zombie-like state once the Crystal Method started their noise.
This is when the festival became a full-on rave. It’s good to know that these fortysomethings can still cause high school heads to explode. It was a mad house, in a happy sort of way. One of the highlights had to be their very first single, “Keep Hope Alive” from 1994. Between inviting 20 people (mostly female) onto the stage to take part in a light saber battle and jamming while wearing a storm trooper mask, Kirkland definitely had a great birthday. “I wasn’t born in Atlanta, but I met my wife here,” Kirkland said, further bonding with his erratic fans. As far as they were concerned, he was a native.
Many more bands graced the stages of the first annual Identity Festival, including DJ Shadow, Steve Aoki and The Disco Biscuits. Hopefully, next time it’ll be on a weekend and the masses will come.
The shaking ground you felt and that thumping you heard last Tuesday was not a result of the earthquake. It was a special collection of electronic artists and DJs cranking it up to 11 on the volume dial. Lakewood Amphitheatre was host to the Identity Festival, a loud and raging affair sponsored by Skullcandy. It was also hot. For those not in the covered seat area for the main stage, it was even hotter. The Advent Stage was located in the parking lot. And with Atlanta temps hitting the mid-90s, it was a cooker.
One of the early acts to hit the stage was Afrobeta. Hailing from Miami, the avant-dance duo are Cuci Amador and Tony Smurphio. Sadly, their set was scheduled a bit before the students and workers of Atlanta stormed Lakewood, so a smattering of fans were present. Their energy and enthusiasm were there, as well as some very danceable music. But it was early. “Hey Atlanta,” Cuci yelled, “Do you guys party? Maybe? After the valium wears off?” This comment could have resulted from frustration, but it was fair. Later, Cuci told the Atlanta Music Examiner, “No, we weren’t upset! We’re new and not many people have even heard of us. It’s great to be on this tour. I just like messing with people.”
The Afrobeta set was a spirited one, featuring the new addictive single, “Play House” from the forthcoming Under the Streets (Aug. 30 on Do IT). A true highlight of the set was their electronic and excellent cover of Nirvana’s “Lithium.” They should put this one on a record.
The New York collective Hercules and Love Affair offered listeners some wonderfully wild songs. Again, playing to a small audience can be challenging, but they performed as if to a crowd of 20,000. Touring in support of their impressive new release Blue Songs (Moshi Moshi Records), the group inspired much dancing, sounding at times like a modern day version of Erasure (but with tremendous vocals).
Holy Ghost! brought there electronica-meets-eighties sound to the festival. While still playing to a somewhat thin crowd, these New Yorkers showed us why they’re one of the hottest bands out there today. The band – headed up by Nick Millhiser and Alex Frankel are out on the road with the Identity Fest playing terrific selections from their latest self-titled release (DFA Records) including “Do It Again,” “Static On The Wire,” “Hold On” and the terrific “Wait And See.”
They took the small crowd in stride and played through the oppressive heat. You can catch them later in the fall in Atlanta at the Masquerade, according to lead singer Alex Frankel.
The Crystal Method, headed up by birthday boy Scott Kirkland along with Ken Jordan are pretty much the granddaddies of this tour, having been around since the early nineties. But by contrast, these guys had more energy than many of the newer artists combined. By the time they took the stage, the largest crowd of the day had gathered and more approached in a zombie-like state once the Crystal Method started their noise.
This is when the festival became a full-on rave. It’s good to know that these fortysomethings can still cause high school heads to explode. It was a mad house, in a happy sort of way. One of the highlights had to be their very first single, “Keep Hope Alive” from 1994. Between inviting 20 people (mostly female) onto the stage to take part in a light saber battle and jamming while wearing a storm trooper mask, Kirkland definitely had a great birthday. “I wasn’t born in Atlanta, but I met my wife here,” Kirkland said, further bonding with his erratic fans. As far as they were concerned, he was a native.
Many more bands graced the stages of the first annual Identity Festival, including DJ Shadow, Steve Aoki and The Disco Biscuits. Hopefully, next time it’ll be on a weekend and the masses will come.
Sunday, October 2, 2011
Dntel and friends jam at the EARL
Live review: Dntel, The One AM Radio, Geotic at the EARL in Atlanta, 8/21/11
Jimmy Tamborello is the one-man-band known as Dntel, now touring in support of his recent EPs, After Parties I & II (Sub Pop). Tamborello is not new to the indie electronic music scene. Maybe best known for his collaboration with Death Cab for Cutie’s Ben Gibbard on the Postal Service album Give Up, he has been a well-respected DJ/artist for nearly 20 years.
Packing little more than a Mac and a synth, Dntel brought heavy atmosphere to the EARL, performing many well-known songs from his repertoire, including “(This Is) The Dream Of Evan And Chan,” “Rock My Boat,” “Dumb Luck” and “Roll On.” During the show, Tamborello rarely looked up from his instruments, except to acknowledge applause with a glance and a finger wave. He seemed to be in the zone. Known for having guest stars sing on many recordings, he welcomed members of the opening acts to the stage to play guitar or sing at different points. All were talented and heightened the quality of his presentation.
On deck were fellow L.A.ers The One AM Radio, who brought their lush sounds to Atlanta. The trio, made up of Hrishikesh Hirway, Fontaine Cole and Scott Leahy, offered up a plate of delicious electronic indie pop (with one foot in the 80s). Musicianship, vocals and lyrics were all top-notch and most likely had many in the audience scratching their heads saying, “How have I not heard of these guys?” This was minimal gear night at the EARL, as The One AM Radio also created awesome sounds using next to nothing but raw talent. Hirway has singlehandedly made this group what it is since it's beginnings at Yale University back in 1999.
For some indie pop flavor, watch “Credible Threats”
Opening the show was the Will Wiesenfeld project Geotic. It’s actually a side project, because he has become associated with his main project, Baths. Wiesenfeld was alone on the stage with only a guitar and some pedals as the small room at the EARL slowly filled. Once in, though, listeners stood mesmerized at what this kid was doing. Ambient and atmospheric, the music was rich enough to fill the room and then some. On the self-released Mend from earlier this year Wiesenfeld must be asking himself, “Where are all the labels?” Or not. Whatever the case, this is some terrific sonic therapy for what ails you. For free downloads (donate, you slackers!), go to: Geotic.
.
Jimmy Tamborello is the one-man-band known as Dntel, now touring in support of his recent EPs, After Parties I & II (Sub Pop). Tamborello is not new to the indie electronic music scene. Maybe best known for his collaboration with Death Cab for Cutie’s Ben Gibbard on the Postal Service album Give Up, he has been a well-respected DJ/artist for nearly 20 years.
Packing little more than a Mac and a synth, Dntel brought heavy atmosphere to the EARL, performing many well-known songs from his repertoire, including “(This Is) The Dream Of Evan And Chan,” “Rock My Boat,” “Dumb Luck” and “Roll On.” During the show, Tamborello rarely looked up from his instruments, except to acknowledge applause with a glance and a finger wave. He seemed to be in the zone. Known for having guest stars sing on many recordings, he welcomed members of the opening acts to the stage to play guitar or sing at different points. All were talented and heightened the quality of his presentation.
On deck were fellow L.A.ers The One AM Radio, who brought their lush sounds to Atlanta. The trio, made up of Hrishikesh Hirway, Fontaine Cole and Scott Leahy, offered up a plate of delicious electronic indie pop (with one foot in the 80s). Musicianship, vocals and lyrics were all top-notch and most likely had many in the audience scratching their heads saying, “How have I not heard of these guys?” This was minimal gear night at the EARL, as The One AM Radio also created awesome sounds using next to nothing but raw talent. Hirway has singlehandedly made this group what it is since it's beginnings at Yale University back in 1999.
For some indie pop flavor, watch “Credible Threats”
Opening the show was the Will Wiesenfeld project Geotic. It’s actually a side project, because he has become associated with his main project, Baths. Wiesenfeld was alone on the stage with only a guitar and some pedals as the small room at the EARL slowly filled. Once in, though, listeners stood mesmerized at what this kid was doing. Ambient and atmospheric, the music was rich enough to fill the room and then some. On the self-released Mend from earlier this year Wiesenfeld must be asking himself, “Where are all the labels?” Or not. Whatever the case, this is some terrific sonic therapy for what ails you. For free downloads (donate, you slackers!), go to: Geotic.
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