Through a rare October snowstorm, three friends and I crept towards Atlantic City, NJ to see Duran Duran live … and one of those friends, whom we shall call The Candyman (where do we get these nicknames from?), is one of those people I turn to often when it comes to questions about music. Furthermore, he is one of the people that I have the utmost respect for as a person, so it is no surprise that I have been trying to get him to write here on SlowdiveMusic Blog. So I would like to formally introduce The Candyman and share his debut review, Duran Duran Live.
Back in 1984, when Duran Duran was at the pinnacle of their pop status--when “Seven and the Ragged Tiger” topped the charts and “The Reflex” circulated heavily on radio stations and MTV -- ad nauseam, I might add -- I was a tacit fan, happily scooping up every album and 12-inch single the band had to offer. I watched and listened on the sidelines, but staunchly refused to see these boys in concert. I was determined to avoid the hordes of shrieking teenage girls that were the band’s primary fan base.
Fast forward to October 29, 2011, when I was in the audience as Duran Duran wrapped up their current North American tour, promoting their latest CD, “All You Need Is Now” at the Borgata Hotel and Casino in Atlantic City, New Jersey. The band opened with a beautiful ballad, “Before the Rain” -- from their new CD. This and other new songs sends a clear message: these Brits are neither retreads from a bygone era nor mutations of what they once were. Instead, Duran Duran is at the forefront of the revivalist movement, which is thankfully spreading across Europe like wildfire. After a few missteps in their 30-plus year career, Duran Duran have gone back to their roots with ”All You Need Is Now,” yet they remain fresh and relevant. In addition, the Fab Four, long considered a “boy band,” have a proven staying-power because their musical talents continue to mature and grow over the years. That being said, there is also no denying that Duran Duran also has a plethora of songs and chart-toppers from their discography, and they continued the concert by reminding us of that with the club hit that put them on the New Wave map: ”Planet Earth.” It was here that I was entrancingly whisked back to the early-80’s -- and, dare I say, transformed into a shrieking teenage girl, exactly of the ilk I escaped back in the day!
This was, in fact, my second Duran Duran outing: I saw them three years ago during their Red Carpet Massacre Tour and was quickly sold on them as a live act. This concert, not unlike the last, was a comfortable blend of greatest hits and cuts from their current CD. At 17 songs, it was also leaner than other dates of this tour, which boasted 19 or 20 songs in their set lists. At the Borgata, Ana Matronic of The Scissor Sisters and producer Mark Ronson were “special guests,” performing alongside lead singer Simon LeBon during “Safe” and “Leave a Light On ,” respectively -- for me, this was an unnecessary frill, but it may explain the trimming of songs. I would have preferred hearing ”Girls on Film,” “Union of the Snake” or ”Skin Trade” -- sadly omitted from this tour altogether -- to the guest players.
LeBon, who celebrated his 53rd birthday while on this tour, radiates a great charm and instantaneously connects with his audience. He offered minor bon mots throughout and joined the crowd on the floor for audience participation on two counts -- once to introduce ”The Reflex” and another to have a young lady introduce him. She was a brash woman, and so loud she was incomprehensible. (I made out the word “hot,” and LeBon was quite pleased with her blaring intro.)
The band retains three other original band members: bass guitarist John Taylor, drummer Roger Taylor, and on the keyboards, Nick Rhodes. The funky female percussionist with a tight, bright orange ponytail that bops to the beat, Dominic Brown on guitar and a soulful backup singer are pluses -- but these boys don’t need any enhancements or accoutrements -- they are in fine form musically. The concert was a pristine, slick production that consisted of graphics and lighting, none of which was distracting or excessive. The focus was the band performing, and they created an exciting energy. And despite a false start and a bit of cracking during ”Come Undone,” LeBon’s voice was as flawless as it was the first time he sang ”Wild Boys” and ”Rio,” which were the encore songs at this performance. I was more than fulfilled by this concert and can be counted in for their next tour.
Had I known back in ‘84 what I know now -- that Duran Duran puts on an enlivened stage show -- I would have seen them in concert back then over and over again and tolerated the screeching girls. Or better yet, I would have just joined in with them -- it’s more fun that way!
Set List:
1. Before the Rain
2. Planet Earth
3. A View to a Kill
4. All You Need Is Now
5. Leave a Light On
6. Come Undone
7. Reflex
8. Tiger Tiger
9. Is There Something?
10. Girl Panic
11. Ordinary World
12. Safe
13. Notorious
14. Hungry Like the Wolf
15. Sunrise
16. Wild Boys
17. Rio
Keep up with Duran Duran at their hompeage, MySpace, Facebook, and Twitter.
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Showing posts with label Live Review. Show all posts
Showing posts with label Live Review. Show all posts
02 November 2011
01 October 2011
Tiny Victories Live At The Loft
My thanks to my brother for introducing me to The Loft.
It is fitting that the Dutch would be the first Europeans to colonize Hoboken, considering that the bulk of this one-mile square town is under sea level. Practically an extension of Manhattan, Hoboken is typically known for once having been part of the textile center of the northeastern United States, now a mecca of young urban professionals and hipsters, but then and now a ditch that often gets flooded in many areas when it rains. Hoboken is anything other than the New Jersey stereotypes: funny accents, strip malls, big hair, and Lee Press on Nails. In actuality, Hoboken has for years been a hub of cultural and social diversity and a great destination for noteworthy music. A few weeks ago, I came across Tiny Victories’ “Mr. Bones 7”” – a two-track collection; I was instantly smitten – but had no expectations to see them live any time soon. Then my brother invited me along to one of his haunts, The Loft in Hoboken, to see them perform this past Friday (30 September 2011). I admitted ignorance: I had never heard of this place … and it turned out to be a great night.
Though I may be off base, it seems that one must receive an invitation in order to see any performance at The Loft. Obviously, it was once a living room (and probably dubs as such during the day), but there is a welcoming feel to the place, as a nice sized crowd was slumped over coaches, standing in small groups, and parading about. As I stood there with my brother, I looked around and said, “This is definitely not Brooklyn.” I really do love Brooklyn, but recently there is a sense of elitism that has pervaded the music scene (especially the audiences) that I really do not care for; this audience was truly Jersey: fun loving, partying, relaxed, and welcoming. If you plan to call this place a hipster hangout, you best qualify that by saying these are not yesterday’s hipsters … this is a new breed. As for the actual space, I think it may just now be my favorite small venue to catch a live act in Jersey. (How do I get on that invite list now?)
The start time of the show was more than slightly pushed back … perhaps the bad weather (which put me in the mood to listen to OMD’s classic, “Crush”), but the band took the stage a little after 11. The band is composed of Cason Kelly (drums, electronic percussions, and background vocals) and Greg Walters (lead vocals and samplers). Having real drums for most of the set is an advantage for electronic bands… nothing can replicate the feel of real drums on a stage. But even when deferring to complete electronics, the band's music is infectious enough to get the crowd going; even Walters noted how animated the crowd was during the set.
Let’s start with the two tracks from the “Mr. Bones 7”” – both of them translated amazingly in live performance. Bands that rely heavily on electronic equipment have to worry about their music falling flat live – the experience of blasting music loud at home or a club is very distinct than that of a live performance. And electronic bands run the risk of sounding exactly the same live as they do in recordings – the quality of the worse electronics acts. Not the case with Tiny Victories. There is a David Byrne quality to their music – no, they sound nothing like The Talking Heads, but they definitely approach putting their music together in the same way as Byrne when he is being a bit more experimental (whether intentional or not). “Mr. Bones” has a faux-ostinato (faux, as it does not add to the rhythm nor melody, but sounds great in the background) that creates a nice wall of sound. Then there is “Lost Weekend.” The opening line is, “Send me a postcard from the edge of your mind…” and I am sure there are a ton of other musicians who would be envious that they were not the ones to first state the obviously blatant first! And that is the thing about the lyrics here: like many acts that I enjoy lyrically, there is a brash poetic honesty and obviousness that makes the words compelling. From the organ to the thriving beat, the ostinato, and the haunting lyrics, this song instantly reminded me of the avant garde 80s and even the late 80s when pre-dance punk bands (like Carter the Unstoppable Sex Machine and Meat Beat Manifesto) were coming of age: though part of a larger electronic trend at the moment, there is the potential to start something new here.
As performers, Tiny Victories really engaged the audience. On two occasions they sampled the audience (once just a handclap used as part of the percussion arrangement, and the second time the words “Happy Birthday Sappy” and looped it various time – at least I think it was “Sappy” or maybe “Saffy,” regardless she was ecstatically dancing the song away). But at the end of it all, this was about the music – The Loft is well lit, with no shadows to hide behind and no light show or LCD screens to flash about in fancy patterns. When you perform here, it is about the music. And for an audience to be completely enthralled in a set of music that was largely unreleased material and unknown to the audience says something about both the space and the band.
The Loft isn’t set up to be some trendy place for bands to roll around into and use gimmickry or hide behind the reputation of their moniker. I would like to imagine that the space was intentionally set up for bands that have something to prove as performers, as the focus will solely be the music and not any flashy visuals. And as for the audience, perhaps regulars at the venue, they are music lovers. Even during the DJ set before the band’s performance, their reactions to the music really demonstrated their passion (though I really could have done without the Weezer in the DJ set).
And Tiny Victories have both the songwriting and performance chops to get on a bare stage and enchant an audience. The only complaint you may have is that the set was too short, but as this nascent band grows and composes even more music, their set is only going to become more dynamic. (Remember quality is more important than quantity, and I rather a short tight set than a long, monotonous one.) I have to disclose the fact that I had the chance to speak with Greg Walters and was impressed with his lack of façade or elitism (that is, as I said above, so prevalent in the Brooklyn music scene these days, which the band hails from). As the band shops around for a label and makes plan to record a full length or an EP, this set says everything you need to know about them. Artistic, but accessible, powerful, but alluring … not an experience you want to miss.
(Not only do I have to thank my brother for inviting me along, I have to thank him for taking these pictures for me on his iPhone, as my camera’s battery was dead.)
Live Set:
1. Untitled new song
2. Lost Weekend
3. Graviton
4. Justine
5. I Get Uppa (Amazing Ghost cover)
6. Get Lost
7. Mr. Bones
8. Austin, TX (encore)
Keep up with Tiny Victories at their MySpace and Facebook. Head over to their Bandcamp page where you can preview and download the “Mr. Bones 7”.” The band will be performing throughout the month of October in the NYC area, including the CMJ Music Marathon.
Keep up with The Loft at their homepage, Facebook, Twitter, and Tumblr. Read more ...
It is fitting that the Dutch would be the first Europeans to colonize Hoboken, considering that the bulk of this one-mile square town is under sea level. Practically an extension of Manhattan, Hoboken is typically known for once having been part of the textile center of the northeastern United States, now a mecca of young urban professionals and hipsters, but then and now a ditch that often gets flooded in many areas when it rains. Hoboken is anything other than the New Jersey stereotypes: funny accents, strip malls, big hair, and Lee Press on Nails. In actuality, Hoboken has for years been a hub of cultural and social diversity and a great destination for noteworthy music. A few weeks ago, I came across Tiny Victories’ “Mr. Bones 7”” – a two-track collection; I was instantly smitten – but had no expectations to see them live any time soon. Then my brother invited me along to one of his haunts, The Loft in Hoboken, to see them perform this past Friday (30 September 2011). I admitted ignorance: I had never heard of this place … and it turned out to be a great night.
Though I may be off base, it seems that one must receive an invitation in order to see any performance at The Loft. Obviously, it was once a living room (and probably dubs as such during the day), but there is a welcoming feel to the place, as a nice sized crowd was slumped over coaches, standing in small groups, and parading about. As I stood there with my brother, I looked around and said, “This is definitely not Brooklyn.” I really do love Brooklyn, but recently there is a sense of elitism that has pervaded the music scene (especially the audiences) that I really do not care for; this audience was truly Jersey: fun loving, partying, relaxed, and welcoming. If you plan to call this place a hipster hangout, you best qualify that by saying these are not yesterday’s hipsters … this is a new breed. As for the actual space, I think it may just now be my favorite small venue to catch a live act in Jersey. (How do I get on that invite list now?)
The start time of the show was more than slightly pushed back … perhaps the bad weather (which put me in the mood to listen to OMD’s classic, “Crush”), but the band took the stage a little after 11. The band is composed of Cason Kelly (drums, electronic percussions, and background vocals) and Greg Walters (lead vocals and samplers). Having real drums for most of the set is an advantage for electronic bands… nothing can replicate the feel of real drums on a stage. But even when deferring to complete electronics, the band's music is infectious enough to get the crowd going; even Walters noted how animated the crowd was during the set.
(Tiny Victories' "Mr Bones 7"" cover)
Let’s start with the two tracks from the “Mr. Bones 7”” – both of them translated amazingly in live performance. Bands that rely heavily on electronic equipment have to worry about their music falling flat live – the experience of blasting music loud at home or a club is very distinct than that of a live performance. And electronic bands run the risk of sounding exactly the same live as they do in recordings – the quality of the worse electronics acts. Not the case with Tiny Victories. There is a David Byrne quality to their music – no, they sound nothing like The Talking Heads, but they definitely approach putting their music together in the same way as Byrne when he is being a bit more experimental (whether intentional or not). “Mr. Bones” has a faux-ostinato (faux, as it does not add to the rhythm nor melody, but sounds great in the background) that creates a nice wall of sound. Then there is “Lost Weekend.” The opening line is, “Send me a postcard from the edge of your mind…” and I am sure there are a ton of other musicians who would be envious that they were not the ones to first state the obviously blatant first! And that is the thing about the lyrics here: like many acts that I enjoy lyrically, there is a brash poetic honesty and obviousness that makes the words compelling. From the organ to the thriving beat, the ostinato, and the haunting lyrics, this song instantly reminded me of the avant garde 80s and even the late 80s when pre-dance punk bands (like Carter the Unstoppable Sex Machine and Meat Beat Manifesto) were coming of age: though part of a larger electronic trend at the moment, there is the potential to start something new here.
(Tiny Victories: Cason Kelly and Greg Walters)
As performers, Tiny Victories really engaged the audience. On two occasions they sampled the audience (once just a handclap used as part of the percussion arrangement, and the second time the words “Happy Birthday Sappy” and looped it various time – at least I think it was “Sappy” or maybe “Saffy,” regardless she was ecstatically dancing the song away). But at the end of it all, this was about the music – The Loft is well lit, with no shadows to hide behind and no light show or LCD screens to flash about in fancy patterns. When you perform here, it is about the music. And for an audience to be completely enthralled in a set of music that was largely unreleased material and unknown to the audience says something about both the space and the band.
The Loft isn’t set up to be some trendy place for bands to roll around into and use gimmickry or hide behind the reputation of their moniker. I would like to imagine that the space was intentionally set up for bands that have something to prove as performers, as the focus will solely be the music and not any flashy visuals. And as for the audience, perhaps regulars at the venue, they are music lovers. Even during the DJ set before the band’s performance, their reactions to the music really demonstrated their passion (though I really could have done without the Weezer in the DJ set).
And Tiny Victories have both the songwriting and performance chops to get on a bare stage and enchant an audience. The only complaint you may have is that the set was too short, but as this nascent band grows and composes even more music, their set is only going to become more dynamic. (Remember quality is more important than quantity, and I rather a short tight set than a long, monotonous one.) I have to disclose the fact that I had the chance to speak with Greg Walters and was impressed with his lack of façade or elitism (that is, as I said above, so prevalent in the Brooklyn music scene these days, which the band hails from). As the band shops around for a label and makes plan to record a full length or an EP, this set says everything you need to know about them. Artistic, but accessible, powerful, but alluring … not an experience you want to miss.
(Not only do I have to thank my brother for inviting me along, I have to thank him for taking these pictures for me on his iPhone, as my camera’s battery was dead.)
Live Set:
1. Untitled new song
2. Lost Weekend
3. Graviton
4. Justine
5. I Get Uppa (Amazing Ghost cover)
6. Get Lost
7. Mr. Bones
8. Austin, TX (encore)
Keep up with Tiny Victories at their MySpace and Facebook. Head over to their Bandcamp page where you can preview and download the “Mr. Bones 7”.” The band will be performing throughout the month of October in the NYC area, including the CMJ Music Marathon.
Keep up with The Loft at their homepage, Facebook, Twitter, and Tumblr. Read more ...
17 September 2011
Erasure, with Frankmusik, Live
With a career spanning twenty-six years, Erasure sits comfortably as icons in the world of synthpop and new wave. From the quirky “Who Needs Love Like That?” to the socially critical “A Little Respect,” from the all out tongue-in-cheek of “Love to Hate You” to the sentimental “In My Arms,” Erasure is one of those veterans that have stood the test time in spite of being ignored by the vast majority of the mainstream media. This alone is the testament of their craftsmanship and relevance. Tuesday, 13 September 2011, Terminal 5 in New York City – Erasure brought their Tomorrow’s World Tour to The Big Apple, packing the house with one of the most diverse crowds one could ever imagine: young and old, gay and straight, men and women, black and white – a hodgepodge of people who are proud to call themselves Erasure fans.
The evening started with Frankmusik; I have gotten to the point in my musical aesthetics that I may like a band / artist by hearing their music, but I no longer fall giddy-head-over-heels over any band / artist until I see them live – I have fallen. Playing music from his first album, “Complete Me” (2009), and his forthcoming album, “Do It in the AM,” as well as a few covers, Frankmusik is the kind of opening act that all artists should take on the road – though I personally can’t wait to see him perform his own show. Most of the time, opening acts are so inferior to the main act that it is either laughable or the opportunity to head to a bar – rarely do bands travel with artists that can vie to steal the limelight. Such opening acts only help to elevate the overall show, because the main act has to give that much more. And after Frankmusik, Erasure had a tough act to follow. His set included the older track “Better Off As Two” (though I personally had hoped for “Confusion Girl,” I give Frankmusik a lot of credit for including “When You’re Around” – not a track I thought he would play) and new tracks such as “No Bueno” and “Do It in the AM.” He also performed covers in snippets, such as Kings of Leon’s “Sex on Fire” and The Trammps’ “Disco Inferno,” and even incorporated the music to Eurythmics’ “Sweet Dreams (Are Made of This).”
Frankmusik, at one point, joked about not needing to go the gym since he got to perform every night. The energy of his set was incredible – everyone in sight was dancing away. Delivering what essentially is standard pop music (much like Erasure, an obvious influence on his style), the high energy, catchy lyrics, intelligence, and all around good vibe is infectious with its broad appeal. With a live drummer and keyboardist / vocalist (and the unseen sequencer), this near forty minute set the stage for Erasure to come out and deliver their set of uncompromising pop music. One last thing I have to say is that Frankmusik’s voice was flawless live. As I have argued before, vocalists should not be judged on the range of their voice, but their ability to deliver their music and be emotive, as well as the distinctiveness of their style. Frankmusik definitely has the chops to be one of the best male pop vocalists out there.
(Though there is no live clip available of Frankmusik on this tour, here is the video for “No I.D.” (featuring Colette) from the FrankmusikVEVO YouTube Channel.)
Then Erasure finally graced the stage.
Most bands play a high-energy song from their current album to start a show, but that is not what the audience got from Erasure. In one of the most brilliant decisions by the band, the show started with “Sono Luminus” – and the diehard fans were immediately enraptured, for the casual Erasure listener / fan, the second song, “Always,” nailed the opening of the show. From the obscure to the popular, this was musically Erasure’s best opening ever: perfect! Occasionally slipping in new music into the set (only once playing two new songs in a row), this was a musical journey that covered songs from four decades (80s, 90s, 00s, and now 10s) of music. Interesting enough, Erasure’s latest album, “Tomorrow’s World,” has not been released yet. This is always a bit tricky – touring to music that the audience had not heard yet – and I questioned if Erasure would be able to pull this off.
There are not many bands that have taught me life lessons, but Erasure has. Lesson #1: there is beauty in simplicity – from the remorseful “Breathe” to the admonishment “Ship of Fools,” Vince Clarke is able to craft music that is simple and beautiful, that does not rely on frills or production gimmicks. Do not get me wrong, tracks such as “Chorus” and the new “Whole Lotta Love Run Riot” proves that Clarke can get as “electronic” as the best of them, but at the core of all of Erasure’s songs is the conscious resignation to standard pop – a lost art in today’s world. This is a musical world where musical and emotional beauty is displayed with subtlety, and the live renditions were testaments to this. Lesson #2: be yourself no matter what anyone thinks or says. Andy Bell, one of the greatest front men of all time, can go from silly tip-toeing to mellow dramatic posturing in two seconds flat. From being open-ended (such as the elegant “Blue Savannah”) to there-is-no-doubt-he-is-gay (“Love to Hate You” – “For every Casanova that appears, my sense of hesitation disappears…”), Bell, like Erasure’s music, has a feel of naturalness and lacks the restraints that so many other musicians impose on themselves both in the studio and live. Lesson #3: always stand up for yourself and your beliefs. With tracks like “Chains of Love” and “A Little Respect” (their biggest hits in the USA), Erasure is not shy from making social commentary. But even when doing so, it is never preachy or heady, but rather fun and endearing – a very hard feat to achieve!
Though the diehard fans may have been in awe with the opening, the jaw dropping moment was when Erasure played “Push Me Shove Me” in the second half of the set. Though the song appears on the British version of their debut album, “Wonderland” (1986), in the USA it is b-side to the band’s first single, “Who Needs Love Like That?” (1985). How many established bands go back to play early rarities? Not many, but Erasure did so to an amazing reception. But of course, there were many other moments for the diehards, such as the compulsory finger pointing during “Drama” and waving of paper cut out hearts during “Oh L’Amour,” And, as always, Vince Clarke stayed in the background (unless playing acoustic guitars), as Andy Bell, accompanied by two background vocalists, dominated the stage and the audience’s attention.
The show did not have elaborate costume changes. However, Bell did change his shirt midway through the set to a Michael Jackson t-shirt, paying homage to the King of Pop. The show did not have a light show that was meant to wow and dazzle you, though it was sophisticated and complemented each song along the way. The show did not have any nifty props on stage, though the light strips on the mic stands during “Chorus” was nifty and the gargoyle-motif was cute. What this hour and three quarter did have was solid music, solid performance, perfect harmonies, and a moment where everyone there forgot the rushing world outside of New York and slipped into the netherworld of Erasure. There are not many pop performers who can hold an audience’s attention just singing and moving about randomly. Bell and Clarke, however, most definitely can. As the stone faced started smiling and those with two left feet started dancing, the music kept on flowing easily – and when the new songs were played, a casual onlooker would never have known that these where new songs, never heard before. Quickly learning the choruses, the audience ate up and danced away all of the new music – building up the anticipation for the new album next month.
I went to a show with a high school friend that I reconnected with after many years; she was there with her daughter. As Vince Clarke kicked off the music for “Drama,” and Andy Bell started to sing, I saw mother and daughter jumping up and down, singing along to each and every word, and even the audience, which earlier was full of people pushing and shoving for a better space, had relaxed into a friendly environment of shared euphoria. And that is when I was reminded about the power of Erasure. This is not just some 80s band or some generic synth band; this is not some “gay” band or some throwaway pop act – Erasure is more like religion, and the show more like going to church, where everyone is more than happily willing to give into a communion of having a good time full of respect, love and energy. And that is the staying power of Erasure – twenty-six years of good times, smiles, and happiness, and unless you experience it yourself, it is something you may never understand … and that is why if you have the opportunity to check them out on this tour, you most definitely should!
Set List
1. Sono Luminus
2. Always
3. When I Start To (Break It All Down)
4. Blue Savannah
5. Fill Us With Fire
6. Drama
7. You’ve Got To Save Me Right Now
8. Ship of Fools
9. Chorus
10. Breathe
11. Victim of Love
12. Alien
13. Push Me Shove Me
14. Love To Hate You
15. I Lose Myself
16. A Whole Lotta Love Run Riot
17. Breath of Life
18. Chains of Love
19. Sometimes
20. A Little Respect
Encore
21. Oh :’Amour
22. Stop!
(Again, there is no live footage of this tour available, but here is montage footage put to Erasure’s song “When I Start To (Break It All Down)” from their forthcoming album, “Tomorrow’s World," from the erasureinfo YouTube Channel.)
Keep up with Erasure at their homepage, MySpace, and Facebook.
Keep up with Frankmusik at his homepage, MySpace, Facebook, and Twitter. Read more ...
(Vince Clarke of Erasure)
The evening started with Frankmusik; I have gotten to the point in my musical aesthetics that I may like a band / artist by hearing their music, but I no longer fall giddy-head-over-heels over any band / artist until I see them live – I have fallen. Playing music from his first album, “Complete Me” (2009), and his forthcoming album, “Do It in the AM,” as well as a few covers, Frankmusik is the kind of opening act that all artists should take on the road – though I personally can’t wait to see him perform his own show. Most of the time, opening acts are so inferior to the main act that it is either laughable or the opportunity to head to a bar – rarely do bands travel with artists that can vie to steal the limelight. Such opening acts only help to elevate the overall show, because the main act has to give that much more. And after Frankmusik, Erasure had a tough act to follow. His set included the older track “Better Off As Two” (though I personally had hoped for “Confusion Girl,” I give Frankmusik a lot of credit for including “When You’re Around” – not a track I thought he would play) and new tracks such as “No Bueno” and “Do It in the AM.” He also performed covers in snippets, such as Kings of Leon’s “Sex on Fire” and The Trammps’ “Disco Inferno,” and even incorporated the music to Eurythmics’ “Sweet Dreams (Are Made of This).”
(Frankmusik)
Frankmusik, at one point, joked about not needing to go the gym since he got to perform every night. The energy of his set was incredible – everyone in sight was dancing away. Delivering what essentially is standard pop music (much like Erasure, an obvious influence on his style), the high energy, catchy lyrics, intelligence, and all around good vibe is infectious with its broad appeal. With a live drummer and keyboardist / vocalist (and the unseen sequencer), this near forty minute set the stage for Erasure to come out and deliver their set of uncompromising pop music. One last thing I have to say is that Frankmusik’s voice was flawless live. As I have argued before, vocalists should not be judged on the range of their voice, but their ability to deliver their music and be emotive, as well as the distinctiveness of their style. Frankmusik definitely has the chops to be one of the best male pop vocalists out there.
(Though there is no live clip available of Frankmusik on this tour, here is the video for “No I.D.” (featuring Colette) from the FrankmusikVEVO YouTube Channel.)
Then Erasure finally graced the stage.
(Andy Bell of Erasure)
Most bands play a high-energy song from their current album to start a show, but that is not what the audience got from Erasure. In one of the most brilliant decisions by the band, the show started with “Sono Luminus” – and the diehard fans were immediately enraptured, for the casual Erasure listener / fan, the second song, “Always,” nailed the opening of the show. From the obscure to the popular, this was musically Erasure’s best opening ever: perfect! Occasionally slipping in new music into the set (only once playing two new songs in a row), this was a musical journey that covered songs from four decades (80s, 90s, 00s, and now 10s) of music. Interesting enough, Erasure’s latest album, “Tomorrow’s World,” has not been released yet. This is always a bit tricky – touring to music that the audience had not heard yet – and I questioned if Erasure would be able to pull this off.
There are not many bands that have taught me life lessons, but Erasure has. Lesson #1: there is beauty in simplicity – from the remorseful “Breathe” to the admonishment “Ship of Fools,” Vince Clarke is able to craft music that is simple and beautiful, that does not rely on frills or production gimmicks. Do not get me wrong, tracks such as “Chorus” and the new “Whole Lotta Love Run Riot” proves that Clarke can get as “electronic” as the best of them, but at the core of all of Erasure’s songs is the conscious resignation to standard pop – a lost art in today’s world. This is a musical world where musical and emotional beauty is displayed with subtlety, and the live renditions were testaments to this. Lesson #2: be yourself no matter what anyone thinks or says. Andy Bell, one of the greatest front men of all time, can go from silly tip-toeing to mellow dramatic posturing in two seconds flat. From being open-ended (such as the elegant “Blue Savannah”) to there-is-no-doubt-he-is-gay (“Love to Hate You” – “For every Casanova that appears, my sense of hesitation disappears…”), Bell, like Erasure’s music, has a feel of naturalness and lacks the restraints that so many other musicians impose on themselves both in the studio and live. Lesson #3: always stand up for yourself and your beliefs. With tracks like “Chains of Love” and “A Little Respect” (their biggest hits in the USA), Erasure is not shy from making social commentary. But even when doing so, it is never preachy or heady, but rather fun and endearing – a very hard feat to achieve!
(Erasure)
Though the diehard fans may have been in awe with the opening, the jaw dropping moment was when Erasure played “Push Me Shove Me” in the second half of the set. Though the song appears on the British version of their debut album, “Wonderland” (1986), in the USA it is b-side to the band’s first single, “Who Needs Love Like That?” (1985). How many established bands go back to play early rarities? Not many, but Erasure did so to an amazing reception. But of course, there were many other moments for the diehards, such as the compulsory finger pointing during “Drama” and waving of paper cut out hearts during “Oh L’Amour,” And, as always, Vince Clarke stayed in the background (unless playing acoustic guitars), as Andy Bell, accompanied by two background vocalists, dominated the stage and the audience’s attention.
The show did not have elaborate costume changes. However, Bell did change his shirt midway through the set to a Michael Jackson t-shirt, paying homage to the King of Pop. The show did not have a light show that was meant to wow and dazzle you, though it was sophisticated and complemented each song along the way. The show did not have any nifty props on stage, though the light strips on the mic stands during “Chorus” was nifty and the gargoyle-motif was cute. What this hour and three quarter did have was solid music, solid performance, perfect harmonies, and a moment where everyone there forgot the rushing world outside of New York and slipped into the netherworld of Erasure. There are not many pop performers who can hold an audience’s attention just singing and moving about randomly. Bell and Clarke, however, most definitely can. As the stone faced started smiling and those with two left feet started dancing, the music kept on flowing easily – and when the new songs were played, a casual onlooker would never have known that these where new songs, never heard before. Quickly learning the choruses, the audience ate up and danced away all of the new music – building up the anticipation for the new album next month.
(Andy Bell of Erasure)
I went to a show with a high school friend that I reconnected with after many years; she was there with her daughter. As Vince Clarke kicked off the music for “Drama,” and Andy Bell started to sing, I saw mother and daughter jumping up and down, singing along to each and every word, and even the audience, which earlier was full of people pushing and shoving for a better space, had relaxed into a friendly environment of shared euphoria. And that is when I was reminded about the power of Erasure. This is not just some 80s band or some generic synth band; this is not some “gay” band or some throwaway pop act – Erasure is more like religion, and the show more like going to church, where everyone is more than happily willing to give into a communion of having a good time full of respect, love and energy. And that is the staying power of Erasure – twenty-six years of good times, smiles, and happiness, and unless you experience it yourself, it is something you may never understand … and that is why if you have the opportunity to check them out on this tour, you most definitely should!
Set List
1. Sono Luminus
2. Always
3. When I Start To (Break It All Down)
4. Blue Savannah
5. Fill Us With Fire
6. Drama
7. You’ve Got To Save Me Right Now
8. Ship of Fools
9. Chorus
10. Breathe
11. Victim of Love
12. Alien
13. Push Me Shove Me
14. Love To Hate You
15. I Lose Myself
16. A Whole Lotta Love Run Riot
17. Breath of Life
18. Chains of Love
19. Sometimes
20. A Little Respect
Encore
21. Oh :’Amour
22. Stop!
(Again, there is no live footage of this tour available, but here is montage footage put to Erasure’s song “When I Start To (Break It All Down)” from their forthcoming album, “Tomorrow’s World," from the erasureinfo YouTube Channel.)
Keep up with Erasure at their homepage, MySpace, and Facebook.
Keep up with Frankmusik at his homepage, MySpace, Facebook, and Twitter. Read more ...
16 July 2010
Streams of Whiskey Live
Now this I have sat on for too long…
3 July 2010, I headed out to Paddy Reilly’s on the corner of 2nd Avenue and 29th Street in Manhattan (519 2nd Avenue) for a show. On the invitation of a friend, co-worker, and one of the keepers of my sanity, it was set to be an evening of Celtic Punk and Irish Rock. The day started hectically, the afternoon was no better, and the evening even worse, so by ten at night, I was speeding… and I do mean speeding… to get to the gig on time… and it was most definitely worth it. Streams of Whiskey offered up two amazing sets.
So I finally got there and within moments I was with Black Stuff in one hand and my Blackberry in the other (hey… I have to take notes somehow). I was a bit disappointed by the turn out; I guess many of the townies were away for the holiday weekend – this is a cover band that you really should check out.
The problem with most cover bands – whether they are purists or not – is that it is all rote motion. And when the band concentrates on just one artist, it becomes more that rote; it becomes scary imitation without soul. But that is not the case with Streams of Whisky. You never got the feeling that you were listening to The Pogues or any other band – actually, they owned their renditions of the songs, which is very rare for a cover band. For instance, when they performed “Greenland Whale Fisheries,” one of my favorite sea shanties, I never thought of any of the other versions I knew of the song… not the Weavers… not the Pogue’s… not the Dubliners.
Sharing members with Barnacle Bill, Streams of Whiskey is an octet – on stage: Tim Alworth on drums, Karen Kelly on tin whistle, Stuart Klinger on banjo, guitar, and vocals, Sebastian McLaughlin on mandolin and banjo, Yianni Naslas on bass, Daniel Sutton on accordion, Steve Wickins on vocals, bodhrán and swanee whistle, and Jeff “Polly” Young on fiddle. Cover band or not, the more members on the stage (and the less technology), the harder it is to remain tight. These eight were tight; not the tight of rote playing, but the tightness that comes from knowing the songs, knowing each others’ playing style, and being able to viscerally emote in the same manner. Four songs into the first set, “Rising Moon,” this was more than obvious. This octet was in sync with one another.
Let me admit something, I have never been a fan of “If I Should Fall from Grace with God,” but even their rendition of this song had me bobbing my head. Three other great moments included “Whiskey You’re the Devil” – many a drunk night I sung this one loudly for my neighbors! But this rendition on stage sounded more urgent than any other version I have heard of this song. “Dirty Old Town” was “fuller” than I ever heard before – Wickins’ voice just lends itself to really emote in this song. And then there was “Turkish Song of the Damned.” Young’s fiddle was put to the test on this one and surpassed expectations. The entire vibe of this song was amazing; the rendition was definitely slightly darker than the original, but that just brought out the power of the lyrics even more: “The spectre on my back will soon be free, the dead have come to claim a debt from thee.”
Final verdict: great cover band, and you should head over to their MySpace and Facebook, sign up, and keep up with them. I believe they will be on “holiday” till September… but hopefully, if you are in the NYC area and free when they play, you’ll come by for some Black Stuff and good music.
Set List:
1. Misty Morning Albert Bridge
2. Spanish Lady
3. Nancy Whiskey
4. Rising of the Moon
5. Whiskey You’re the Devil
6. Streams of Whiskey
7. Old Main Drag
8. Broad Majestic Shannon
9. If I Should Fall from Grace with God
10. Sally MacLennane
11. Poor Paddy
12. A Pair of Brown Eyes
13. Greenland Whale Fisheries
14. Sayonara
15. Kitty
16. Dirty Old Town
17. Bottle of Smoke
18. Boys from the Country Hell
19. White City
20. Sickbed
21. Turkish Song of the Damned
22. Fiesta
Keep up with Streams of Whiskey at their MySpace and Facebook. Read more ...
3 July 2010, I headed out to Paddy Reilly’s on the corner of 2nd Avenue and 29th Street in Manhattan (519 2nd Avenue) for a show. On the invitation of a friend, co-worker, and one of the keepers of my sanity, it was set to be an evening of Celtic Punk and Irish Rock. The day started hectically, the afternoon was no better, and the evening even worse, so by ten at night, I was speeding… and I do mean speeding… to get to the gig on time… and it was most definitely worth it. Streams of Whiskey offered up two amazing sets.
So I finally got there and within moments I was with Black Stuff in one hand and my Blackberry in the other (hey… I have to take notes somehow). I was a bit disappointed by the turn out; I guess many of the townies were away for the holiday weekend – this is a cover band that you really should check out.
The problem with most cover bands – whether they are purists or not – is that it is all rote motion. And when the band concentrates on just one artist, it becomes more that rote; it becomes scary imitation without soul. But that is not the case with Streams of Whisky. You never got the feeling that you were listening to The Pogues or any other band – actually, they owned their renditions of the songs, which is very rare for a cover band. For instance, when they performed “Greenland Whale Fisheries,” one of my favorite sea shanties, I never thought of any of the other versions I knew of the song… not the Weavers… not the Pogue’s… not the Dubliners.
Sharing members with Barnacle Bill, Streams of Whiskey is an octet – on stage: Tim Alworth on drums, Karen Kelly on tin whistle, Stuart Klinger on banjo, guitar, and vocals, Sebastian McLaughlin on mandolin and banjo, Yianni Naslas on bass, Daniel Sutton on accordion, Steve Wickins on vocals, bodhrán and swanee whistle, and Jeff “Polly” Young on fiddle. Cover band or not, the more members on the stage (and the less technology), the harder it is to remain tight. These eight were tight; not the tight of rote playing, but the tightness that comes from knowing the songs, knowing each others’ playing style, and being able to viscerally emote in the same manner. Four songs into the first set, “Rising Moon,” this was more than obvious. This octet was in sync with one another.
Let me admit something, I have never been a fan of “If I Should Fall from Grace with God,” but even their rendition of this song had me bobbing my head. Three other great moments included “Whiskey You’re the Devil” – many a drunk night I sung this one loudly for my neighbors! But this rendition on stage sounded more urgent than any other version I have heard of this song. “Dirty Old Town” was “fuller” than I ever heard before – Wickins’ voice just lends itself to really emote in this song. And then there was “Turkish Song of the Damned.” Young’s fiddle was put to the test on this one and surpassed expectations. The entire vibe of this song was amazing; the rendition was definitely slightly darker than the original, but that just brought out the power of the lyrics even more: “The spectre on my back will soon be free, the dead have come to claim a debt from thee.”
Final verdict: great cover band, and you should head over to their MySpace and Facebook, sign up, and keep up with them. I believe they will be on “holiday” till September… but hopefully, if you are in the NYC area and free when they play, you’ll come by for some Black Stuff and good music.
Set List:
1. Misty Morning Albert Bridge
2. Spanish Lady
3. Nancy Whiskey
4. Rising of the Moon
5. Whiskey You’re the Devil
6. Streams of Whiskey
7. Old Main Drag
8. Broad Majestic Shannon
9. If I Should Fall from Grace with God
10. Sally MacLennane
11. Poor Paddy
12. A Pair of Brown Eyes
13. Greenland Whale Fisheries
14. Sayonara
15. Kitty
16. Dirty Old Town
17. Bottle of Smoke
18. Boys from the Country Hell
19. White City
20. Sickbed
21. Turkish Song of the Damned
22. Fiesta
Keep up with Streams of Whiskey at their MySpace and Facebook. Read more ...
04 May 2010
Corinne Bailey Rae Live
After a long day of working (the “nine-to-five,” followed by the part time, and a ton of driving in between), I headed to Manhattan with two of my coworkers; we were off to see Corinne Bailey Rae at Webster Hall (New York, NY USA). It was our first time hanging out together outside of work, and our first time seeing Corinne Bailey Rae… and the night was perfect.
We got to the city, drove directly into a lot, and admittedly went to get a bite to eat, risking the chance of not seeing the opening act, Daniel Merriweather. When we finally arrived at Webster Hall, heading for the bar area on the main floor, I had a bit of regret not catching the entire Merriweather set. His band and he were tight, his demeanor welcoming and amicable, and he even joked about selling CDs at the end of the set “in the back” so that he would be able to pay the rent.
At this pointed we headed up to the balcony, settling into our second of three spots of the night. (Also, at this point, again my camera started acting up again; apologies for the lack of strong photos.) Then the main event started: Corrine Bailey Rae opened with “Are You There,” the opening track of her current album, “The Sea.” (Previously reviewed: link.) The album’s conception predates her husband’s sudden death, as the process of the composition started with him; after months in solitude, Bailey Rae returned to the studio, both as a means of coming to terms with her emotions and life and starting the cathartic process of starting life all over again. And it was with that knowledge that I came to the show, a bit nervous about what exactly to expect. I had no doubt that her performance would be technically spot on, but what I did not know was just how emotionally powerful and positive the show was going to be. After getting comfortable in our second spot, the band came on stage. Backed by a five-piece-band, Bailey Rae strummed her white electric guitar as she soulfully sung, “Are you here? Are you here? Are you here? Cause my heart recalls that… it all seems the same… it all feels the same.” Her voice was simply amazing; thousands of times more soulful live, thousands of times more powerful.
Soon after the first song, we headed back to the main floor, and (politely of course) headed up to get a closer spot. Backing her on the stage were Jennifer Birch on guitar, Steven Brown on keyboards, Luke Flowers on drums, Kenny Higgins on bass, and John Maccalum on guitar, who shared lead vocal duties with Bailey Rae on the final song of the evening, Evans and Livingston’s “Que Sera Sera” – and I assure you there was no hint of Doris Day in this cover version! There was a gospel feel to the end of the show, one that lent so much positively and energy. When she sang “que sera sera” [what will be, will be], there was no sense of resignation or sorrow… there was no sense of ambivalence. Instead, Bailey Rae embraced the words… owned them!… in perhaps the ultimate realization: we must accept life at the moments we most wish to forget it and live on.
As I have admitted in a previous post, though Bailey Rae has been in my radar for quite sometime, it was not till “The Sea” that I really started to listen. This really burns me, as in current days I have become attached to her eponymous debut album. Hence, my favorite moment of the evening was the performance of “Put Your Records On.” And of course, another great moment was “Like a Star”: “You’ve got this look I can’t describe; you make me feel like I’m alive. When everything else is a fade, without a doubt you’re on my side.” Without a doubt, the recorded rendition of the song pales in comparison with the live rendition. (By this time, I realized that I was so swept into the show that I had not written down the complete setlist!)
Other songs from “The Sea” that really hit an emotional spot for the crowd included “Paris Nights/New York Morning” (which she introduced as being inspired by New York City), “Paper Dolls,” and the titular track: “The Sea.” The final song of the main set, she sang, “The sea… takes everything from me.” Again, just like what would follow with “Que Sera Sera,” there was no sign of resignation that you hear on the album… Instead, there was visceral power of acceptance that was overwhelming and quite beautiful. And you realize that Bailey Rae’s ultimate message/example is to live life, to embrace it all, the good and the bad, and grow from it, and ultimately always do something positive with what life has dealt you.
One of the year’s best albums? Check. Great performance? Check. If you get a chance to catch Corrine Bailey Rae live, do not hesitate – she will sing time away as you are trapped in the beauty of her voice.
Keep up with Corinne Bailey Rae at her homepage, MySpace, Facebook, and Twitter. Read more ...
We got to the city, drove directly into a lot, and admittedly went to get a bite to eat, risking the chance of not seeing the opening act, Daniel Merriweather. When we finally arrived at Webster Hall, heading for the bar area on the main floor, I had a bit of regret not catching the entire Merriweather set. His band and he were tight, his demeanor welcoming and amicable, and he even joked about selling CDs at the end of the set “in the back” so that he would be able to pay the rent.
At this pointed we headed up to the balcony, settling into our second of three spots of the night. (Also, at this point, again my camera started acting up again; apologies for the lack of strong photos.) Then the main event started: Corrine Bailey Rae opened with “Are You There,” the opening track of her current album, “The Sea.” (Previously reviewed: link.) The album’s conception predates her husband’s sudden death, as the process of the composition started with him; after months in solitude, Bailey Rae returned to the studio, both as a means of coming to terms with her emotions and life and starting the cathartic process of starting life all over again. And it was with that knowledge that I came to the show, a bit nervous about what exactly to expect. I had no doubt that her performance would be technically spot on, but what I did not know was just how emotionally powerful and positive the show was going to be. After getting comfortable in our second spot, the band came on stage. Backed by a five-piece-band, Bailey Rae strummed her white electric guitar as she soulfully sung, “Are you here? Are you here? Are you here? Cause my heart recalls that… it all seems the same… it all feels the same.” Her voice was simply amazing; thousands of times more soulful live, thousands of times more powerful.
Soon after the first song, we headed back to the main floor, and (politely of course) headed up to get a closer spot. Backing her on the stage were Jennifer Birch on guitar, Steven Brown on keyboards, Luke Flowers on drums, Kenny Higgins on bass, and John Maccalum on guitar, who shared lead vocal duties with Bailey Rae on the final song of the evening, Evans and Livingston’s “Que Sera Sera” – and I assure you there was no hint of Doris Day in this cover version! There was a gospel feel to the end of the show, one that lent so much positively and energy. When she sang “que sera sera” [what will be, will be], there was no sense of resignation or sorrow… there was no sense of ambivalence. Instead, Bailey Rae embraced the words… owned them!… in perhaps the ultimate realization: we must accept life at the moments we most wish to forget it and live on.
As I have admitted in a previous post, though Bailey Rae has been in my radar for quite sometime, it was not till “The Sea” that I really started to listen. This really burns me, as in current days I have become attached to her eponymous debut album. Hence, my favorite moment of the evening was the performance of “Put Your Records On.” And of course, another great moment was “Like a Star”: “You’ve got this look I can’t describe; you make me feel like I’m alive. When everything else is a fade, without a doubt you’re on my side.” Without a doubt, the recorded rendition of the song pales in comparison with the live rendition. (By this time, I realized that I was so swept into the show that I had not written down the complete setlist!)
Other songs from “The Sea” that really hit an emotional spot for the crowd included “Paris Nights/New York Morning” (which she introduced as being inspired by New York City), “Paper Dolls,” and the titular track: “The Sea.” The final song of the main set, she sang, “The sea… takes everything from me.” Again, just like what would follow with “Que Sera Sera,” there was no sign of resignation that you hear on the album… Instead, there was visceral power of acceptance that was overwhelming and quite beautiful. And you realize that Bailey Rae’s ultimate message/example is to live life, to embrace it all, the good and the bad, and grow from it, and ultimately always do something positive with what life has dealt you.
One of the year’s best albums? Check. Great performance? Check. If you get a chance to catch Corrine Bailey Rae live, do not hesitate – she will sing time away as you are trapped in the beauty of her voice.
Keep up with Corinne Bailey Rae at her homepage, MySpace, Facebook, and Twitter. Read more ...
06 March 2010
Muse Live
With a pack of friends, including Mirage and Belladonna, I headed to Madison Square Garden to see Muse live (Friday, 5 March 2010). Now I have seen Muse (Matthew Bellamy, Dominic Howard, and Christopher Wolstenholme) live on various occasions and in different venues/formats, from the CMJ Music Marathon to the Cure’s Curiosa Festival, from the Hammerstein Ballroom to this venue, Madison Square Garden, in the past. I have seen them as a three-man piece without backing tracks, a three-man piece with backing tracks, and now with a fourth touring member (Morgan Nicholls) on keys, and still some backing tracks. And, I have heard the entire buzz about this tour, admittedly seen the YouTube clips, and had friends give me their two cents. The fact of the matter is this: nothing can prepare you for what you experience at this show.
Silversun Pickup was the opening band, and more than once thanked Muse for the opportunity. Moreover, they had more access to the full range of the light show than most opening bands are given. Overall, a good performance, great really, considering the pressure that any artist has to be under knowing they are sharing the stage with Muse.
Then Muse hit the stage, as the three towers (hidden LCD screens) took the form of skyscrapers of sort. The opening imagery during “We Are the World” was a bit disturbing to me. Eventually, within these towers were little figures of people walking up stairs, like if they were being herded, and then they seemed to be jumping and/or falling out of the tower. I am not sure what Muse was thinking, but considering the history of New York City, this was a bit disturbing. This is not to say that I believe that Muse was alluding to the World Trade Center – far from it, considering the band’s politics and history that is something they would never condone – but if anyone else was a bit disturbed, I completely understand. Then they went right into “Uprising,” standing midway through the towers, both extremes of the towers still projected images. And what you realized immediately is that Muse upped the ante from now on! This was not your conventional rock concert: this was a show. Audiences were inundated with imagery and a light show that made any other past visuals I have experienced seem trite and minute. This was a technical masterpiece, but for all the imagery and lighting, the music was always center stage. It is sometimes hard for musicians to put on a “spectacle” and not get lost within it. Muse, however, was never lost; far from it, the visual only enhanced the music.
A+ for Muse not being chatty! They pushed right through “Uprising” and “Resistance,” and when the opening notes of “New Born” started to play, the diehard fans were heard clearly. By this time, the lower half of the “towers” hand sunken, bringing the band to the stage level. The stage was backless, with multiple mic stands scattered around, allowing Bellamy and Wolstenholme to perform while being able to choose what part of the audience they wanted to perform/sing to; Howard’s drum platform revolved as well. The point is even the people behind the stage got more than LCD screens, Muse performed directly to them as well.
Some highlights: “United States of Eurasia” performed with Bellamy at the piano. “Exogenesis: Symphony Part I (The Overture)” ushering in the first encore. The amazing light show for “New Born” and “Undisclosed Desires.” Let me repeat that, the amazing light show for “New Born” and “Undisclosed Desires.” And the crowd being in tune with the band was simply amazing as well. As for the crowd, it was the most diverse audience I have ever had the pleasure to be part of. Racially, age, gender… you name it, it was all there, and this speaks to Muse’s incredible talent to write music that is universal and about shared human experiences. And this cannot be said about all artists.
Now, with all that said, I am going to risk the possibility of having some diehard Muse fans track me down! America is getting shafted! European, Australian, and Asian dates have seen a more varied selection of songs. The set list below pretty much sums up all the songs that Muse has played in the USA thus far, and on this date (like the previous few) not a single song from “Showbiz” made the set list; though maybe Muse may have tired of the songs, we fans have not. Just to see “Cave” performed on a piano would have been worth the entire ticket price! Other than “Cave,” other concerts have seen songs like “Sunburn,” “Bliss,” “Citizen Erased,” and “Butterflies and Hurricanes” – and there seems to be no attempt to rotate these songs – classics! – into the set. Perhaps this occurs because the show is very technical, or maybe because they are playing their first American arena tour very safe, but I would like to have had known that the show I was at was at least partially different than most of the other shows in the USA by the selection of songs.
Nevertheless, though the visuals of the closing song, “Knights of Cydonia,” fell a bit flat compared to the songs of the first set, this was a great concert, an amazing show, and will definitely rank as one of the five best tours I have ever been to. If I have said this once, I have said this countless of times (and will continue to): Matthew Bellamy is the most talented individual in the music industry. And together with the other members of Muse, there yet seems to be no limit to what they can do musically. The best part of it is that they have gotten this far without kissing the arse of conventionality or compromising their craftsmanship or convictions for commercial success. Now I am thinking I have to plan a vacation later this year to catch what Muse is going to pull off at their stadiums shows later this summer in Europe.
Set List:
“We Are the Universe” (intro)
1. Uprising
2. Resistance
3. New Born
4. Map of the Problematique
5. Supermassive Black Hole
6. Guiding Light
7. Interlude / Hysteria
8. Nishe / United States of Eurasia
9. Feeling Good
10. Helsinki Jam / Undisclosed Desires
11. MK Ultra
12. Starlight
13. Plug in Baby
14. Time Is Running Out
15. Unnatural Selection
Encore:
16. Exogenesis: Symphony Part I (Overture)
17. Stockholm Syndrome
18. Man with a Harmonica / Knights of Cydonia
Keep up with Muse at their homepage, MySpace, Facebook, and Twitter. Read more ...
Silversun Pickup was the opening band, and more than once thanked Muse for the opportunity. Moreover, they had more access to the full range of the light show than most opening bands are given. Overall, a good performance, great really, considering the pressure that any artist has to be under knowing they are sharing the stage with Muse.
Then Muse hit the stage, as the three towers (hidden LCD screens) took the form of skyscrapers of sort. The opening imagery during “We Are the World” was a bit disturbing to me. Eventually, within these towers were little figures of people walking up stairs, like if they were being herded, and then they seemed to be jumping and/or falling out of the tower. I am not sure what Muse was thinking, but considering the history of New York City, this was a bit disturbing. This is not to say that I believe that Muse was alluding to the World Trade Center – far from it, considering the band’s politics and history that is something they would never condone – but if anyone else was a bit disturbed, I completely understand. Then they went right into “Uprising,” standing midway through the towers, both extremes of the towers still projected images. And what you realized immediately is that Muse upped the ante from now on! This was not your conventional rock concert: this was a show. Audiences were inundated with imagery and a light show that made any other past visuals I have experienced seem trite and minute. This was a technical masterpiece, but for all the imagery and lighting, the music was always center stage. It is sometimes hard for musicians to put on a “spectacle” and not get lost within it. Muse, however, was never lost; far from it, the visual only enhanced the music.
A+ for Muse not being chatty! They pushed right through “Uprising” and “Resistance,” and when the opening notes of “New Born” started to play, the diehard fans were heard clearly. By this time, the lower half of the “towers” hand sunken, bringing the band to the stage level. The stage was backless, with multiple mic stands scattered around, allowing Bellamy and Wolstenholme to perform while being able to choose what part of the audience they wanted to perform/sing to; Howard’s drum platform revolved as well. The point is even the people behind the stage got more than LCD screens, Muse performed directly to them as well.
Some highlights: “United States of Eurasia” performed with Bellamy at the piano. “Exogenesis: Symphony Part I (The Overture)” ushering in the first encore. The amazing light show for “New Born” and “Undisclosed Desires.” Let me repeat that, the amazing light show for “New Born” and “Undisclosed Desires.” And the crowd being in tune with the band was simply amazing as well. As for the crowd, it was the most diverse audience I have ever had the pleasure to be part of. Racially, age, gender… you name it, it was all there, and this speaks to Muse’s incredible talent to write music that is universal and about shared human experiences. And this cannot be said about all artists.
Now, with all that said, I am going to risk the possibility of having some diehard Muse fans track me down! America is getting shafted! European, Australian, and Asian dates have seen a more varied selection of songs. The set list below pretty much sums up all the songs that Muse has played in the USA thus far, and on this date (like the previous few) not a single song from “Showbiz” made the set list; though maybe Muse may have tired of the songs, we fans have not. Just to see “Cave” performed on a piano would have been worth the entire ticket price! Other than “Cave,” other concerts have seen songs like “Sunburn,” “Bliss,” “Citizen Erased,” and “Butterflies and Hurricanes” – and there seems to be no attempt to rotate these songs – classics! – into the set. Perhaps this occurs because the show is very technical, or maybe because they are playing their first American arena tour very safe, but I would like to have had known that the show I was at was at least partially different than most of the other shows in the USA by the selection of songs.
Nevertheless, though the visuals of the closing song, “Knights of Cydonia,” fell a bit flat compared to the songs of the first set, this was a great concert, an amazing show, and will definitely rank as one of the five best tours I have ever been to. If I have said this once, I have said this countless of times (and will continue to): Matthew Bellamy is the most talented individual in the music industry. And together with the other members of Muse, there yet seems to be no limit to what they can do musically. The best part of it is that they have gotten this far without kissing the arse of conventionality or compromising their craftsmanship or convictions for commercial success. Now I am thinking I have to plan a vacation later this year to catch what Muse is going to pull off at their stadiums shows later this summer in Europe.
Set List:
“We Are the Universe” (intro)
1. Uprising
2. Resistance
3. New Born
4. Map of the Problematique
5. Supermassive Black Hole
6. Guiding Light
7. Interlude / Hysteria
8. Nishe / United States of Eurasia
9. Feeling Good
10. Helsinki Jam / Undisclosed Desires
11. MK Ultra
12. Starlight
13. Plug in Baby
14. Time Is Running Out
15. Unnatural Selection
Encore:
16. Exogenesis: Symphony Part I (Overture)
17. Stockholm Syndrome
18. Man with a Harmonica / Knights of Cydonia
Keep up with Muse at their homepage, MySpace, Facebook, and Twitter. Read more ...
28 November 2009
X: THC Live
I have not been to as many live shows as I am accustomed to going to this year, but when Michael Nova of X: THC invited me down to see the band perform at Monkeytown in Brooklyn, it was a no-brainer. I knew I was not going to pass up this opportunity.
Wednesday (25 November 2009) rolled around, and, at about seven in the evening, I started the journey to Brooklyn (I am not one of these Jersey-ites that think that a passport is required to go to Brooklyn – actually I more often than not skip Manhattan for Brooklyn). Carlos Aranzazu, Gray Door Studio photographer, was accompanying me. (It was nice not to have to worry about taking any pictures myself, and well having a professional along.) On our way there, we chatted about what to expect, other concert/show experiences, and the visual components of music and live shows. Never did we expect such a powerful experience as we pulled up in front of Monkeytown.
The backroom of Monkeytown is about thirty-by-thirty, with coaches and tables set around the perimeter. A film screen hangs from each wall, while the band played in the center of the room. If intimacy was the goal, the space alone would create it. But the actual experience, the synesthesia, was overwhelming. As the band easily followed through their set, you wanted to see each screen, you wanted to look at the band, you were overwhelmed trying to explain to yourself what was the genesis of your feelings – the music, the band, the visuals, the different combinations…. What was definitive was that you wanted more.
Now, let me say something for all the “purists” out there – it is time to step into the new millennium. The incredible thing about our contemporary world is that bands are no longer limited to creating the sound that they can on their own, but rather have the technology to augment their sounds. The question is whether or not a band solely relies on this technology or uses it wisely. X: THC struck the perfect balance. The individual musicianship of the band was always in the forefront. Tienne, on guitar and keyboards, has a soothing presence of her own on the stage; there is a magnetic attraction that makes it hard to take your eyes off her while she strums away. Drummers may be a dime dozen, but good drummers are very rare. John Bollinger is one of these good drummers: great technique, great timing, and great presence (something most drummers lack). Then there is Michael Nova. He is definitely the newest New York bard. He is not just there reciting lines, but rather singing with conviction and delivering the story. Even Aranzazu, behind his camera, concurs that Nova’s persona on stage is powerful, as he creates a rapport with his audience.
I have seen a few great artists this year – amazing performances. But I have to tell you, you are crazy if you do not jump on the opportunity of seeing X: THC live. This is a powerful experience, both sonically and visually. And the beauty of the visuals is that even if you do not know the music, they will draw you into the experience. Their original film, “X: The Human Condition,” is a powerful, abstract piece that will remind you of some of the great avant-garde silent films.
Set list:
1. Introduction/Hide
2. Monster
3. A Human Flood
4. Sleeping with One Eye Open
5. The Creature from the Blackened Room
6. Don’t Cry
7. Mr. Happy
8. Like Violins
9. Worth Fighting For
10. Tag You’re It!
Keep up with X: THC at their homepage and MySpace. Read more ...
Wednesday (25 November 2009) rolled around, and, at about seven in the evening, I started the journey to Brooklyn (I am not one of these Jersey-ites that think that a passport is required to go to Brooklyn – actually I more often than not skip Manhattan for Brooklyn). Carlos Aranzazu, Gray Door Studio photographer, was accompanying me. (It was nice not to have to worry about taking any pictures myself, and well having a professional along.) On our way there, we chatted about what to expect, other concert/show experiences, and the visual components of music and live shows. Never did we expect such a powerful experience as we pulled up in front of Monkeytown.
The backroom of Monkeytown is about thirty-by-thirty, with coaches and tables set around the perimeter. A film screen hangs from each wall, while the band played in the center of the room. If intimacy was the goal, the space alone would create it. But the actual experience, the synesthesia, was overwhelming. As the band easily followed through their set, you wanted to see each screen, you wanted to look at the band, you were overwhelmed trying to explain to yourself what was the genesis of your feelings – the music, the band, the visuals, the different combinations…. What was definitive was that you wanted more.
Now, let me say something for all the “purists” out there – it is time to step into the new millennium. The incredible thing about our contemporary world is that bands are no longer limited to creating the sound that they can on their own, but rather have the technology to augment their sounds. The question is whether or not a band solely relies on this technology or uses it wisely. X: THC struck the perfect balance. The individual musicianship of the band was always in the forefront. Tienne, on guitar and keyboards, has a soothing presence of her own on the stage; there is a magnetic attraction that makes it hard to take your eyes off her while she strums away. Drummers may be a dime dozen, but good drummers are very rare. John Bollinger is one of these good drummers: great technique, great timing, and great presence (something most drummers lack). Then there is Michael Nova. He is definitely the newest New York bard. He is not just there reciting lines, but rather singing with conviction and delivering the story. Even Aranzazu, behind his camera, concurs that Nova’s persona on stage is powerful, as he creates a rapport with his audience.
I have seen a few great artists this year – amazing performances. But I have to tell you, you are crazy if you do not jump on the opportunity of seeing X: THC live. This is a powerful experience, both sonically and visually. And the beauty of the visuals is that even if you do not know the music, they will draw you into the experience. Their original film, “X: The Human Condition,” is a powerful, abstract piece that will remind you of some of the great avant-garde silent films.
Set list:
1. Introduction/Hide
2. Monster
3. A Human Flood
4. Sleeping with One Eye Open
5. The Creature from the Blackened Room
6. Don’t Cry
7. Mr. Happy
8. Like Violins
9. Worth Fighting For
10. Tag You’re It!
Keep up with X: THC at their homepage and MySpace. Read more ...
11 October 2009
Steven Severin Live
Did you ever have one of those days when you wake up anxious? That was Saturday morning for me; though I have been to hundreds of concerts/shows in the past, this was one of those shows that I was really looking forwards to. Heading over to Le Poisson Rouge, Steven Severin (punk, post-punk icon, co-founder of Siouxsie and the Banshees, and one of my childhood heroes) was to perform his American live solo debut. For Severin, an artist who has continually challenged the industry and listeners, this was a bold step into the future of possibilities. All that was to be expected was that he would perform along side French surrealist film “The Seashell and the Clergyman” – a lunatic tale of the delusions of a clergyman. Iconoclastic artist, iconoclastic film – the night was set to be unforgettable.
The venue is small, intimate – and from any spot in the room the stage, fitted with a movie screen, was within clear view. I sat there with two friends (my favorite Aussie, Belladonna, and a colleague who knows everything film). As we sat at our table, and 8:20pm rolled around, the lights dimmed, and Severin, clad in black, entered the room and climbed the stage. Though Severin never took center stage, nor has he ever, he is one of those individuals that have presence and visual character. He took his seat by his equipment, and the film, “The Seashell and the Clergyman” began to roll as he generated the soundscape.
Directed by Germaine Dulac and written by Antonin Artaud (who is said to have been disgusted by the finish product), “The Seashell and the Clergyman” premiered in Paris on 9 February 1928. Though not considered by most film historians to be the first surrealist film, history is being revisited on that question. This film is bizarre – it may make you laugh, cringe, or feel revolted, or all three at once. But Severin’s music to the film was not mere cut the idea on the screen and paste it to music, but rather an expansion, an elaboration of the moods and emotions on the screen. Instead of the music working to enhance the visual, or the visual as a means of passive experience while listening to music, they both worked hand-in-hand to create an experience that was at both visual and audio, an experience that was both intellectual (as you pondered the elusive narrative on the screen) and visceral (as you tried to understand your own reaction to the sensory overload). This was an amazing experience.
After the thirty-one minute film, there was an intermission. As captured on his current release, “Music for Silents” (iTunes link), the second half of the show would concentrate on short, abstract scenes. From the symmetry of forms as two women playing against mirrors in “In Loop,” to the sexual and violence of “The Bad Dropper” and “Third Bride” – what really caught my eye was “Mercury Gash.” Starting with similar sounds to a flanger effect-pedal, the illustrated imagery was nothing short of Dionysian. A frenzied, orgiastic experience, as images of surreal sexual positions, the music itself never reached the point of losing itself in passion. That would be too easy, and Severin is a genius. Instead, the music is a very self-contained experience, with repetitive elements that mirror the repetitive elements of sex.
I came across the work of Steven Severin years ago, and one of the things that I admired most about his character is that he never uses the coattails of past monuments to fuel new endeavors. Every phase of his career, every album he ever compiled, every song he ever composed, each was done by its own merits and not hoping the past would propel him to another success. This show, and its corresponding release, is no different – “Music for Silents,” both a static album or a living performance, is a new step into a future that has not been charted out. It would not surprise me to see more artists start to perform in this format, as Severin has always had the power to influence his peers. And as history is starting to show, he can even influence future generations into a new mindset about how to approach music.
Mosey on down to his MySpace page and get more information on the following live dates. Make the investment; the show will blow you away.
18 October 2009 – Rome, Italy
11 November 2009 – Los Angeles, CA USA
13 November 2009 – Olympia, WA USA
18 November 2009 – Los Angeles, CA USA
Set List
1. The Seashell and the Clergyman
[Intermission]
2. InLoop
3. The Bad Dropper
4. Mercury Gash
5. Figure in Movement
6. Third Bride
7. OutLoop
Keep up with Steven Severin at his homepage and MySpace. Read more ...
Le Poisson Rouge
The venue is small, intimate – and from any spot in the room the stage, fitted with a movie screen, was within clear view. I sat there with two friends (my favorite Aussie, Belladonna, and a colleague who knows everything film). As we sat at our table, and 8:20pm rolled around, the lights dimmed, and Severin, clad in black, entered the room and climbed the stage. Though Severin never took center stage, nor has he ever, he is one of those individuals that have presence and visual character. He took his seat by his equipment, and the film, “The Seashell and the Clergyman” began to roll as he generated the soundscape.
Directed by Germaine Dulac and written by Antonin Artaud (who is said to have been disgusted by the finish product), “The Seashell and the Clergyman” premiered in Paris on 9 February 1928. Though not considered by most film historians to be the first surrealist film, history is being revisited on that question. This film is bizarre – it may make you laugh, cringe, or feel revolted, or all three at once. But Severin’s music to the film was not mere cut the idea on the screen and paste it to music, but rather an expansion, an elaboration of the moods and emotions on the screen. Instead of the music working to enhance the visual, or the visual as a means of passive experience while listening to music, they both worked hand-in-hand to create an experience that was at both visual and audio, an experience that was both intellectual (as you pondered the elusive narrative on the screen) and visceral (as you tried to understand your own reaction to the sensory overload). This was an amazing experience.
After the thirty-one minute film, there was an intermission. As captured on his current release, “Music for Silents” (iTunes link), the second half of the show would concentrate on short, abstract scenes. From the symmetry of forms as two women playing against mirrors in “In Loop,” to the sexual and violence of “The Bad Dropper” and “Third Bride” – what really caught my eye was “Mercury Gash.” Starting with similar sounds to a flanger effect-pedal, the illustrated imagery was nothing short of Dionysian. A frenzied, orgiastic experience, as images of surreal sexual positions, the music itself never reached the point of losing itself in passion. That would be too easy, and Severin is a genius. Instead, the music is a very self-contained experience, with repetitive elements that mirror the repetitive elements of sex.
I came across the work of Steven Severin years ago, and one of the things that I admired most about his character is that he never uses the coattails of past monuments to fuel new endeavors. Every phase of his career, every album he ever compiled, every song he ever composed, each was done by its own merits and not hoping the past would propel him to another success. This show, and its corresponding release, is no different – “Music for Silents,” both a static album or a living performance, is a new step into a future that has not been charted out. It would not surprise me to see more artists start to perform in this format, as Severin has always had the power to influence his peers. And as history is starting to show, he can even influence future generations into a new mindset about how to approach music.
Mosey on down to his MySpace page and get more information on the following live dates. Make the investment; the show will blow you away.
18 October 2009 – Rome, Italy
11 November 2009 – Los Angeles, CA USA
13 November 2009 – Olympia, WA USA
18 November 2009 – Los Angeles, CA USA
Set List
1. The Seashell and the Clergyman
[Intermission]
2. InLoop
3. The Bad Dropper
4. Mercury Gash
5. Figure in Movement
6. Third Bride
7. OutLoop
Keep up with Steven Severin at his homepage and MySpace. Read more ...
21 August 2009
Friendly Fires Live
Last week I headed out to Williamsburg, Brooklyn (one of my favorite neighborhoods in the world) to go see Friendly Fires. It was a night of technical horrors. My camera would not work, my cell phone was acting wacky, and I just decided it was a sign to just sit back and enjoy the show instead of reviewing it. But one of my friends, let’s call her Little Sister, who was there with me, decided that I needed a review up here… so she wrote it.
Enjoy this review by Little Sister.
The other night (13 August 2009), SDM, a few friends, and I walked the streets of Williamsburg, Brooklyn, of course spending time walking around looking at some eye-candy, having some of the best pizza in NYC (Bedford and 6th, check it out), and did some shopping while we were at it. We may have been chatting about everything and anything, but nothing kept me from thinking about the excitement of seeing Friendly Fires live. Their self-titled debut album is one of those few albums I can listen to from beginning to end. As we reached the Williamsburg Music Hall, you could hear the soundcheck going on and Friendly Fires playing “Lovesick.” Instantly, though they are Brits, I knew this was going to be a New York style show, ending with a bang. My only regret of the evening was that we all seemed to have some technical issues with our cameras.
The opening act was the XX, which early on played their single “Crystalised.” An interesting band that does not have drummer, but a “percussionist” playing beats off a drum machine pad. As they sang and shyly looked at the floor, they immediately reminded me of shoegazing. Though their album was not out yet and people were not completely familiar with them, it sort of struck me as a bit rude that people at the front of the stage were holding a conversation while they were playing. I have to admit, though, I was a bit distracted at a point, as Edd Gibson (guitarist, vocals) passed right next to me, while another one of my friends was excited about being up-close to Jack Savidge (drums). By the time the XX were done playing, the venue was packed – a testament that Friendly Fires is starting to get some recognition and air play, even if it is via licensing.
Clip of the XX performing "Crystalised"
When Friendly Fires hit the stage, everyone came running and rushing like a heard of cattle, and the atmosphere changed from heavy with anticipation to excitement – from dull to fluorescent. They kicked off with “Lovesick,” and any bad events of the day were instantly forgotten when they jumped into “Jump in the Pool,” as everyone sung along: “I push out, I breathe in, a stillness turning away; don’t look back, don’t pretend we’ll never take control again. And before that we own the horizon; am I the only one that remains? The fear is failing away.” And when the cowbell and drums kicked in for “Paris,” I fell in love with this band again.
The crowd really lost it when Friendly Fires played “Skeleton Boy”: people were jumping, dancing, and screaming out the lyrics. “Intense” is the only word that comes to mind. But the crowd was pretty intense throughout the entire show, just very overwhelming in a good way at some parts. Everyone was enjoying themselves and dancing about, and if you needed to steal any moves from anyone, Ed Macfarlane (vocalist) was the man to look at – switching from Brazilian Samba dancer to lost indie rocker stumbling about, you couldn’t help but get into his groove. Ed was not the only one rocking and jumping, Edd Gibson is not a passive musician standing on the stage – it is obvious he was feeling every moment of the show and he strummed and picked away at his guitars. And then there is Jack Savidge, who typically was behind the drums (other than for the beginning of “On Board”); he is easily the drummer of the year.
Other highlights were the performance of “Kiss of Life” (a perfect description of what it feels like to see them live) from their upcoming sophomore album. Of course the crowd went crazy for “Skeleton Boy,” but one fan during “Paris” jumped on stage. She was in the safe zone until she pushed into Edd Gibson; Ed Macfarlane must have felt that she could ruin the performance at that point and tried to push her off the stage to no avail. Security had to remove her, and then the set came to an end. When they emerged again for the encore, Macfarlane admitted to the crowd that he felt bad for having to push her off the stage, and to show his sincere remorse he invited the crowd to dance on the stage during the encore song – “Ex Lover.” Though security at first did not allow people on the stage, by the end of the song it was jam-packed! And you realized something about this band by the end of the show: these are real guys, having fun, who happen to be talented musicians, not bullshit created by a producer for your entertainment. Viva Friendly Fires!
Set List:
1. Lovesick
2. Jump in the Pool
3. Skeleton Boy
4. In the Hospital
5. White Diamonds
6. Strobe
7. Kiss of Life
8. Photobooth
9. On Board
10. Paris
11. Ex Lover Read more ...
Enjoy this review by Little Sister.
The other night (13 August 2009), SDM, a few friends, and I walked the streets of Williamsburg, Brooklyn, of course spending time walking around looking at some eye-candy, having some of the best pizza in NYC (Bedford and 6th, check it out), and did some shopping while we were at it. We may have been chatting about everything and anything, but nothing kept me from thinking about the excitement of seeing Friendly Fires live. Their self-titled debut album is one of those few albums I can listen to from beginning to end. As we reached the Williamsburg Music Hall, you could hear the soundcheck going on and Friendly Fires playing “Lovesick.” Instantly, though they are Brits, I knew this was going to be a New York style show, ending with a bang. My only regret of the evening was that we all seemed to have some technical issues with our cameras.
The opening act was the XX, which early on played their single “Crystalised.” An interesting band that does not have drummer, but a “percussionist” playing beats off a drum machine pad. As they sang and shyly looked at the floor, they immediately reminded me of shoegazing. Though their album was not out yet and people were not completely familiar with them, it sort of struck me as a bit rude that people at the front of the stage were holding a conversation while they were playing. I have to admit, though, I was a bit distracted at a point, as Edd Gibson (guitarist, vocals) passed right next to me, while another one of my friends was excited about being up-close to Jack Savidge (drums). By the time the XX were done playing, the venue was packed – a testament that Friendly Fires is starting to get some recognition and air play, even if it is via licensing.
Clip of the XX performing "Crystalised"
When Friendly Fires hit the stage, everyone came running and rushing like a heard of cattle, and the atmosphere changed from heavy with anticipation to excitement – from dull to fluorescent. They kicked off with “Lovesick,” and any bad events of the day were instantly forgotten when they jumped into “Jump in the Pool,” as everyone sung along: “I push out, I breathe in, a stillness turning away; don’t look back, don’t pretend we’ll never take control again. And before that we own the horizon; am I the only one that remains? The fear is failing away.” And when the cowbell and drums kicked in for “Paris,” I fell in love with this band again.
Friendly Fires
The crowd really lost it when Friendly Fires played “Skeleton Boy”: people were jumping, dancing, and screaming out the lyrics. “Intense” is the only word that comes to mind. But the crowd was pretty intense throughout the entire show, just very overwhelming in a good way at some parts. Everyone was enjoying themselves and dancing about, and if you needed to steal any moves from anyone, Ed Macfarlane (vocalist) was the man to look at – switching from Brazilian Samba dancer to lost indie rocker stumbling about, you couldn’t help but get into his groove. Ed was not the only one rocking and jumping, Edd Gibson is not a passive musician standing on the stage – it is obvious he was feeling every moment of the show and he strummed and picked away at his guitars. And then there is Jack Savidge, who typically was behind the drums (other than for the beginning of “On Board”); he is easily the drummer of the year.
Other highlights were the performance of “Kiss of Life” (a perfect description of what it feels like to see them live) from their upcoming sophomore album. Of course the crowd went crazy for “Skeleton Boy,” but one fan during “Paris” jumped on stage. She was in the safe zone until she pushed into Edd Gibson; Ed Macfarlane must have felt that she could ruin the performance at that point and tried to push her off the stage to no avail. Security had to remove her, and then the set came to an end. When they emerged again for the encore, Macfarlane admitted to the crowd that he felt bad for having to push her off the stage, and to show his sincere remorse he invited the crowd to dance on the stage during the encore song – “Ex Lover.” Though security at first did not allow people on the stage, by the end of the song it was jam-packed! And you realized something about this band by the end of the show: these are real guys, having fun, who happen to be talented musicians, not bullshit created by a producer for your entertainment. Viva Friendly Fires!
Set List:
1. Lovesick
2. Jump in the Pool
3. Skeleton Boy
4. In the Hospital
5. White Diamonds
6. Strobe
7. Kiss of Life
8. Photobooth
9. On Board
10. Paris
11. Ex Lover Read more ...
07 August 2009
Tour of the Universe - Depeche Mode Live
Longevity is something that is difficult to achieve in the music industry, especially under just one moniker. It is rare that bands survive the seven-year-hitch, let alone continue to produce relevant music after twenty-eight years, but Depeche Mode has done just that. Though I have been critical of their recent music, the reality is that they continue to run circles around most of the industry, and in the live realm there is no exception to this rule. What did I expect before the show? Extended songs, an amazing front man, and a visual show that would wow me away. So I made my way to Madison Square Garden, for the Tour of the Universe, and up the escalators to the nose bleed section (never will I allow a certain someone to get my tickets again), and braced myself for the show.
Peter, Bjorn and John opened the show. Out of Stockholm, I was pleasantly surprised that they were the opening act; five albums into their career, the reality is that they have not broken into the American market in any serious way – which is a pity! As their moniker was projected on the side screens, they comfortably came on the stage; they delivered their own brand of indie rock, with a set highlighted by their 2006 single “Young Folks.” And though they had some audio problem with feedback, they never lost their composure and continued to perform as the techs handled the problem. Overall a solid set and a smart move by the band to tour with Depeche Mode and get the exposure they deserve.
Then Depeche Mode hit the stage to the roar of the crowd, going right into three new songs, including the lead single of “Sounds of the Universe,” “Wrong.” As to be expected, the first half of the set would be heavy with new music (five songs from “Sounds of the Universe”), leaving the classics and the unexpected (yes the unexpected for DM) for the end of the set and encores. David Gahan (vocalist) was in full form. He easily dismissed any rumor that he was not in full form after emergency surgery. Not only was he in full form, Gahan proves he is by far the best front man out there at the moment – dare I say the heir apparent of Freddie Mercury.
Along side of David Gahan was by Martin L. Gore (guitar, vocals, keyboards), as Andy Fletcher (keyboards) straddled his keyboards on right side of the stage. Also on the stage were Christian Eigner (drums) and Peter Gordeno (keyboards), while Kerry Hopwood (computers and programming) sat to the side of the stage. I remember the days of Depeche Mode being on a stage with keyboards and the occasional guitar – no drums and pure sequencing. Post “Songs of Faith and Devotion” (when Alan Wilder played some drums live), DM has favored a more “authentic” presence on the stage. “Authentic” in quotation marks because the show is still heavily sequenced – DM is an electronic band! (Here is the million-dollar question: if the show is sequenced, and computers cannot “hear” the drummer, who is really keeping time, Eigner or the computer?)
As many other major bands in this economic downturn, Depeche Mode’s stage was downsized much as it was during the Exciter Tour, but the level of quality was incredible. The stage’s backside was a LED Screen, which had an LED sphere on the top center, peering out like an eye. From typing to distorted images of the band performing, to beautiful scenes to disturbing narratives, the images flashed from beginning to end. (Anton Corbijn filmed some of the images that were projected.) Combine incredible sound quality with breath taking visual elements, while Gahan keeps drawing you into the performance, DM always delivers a show that is memorable.
Some great highlights include “Walking in My Shoes” and “It’s No Good” back to back. The standards “A Question of Time” and “Never Let Me Down Again” made the set list again. Predictably the show was heavy on the “Violator” album, while “Songs of Faith and Devotion” offered up a few songs to the set.
Of course I have my set of criticisms, namely that there was not one song from the first three albums. But what made up for this were three big surprises in the two encores. The first encore included “Master and Servant,” a song that I never thought that Depeche Mode would perform again (and they kept the mid-section of “It’s a lot, it’s a lot” in the falsetto and baritone) and “Strangelove.” It may not have been as big as a surprise as “Master and Servant,” but it was definitely one of those moments when you thought it’s about time you played this jewel again. DM, though, has always concentrated on singles live, so when the final song rolled around, “Waiting for the Night,” the floor fell out from under me. Like their last tour, which ended with “Goodnight Lovers,” DM opted to end with a slow song. It was a disarming moment. You might have expected, even demanded, a ripping, fast-paced, in your face ending to a show, but what you got was a moment that felt personal, as both David Gahan and Martin L. Gore went up the catwalk together, and sung as if directly to the you.
I would not have minded a few more songs, even if it sacrificed some of the extended versions, but if that were to happen, it would not be Depeche Mode on the stage. As always, they delivered a top quality show – I cannot remember ever being disappointed by a DM show, and I have seen them quite a few times. If the tour is about to roll into your town and you have not decided on going or not, try to get tickets immediately. And if they are about to go on sale, log onto your ticket vendor and get those tickets. Of all the “large” bands touring at the moment, DM is the only one that has done things their way all of the time. DM is the only one that has had the integrity not to try to write the “greatest” album of all time – they have never sold out musicianship to commercialism. Instead they continue to concern themselves with craftsmanship and artistry. And after twenty-eight years, Depeche Mode proved to me once again why they are one of the world’s largest bands, why they have survived the test of time, and why you will find it difficult to find another band that can deliver as consistently as they do.
Set List:
1. In Chains
2. Wrong
3. Hole to Feed
4. Walking in My Shoes
5. It’s No Good
6. A Question of Time
7. Precious
8. Fly on the Windscreen
9. Little Soul
10. Home
11. Come Back
12. Policy of Truth
13. In Your Room
14. I Feel You
15. Enjoy the Silence
16. Never Let Me Down Again
17. Stripped
18. Master and Servant
19. Strangelove
20. Personal Jesus
21. Waiting for the Night
Here are some video clips from the show: “Wrong,” “Walking in My Shoes,” “Precious,” “Never Let Me Down Again,” “Personal Jesus,” and “Waiting for the Night.”
Read more ...
Peter, Bjorn and John opened the show. Out of Stockholm, I was pleasantly surprised that they were the opening act; five albums into their career, the reality is that they have not broken into the American market in any serious way – which is a pity! As their moniker was projected on the side screens, they comfortably came on the stage; they delivered their own brand of indie rock, with a set highlighted by their 2006 single “Young Folks.” And though they had some audio problem with feedback, they never lost their composure and continued to perform as the techs handled the problem. Overall a solid set and a smart move by the band to tour with Depeche Mode and get the exposure they deserve.
Peter Bjorn and John performing "Young Folks"
Then Depeche Mode hit the stage to the roar of the crowd, going right into three new songs, including the lead single of “Sounds of the Universe,” “Wrong.” As to be expected, the first half of the set would be heavy with new music (five songs from “Sounds of the Universe”), leaving the classics and the unexpected (yes the unexpected for DM) for the end of the set and encores. David Gahan (vocalist) was in full form. He easily dismissed any rumor that he was not in full form after emergency surgery. Not only was he in full form, Gahan proves he is by far the best front man out there at the moment – dare I say the heir apparent of Freddie Mercury.
Along side of David Gahan was by Martin L. Gore (guitar, vocals, keyboards), as Andy Fletcher (keyboards) straddled his keyboards on right side of the stage. Also on the stage were Christian Eigner (drums) and Peter Gordeno (keyboards), while Kerry Hopwood (computers and programming) sat to the side of the stage. I remember the days of Depeche Mode being on a stage with keyboards and the occasional guitar – no drums and pure sequencing. Post “Songs of Faith and Devotion” (when Alan Wilder played some drums live), DM has favored a more “authentic” presence on the stage. “Authentic” in quotation marks because the show is still heavily sequenced – DM is an electronic band! (Here is the million-dollar question: if the show is sequenced, and computers cannot “hear” the drummer, who is really keeping time, Eigner or the computer?)
As many other major bands in this economic downturn, Depeche Mode’s stage was downsized much as it was during the Exciter Tour, but the level of quality was incredible. The stage’s backside was a LED Screen, which had an LED sphere on the top center, peering out like an eye. From typing to distorted images of the band performing, to beautiful scenes to disturbing narratives, the images flashed from beginning to end. (Anton Corbijn filmed some of the images that were projected.) Combine incredible sound quality with breath taking visual elements, while Gahan keeps drawing you into the performance, DM always delivers a show that is memorable.
Some great highlights include “Walking in My Shoes” and “It’s No Good” back to back. The standards “A Question of Time” and “Never Let Me Down Again” made the set list again. Predictably the show was heavy on the “Violator” album, while “Songs of Faith and Devotion” offered up a few songs to the set.
Of course I have my set of criticisms, namely that there was not one song from the first three albums. But what made up for this were three big surprises in the two encores. The first encore included “Master and Servant,” a song that I never thought that Depeche Mode would perform again (and they kept the mid-section of “It’s a lot, it’s a lot” in the falsetto and baritone) and “Strangelove.” It may not have been as big as a surprise as “Master and Servant,” but it was definitely one of those moments when you thought it’s about time you played this jewel again. DM, though, has always concentrated on singles live, so when the final song rolled around, “Waiting for the Night,” the floor fell out from under me. Like their last tour, which ended with “Goodnight Lovers,” DM opted to end with a slow song. It was a disarming moment. You might have expected, even demanded, a ripping, fast-paced, in your face ending to a show, but what you got was a moment that felt personal, as both David Gahan and Martin L. Gore went up the catwalk together, and sung as if directly to the you.
I would not have minded a few more songs, even if it sacrificed some of the extended versions, but if that were to happen, it would not be Depeche Mode on the stage. As always, they delivered a top quality show – I cannot remember ever being disappointed by a DM show, and I have seen them quite a few times. If the tour is about to roll into your town and you have not decided on going or not, try to get tickets immediately. And if they are about to go on sale, log onto your ticket vendor and get those tickets. Of all the “large” bands touring at the moment, DM is the only one that has done things their way all of the time. DM is the only one that has had the integrity not to try to write the “greatest” album of all time – they have never sold out musicianship to commercialism. Instead they continue to concern themselves with craftsmanship and artistry. And after twenty-eight years, Depeche Mode proved to me once again why they are one of the world’s largest bands, why they have survived the test of time, and why you will find it difficult to find another band that can deliver as consistently as they do.
Set List:
1. In Chains
2. Wrong
3. Hole to Feed
4. Walking in My Shoes
5. It’s No Good
6. A Question of Time
7. Precious
8. Fly on the Windscreen
9. Little Soul
10. Home
11. Come Back
12. Policy of Truth
13. In Your Room
14. I Feel You
15. Enjoy the Silence
16. Never Let Me Down Again
17. Stripped
18. Master and Servant
19. Strangelove
20. Personal Jesus
21. Waiting for the Night
Here are some video clips from the show: “Wrong,” “Walking in My Shoes,” “Precious,” “Never Let Me Down Again,” “Personal Jesus,” and “Waiting for the Night.”
Read more ...
29 May 2009
Keane Live
27 May 2009, Radio City Music Hall, Keane live. This was not one of my most anticipated shows of the year, but it did turn out to be the best show of the year, thus far. I will venture to say, it has been the best show that I have been to in past few years. Considering that I have seen the like of the Cure, Depeche Mode, Nine Inch Nails, Annie Lennox, Placebo, and Muse over the past few years, veterans who have mastered the stage, Keane proved that the years on the road have taught them how to put a set together and how to deliver a high energy performance, while establishing a rapport with their audience.
Keane had two opening acts this evening: Helio Sequence (MySpace) and Mat Kearney (homepage). Helio Sequence delivered a strong, captivating performance, which started shortly after doors opened at seven. Supporting their fourth album (“Keep Your Eyes Ahead” (2008)), what is impressive about this band is that Brandon Summers (vocalist) lost his voice and damaged his vocal chords before the release of their latest album. This duo never skipped a beat, and really continues a tradition of strong indie music from Portland that the Dandy Warhols helped established in the 90s. Mat Kearney played a tight and safe set, ending with his biggest single: “Nothing Left to Lose.” I would have loved to see him shake things up a bit more, but nevertheless, like Helio Sequence, he and his band never skipped a beat, and paved the road nicely for Keane to come on stage.
9:01 pm, the lights went out and the intro track began, and then Keane hit the stage with “The Lovers Are Losing.” If that was not a major way of starting the show, the following songs ensured the audience stayed on their feet: “Everybody’s Changing,” “Bend and Break,” and “We Might as Well Be Strangers.” What struck me about the set was how intelligent the selections were. Keane, due to personal turmoil, was not able to tour their sophomore effort (“Under the Iron Sea”) extensively in the US, and hence the set list did not concentrate on the second album. Instead, Keane went for the songs that the audience would know from their debut album (“Hopes and Fears”) and their current album, “Perfect Symmetry.”
A great treat was Tom Chaplin (lead vocalist) performing “Playing Alone” solo on an acoustic guitar. I have stated more than once that I think that Tom Chaplin is the best male vocalist out there; he demonstrated the complete control of his voice, the talent to truly emote emotions, and the ability to sell his lyrics with conviction that is believable and, quite often, endearing. I was at the show with my favorite Aussie (“Belladona”), and she said the right word to describe him as a vocalist: stamina. He has the stamina to deliver: from beginning to end (at 10:40 pm) the quality of this voice stayed consistent. There was never a hint of his being tired or the voice getting thin. (On a side note, I think that Chaplin might be scared of heights. Most singers wandering around the stage at Radio City Music Hall will eventually climb the stairs on either side all the way to the top. Chaplin never got to beyond the second level, quite often crouching. Makes you wonder how comfortable he was with getting on the side steps.) But it was not only Chaplin that was on the money; the same can be said of the rest of the band.
Tim Rice-Oxley, keyboardist extraordinary, was the most energetic keyboardist I have witness in my life. Where as so many other keyboards are stationary, he trashed his head, marched in place with his legs much like a trash guitarist. (Keane performed “Early Winter,” a song that Rice-Oxley wrote for Gwen Stefani.) By contrast, Richard Hughes has to be the most composed drummer I have seen in years. Like a classic jazz drummer, nothing seems to faze him while on stage; there are no distractions, and even while singing, he continues to deliver some of the most intricate drumming. Jesse Quin joined the band on bass, keys, and percussion. Though considered by many the fourth member of the Keane, Keane officially remains a trio.
The final song of the first encore was “Bedshaped,” my favorite Keane song till date. Literally, the term “bedshaped” means drunk, very drunk. But according to the band, it is an allusion to the imagery of having been in a bed for a long time, as if hospitalized, when the body takes on the shape of the bed, signifying a level of weakness and fragility. Like the comfort one finds in the complacency of friendship or a love affair, after years when nurturing no longer exists, it eventually withers and breaks, but there always remains that hope that it will come back. Lyrically, it is rhetorically haunting and even more powerful live: “What do I know? What do I know? I know.” That simple defiance, that simple answer, “I know,” inspires the listener to remember those moments when we know more than others think, but yet it is to no avail. Amazing about the performance of this song, which shows that little details matter to Keane, was the light show. When the word “sun” (in the chorus) is spoken, the lights turned yellow, but revert to white when Chaplin sings, “white lights.” But what blew me away was the second cover, the final song, of the night. Out comes Keane for a second encore, second cover, Queen’s “Under Pressure.” Both covers (the first “The River” by Springstein used as an intro to “You Haven’t Told Me Anything”) were impressive choices, because these are not songs (or artists) that one would consider are inspirational to Keane.
Keane is slated later in the year to be in Canada, and one can hope that they will storm through New York City again (hint guys if you are reading).
Set List:
1. The Lovers Are Losing
2. Everybody’s Changing
3. Bend and Break
4. We Might as Well Be Strangers
5. Again and Again
6. This Is the Last Time
7. Spiralling
8. Playing Along (Tom on acoustic guitar)
9. Try Again
10. Early Winter
11. The River (Bruce Springsteen Cover) / You Haven’t Told Me Anything – Medley
12. Leaving So Soon
13 You Don’t See Me
14. Perfect Symmetry
15. Somewhere Only We Know
16. Crystal Ball
17. My Shadow
18. Is It Any Wonder?
19. Bedshaped
20. Under Pressure (Queen Cover)
Keep up with Keane at the homepage, MySpace, Facebook, and Twitter.
Enjoy the clips from the show:
"The Lovers Are Losing"
"Perfect Symmetry"
"Somewhere Only We Know"
"Crystal Ball"
"Bedshaped"
"Under Pressure" (Queen Cover)
Read more ...
Keane had two opening acts this evening: Helio Sequence (MySpace) and Mat Kearney (homepage). Helio Sequence delivered a strong, captivating performance, which started shortly after doors opened at seven. Supporting their fourth album (“Keep Your Eyes Ahead” (2008)), what is impressive about this band is that Brandon Summers (vocalist) lost his voice and damaged his vocal chords before the release of their latest album. This duo never skipped a beat, and really continues a tradition of strong indie music from Portland that the Dandy Warhols helped established in the 90s. Mat Kearney played a tight and safe set, ending with his biggest single: “Nothing Left to Lose.” I would have loved to see him shake things up a bit more, but nevertheless, like Helio Sequence, he and his band never skipped a beat, and paved the road nicely for Keane to come on stage.
9:01 pm, the lights went out and the intro track began, and then Keane hit the stage with “The Lovers Are Losing.” If that was not a major way of starting the show, the following songs ensured the audience stayed on their feet: “Everybody’s Changing,” “Bend and Break,” and “We Might as Well Be Strangers.” What struck me about the set was how intelligent the selections were. Keane, due to personal turmoil, was not able to tour their sophomore effort (“Under the Iron Sea”) extensively in the US, and hence the set list did not concentrate on the second album. Instead, Keane went for the songs that the audience would know from their debut album (“Hopes and Fears”) and their current album, “Perfect Symmetry.”
A great treat was Tom Chaplin (lead vocalist) performing “Playing Alone” solo on an acoustic guitar. I have stated more than once that I think that Tom Chaplin is the best male vocalist out there; he demonstrated the complete control of his voice, the talent to truly emote emotions, and the ability to sell his lyrics with conviction that is believable and, quite often, endearing. I was at the show with my favorite Aussie (“Belladona”), and she said the right word to describe him as a vocalist: stamina. He has the stamina to deliver: from beginning to end (at 10:40 pm) the quality of this voice stayed consistent. There was never a hint of his being tired or the voice getting thin. (On a side note, I think that Chaplin might be scared of heights. Most singers wandering around the stage at Radio City Music Hall will eventually climb the stairs on either side all the way to the top. Chaplin never got to beyond the second level, quite often crouching. Makes you wonder how comfortable he was with getting on the side steps.) But it was not only Chaplin that was on the money; the same can be said of the rest of the band.
Tim Rice-Oxley, keyboardist extraordinary, was the most energetic keyboardist I have witness in my life. Where as so many other keyboards are stationary, he trashed his head, marched in place with his legs much like a trash guitarist. (Keane performed “Early Winter,” a song that Rice-Oxley wrote for Gwen Stefani.) By contrast, Richard Hughes has to be the most composed drummer I have seen in years. Like a classic jazz drummer, nothing seems to faze him while on stage; there are no distractions, and even while singing, he continues to deliver some of the most intricate drumming. Jesse Quin joined the band on bass, keys, and percussion. Though considered by many the fourth member of the Keane, Keane officially remains a trio.
The final song of the first encore was “Bedshaped,” my favorite Keane song till date. Literally, the term “bedshaped” means drunk, very drunk. But according to the band, it is an allusion to the imagery of having been in a bed for a long time, as if hospitalized, when the body takes on the shape of the bed, signifying a level of weakness and fragility. Like the comfort one finds in the complacency of friendship or a love affair, after years when nurturing no longer exists, it eventually withers and breaks, but there always remains that hope that it will come back. Lyrically, it is rhetorically haunting and even more powerful live: “What do I know? What do I know? I know.” That simple defiance, that simple answer, “I know,” inspires the listener to remember those moments when we know more than others think, but yet it is to no avail. Amazing about the performance of this song, which shows that little details matter to Keane, was the light show. When the word “sun” (in the chorus) is spoken, the lights turned yellow, but revert to white when Chaplin sings, “white lights.” But what blew me away was the second cover, the final song, of the night. Out comes Keane for a second encore, second cover, Queen’s “Under Pressure.” Both covers (the first “The River” by Springstein used as an intro to “You Haven’t Told Me Anything”) were impressive choices, because these are not songs (or artists) that one would consider are inspirational to Keane.
Keane is slated later in the year to be in Canada, and one can hope that they will storm through New York City again (hint guys if you are reading).
Set List:
1. The Lovers Are Losing
2. Everybody’s Changing
3. Bend and Break
4. We Might as Well Be Strangers
5. Again and Again
6. This Is the Last Time
7. Spiralling
8. Playing Along (Tom on acoustic guitar)
9. Try Again
10. Early Winter
11. The River (Bruce Springsteen Cover) / You Haven’t Told Me Anything – Medley
12. Leaving So Soon
13 You Don’t See Me
14. Perfect Symmetry
15. Somewhere Only We Know
16. Crystal Ball
17. My Shadow
18. Is It Any Wonder?
19. Bedshaped
20. Under Pressure (Queen Cover)
Keep up with Keane at the homepage, MySpace, Facebook, and Twitter.
Enjoy the clips from the show:
"The Lovers Are Losing"
"Perfect Symmetry"
"Somewhere Only We Know"
"Crystal Ball"
"Bedshaped"
"Under Pressure" (Queen Cover)
Read more ...
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