Category: live

Nick Cave & The Bad Seeds announced North …

Nick Cave & The Bad Seeds announced North and South American tour dates

Nick Cave is heading off to North and South America with his band, the Bad Seeds. The band is currently on tour in support of their 2016 album ‘Skeleton Of Tree’. The tour starts on October 2nd in Mexico City and will finish off on October 28th in Toronto. In South America, the group will be visiting Chile, Argentina, Uruguay, and Brazil. The shows will be taking place in arena style venues, unlike their recent North American tour in which they played small theatres. Tickets for the North American shows will be going on sale on April 19th at 10:00 a.m. ET.  All the dates and more information can be found here. 

Tour Dates

October 2 – Mexico City, Mexico @ Pepsi Center WTC
October 5 – Santiago, Chile @ Teatro Caupolicán
October 8 – Montevideo, Uruguay @ Teatro de Verano
October 10 – Buenos Aires, Argentina @ Estadio Malvinas Argentinas
October 14 – São Paulo, Brazil @ Espaço das Américas
October 21 – Los Angeles, CA @ The Forum
October 25 – Washington DC @ The Anthem
October 26 – Brooklyn, NY @ Barclays Center
October 28 – Toronto, Canada @ Air Canada Centre 

Acid Dad visits the Pioneer in Indianapolis wi…

Acid Dad visits the Pioneer in Indianapolis with support from Chives and ABC Gum

Max Denari

In the grand scheme of artistic expression, yet specifically in the case of Rock and Roll, New York City has been a hub of experimentation, collaboration, and inspiration for artists new and old. Dating back to the 1950’s and the rise of the Greenwich Village Folk scene there has always been something about NYC that has either captivated or bred Rock musicians – as well as helped mold their voices and sounds, both musically and politically.

Fast forward about 20 years and Punk is bubbling up in the New York underground around lower Manhattan, specifically the artistic epicenter that is Greenwich Village and many other parts of the city. Punk Rock, in a historical sense, has certainly been one of the biggest cultural influences for musicians in New York and Brooklyn-based rockers Acid Dad are a modern look into such a testament.

Although, Acid Dad surely possess many other qualities and textures beyond just Punk Rock influence. Psychedelia, Blues, and Garage Rock seem to be ever present within this young band’s catalog of noise and coordinate well to produce slick, yet punchy rhythms.

Last Friday (March 30th) Acid Dad appeared in Indianapolis at the Pioneer in Fountain Square with support from Indianapolis-based band Chives and Bloomington-based group ABC Gum. Each band brought their respective energies to the stage and showed out for a true Rock and Roll show.

Chives, who have opened for the likes of King Gizzard and the Lizard Wizard and Mild High Club are expecting to release a new project later this year. They combine the zaniest elements of Psychedelic Rock – whilst still formulating catchy riffs and hooks. ABC Gum procure some quick Rock and Roll tunes with some of Indiana’s most prolific talent. Forming out of bands like The Cowboys, Purple 7 and the Dancing Cigarettes… one could say this is an Indiana super-group.

Overall, Acid Dad’s self-titled debut LP (released March 9th) certainly expanded on what the group brought to the table in 2016 with their “Let’s Plan a Robbery – EP”. With this new release, the band brought to life a fuller set of songs that shows just how far they have come in the last two years. This record surely proves how capable this group is and sets themselves on a positive pathway for continuous development in the future.

Make sure to check out Acid Dad’s raucous, distorted and vigorous debut record on all streaming services via Greenway Records.

30 degrees for MGMT

30 degrees for MGMT

Ryan Spera

March 20, 2018

The time is 3:30 the doors open at 7:00. I’m impatiently waiting in my house. Trying to decide what time to get there I spontaneously just leave. Walking 15 blocks to the Electric Factory I have time to listen to the first half of Little Dark Age. There is a nor’easter happening as well. I start to hear things I hadn’t heard over the last couple of listens. Things that got me excited. Like different synthesizer sounds; I am questioning whether or not they were real or if I had made them up. As snow falls softly soaking my unhooded hair I walk quickly to the venue.

Now it is 4:00 and there are about 10 people in line already. I decide it is too cold. So I get my ticket and walk to a brewery around the corner. A half an hour (plus a chicken sandwich) later, I decide it’s time to secure my place in line; which was 15th in line. Shaking my head. I mistakenly did not pee before I left the bar and am panicking in line. On the verge of peeing my pants for an hour and a half. You could image once the doors opened I was one of the first to the bathroom.

Anyways.

Skip the opener (who was very talented but a bit boring).

MGMT

In their prime. A new circa. Something… Medieval.

I had seen them three times before, one thing was different this time. WHERES MATT?! Just kidding.

Simon is a warm and goofy welcome to the live show. Wearing an all red suit with a Philly Boy Roy shirt, and a red beret.

The shows starts with James playing a beautiful melody on the “Harpsichord”. Andrew, Ben, Will, and Simon come out after a deep synthesizer note is hit. The stage has a few plants and two Doric pillars surrounding a rectangular screen. It is strange even for MGMT. But it fits well. The sound is beautifully executed, I did not notice any hiccups.

I sat myself above the crowd between two women, one was a mom the other was Amanda. The mom (unfortunately I did not get her name) and I watched her son smoke pot from a vape the whole night and laughed at him, one of the highlights of my night. The woman Amanda was seeing the band for the first time. When they finished the first song Little Dark Age I turned to her and said “do you love them yet?” and she laughed.

She must have.

They played these songs https://www.setlist.fm/setlist/mgmt/2018/electric-factory-philadelphia-pa-7bef2e18.html

Watching Simon nail every note on Little Dark Age and watching Will play She Works Out Too Much so perfectly made the night. Expert musicians together making fine music.

I have always been a big fan of the 3 big ones. But this time I wish they had skipped over them. Their current catalog is far more amazing than those 3 songs. I understand they are crowd pleasers but the band is at the point to where those fans have gone. We want An Orphan of Fortune.

To my surprise, they ended on Brian Eno, a personal favorite. They changed the break down similar to the way Tame Impala broke down Elephant live.

It was fantastic.

The mixing and feeling of the night could not have been more surreal.

Unfortunately, I was a bit tipsy by the end of the show and didn’t get Amanda’s number

Oh well.

(MGMT at the Electric Factory in Philadelphia, PA)

Lollapalooza Chile 2018

Lollapalooza Chile 2018

Camilo Ponce 

Puede sonar exagerado, pero podemos hablar de que el festival Lollapalooza ya está consagrado en Chile. Es una de las fechas más esperadas del año para quienes gustan de la música y las artes. Es tanto el impacto, que durante los días de duración del festival, cuenta con toda la disposición de la ciudad de Santiago para facilitar el acceso al Parque O’higgins. Un recinto que ha albergado las 8 versiones de este festival, y un espacio privilegiado según todo quien lo visita. Con la magia de los multiples ambientes que posee, entre árboles y explanadas, sumado a un Arena dentro del parque, cerrado e ideal para la música electrónica, brinda una experiencia única.

Para este año se programaron 3 días de shows, sincronizados en las fechas con su versión en Argentina. En un comienzo parecía complicado, pues al sábado y domingo se le agregó el viernes, día en el que la mayoría de la ciudad trabaja. Pero esto no fue impedimento, ya que el mismo viernes, a las 16:00 hrs. una cantidad de gente considerable esperaba y llenaba las verdes areas del parque con sus poleras de Pearl Jam. Eran ellos, los oriundos de Seattle liderados por Eddie Vedder, los headliners encargados de cerrar el primer día.

Con un lineup de lujo, entre Red Hot Chili Peppers, The Killers, Imagine Dragons, Lana del Rey, Liam Gallagher y Wiz Khalifa, entre otros, pasando por algunos nombres que jamás habían pisado tierras chilenas, como es el caso de Chance the Rapper, o Anderson .Paak, el festival repartió entre los 3 días la gran paleta de músicos con la que contaba a su disposición de una forma bastante inteligente, dejando números interesantes en todos los días. Una experiencia de festival que el mismo Lolla ha enseñado en cada versión a sus asistentes: vitrinear entre lo que sonó, y suena hoy en día.  

Las polémicas no estuvieron aparte. Debido a las malas condiciones del clima en Argentina (que incluso causaron la suspensión del festival en dicho país para el día domingo), algunos equipos de ciertas bandas no pudieron ser trasladados a Chile. Esto generó un re-ajuste en todos los horarios y escenarios del día sábado y domingo. Sin embargo, la producción logró sobrellevar todos los contratiempos de buena forma. Incluso, el más polémico de todos, y que tuvo como protagonista al menor de los hermanos Gallagher, Liam. El ex Oasis quién al igual como lo hizo en la versión del mismo festival en Chicago, 2017, abandonó abruptamente el escenario, argumentando una enfermedad y excusándose por no seguir con su show. Este incendio, lo terminó apagando The Killers, uno de los artistas más esperados y quienes liderados por Brandon Boyd, interpretaron “Wonderwall”, hit de los Gallagher y que logró consolar a muchos, dejando con una sensación mucho más dulce que amarga del último día. Ellos, junto al rapero Wiz Khalifa, fueron los encargados de cerrar la jornada, y la versión 2018, con más expectativas y la certeza de que Lollapalooza ya pasó a ser parte de la cultura chilena.  

Chappell Roan at Hoosier Dome in Indianapolis,…

Chappell Roan at Hoosier Dome in Indianapolis, IN with Declan McKenna

Max Denari 

Music is something that is constantly developing itself. Genres combining, fusing, altering themselves within one another. To a point where there appears to be nothing to purely define what one is listening to. Many people combine those ever-moving elements into pop music mentalities.

Chappell Roan is a physical representation of all of that. Through her School Nights – EP  she lays herself out with honesty. It becomes increasingly apparent (on this EP) how refined her voice is and how she pours out emotion from every word that escapes her lips. The young singer-songwriter crafts all of her songs with the acuteness of a veteran. Explaining things we all tend to go through but… in such heavy, descriptive and gut-wrenching ways. Surrounding her vocals with beautiful guitar work and piano melodies, which provides such deep, extravagant emotive qualities to her songs. Her EP is 18 minutes and 6 songs of melancholic pop at its most vulnerable.

Chappell has most recently been touring around with Declan McKenna on his current US tour. I had the privilege of being present for Declan’s stop in Indianapolis and catching Chappell live the other week (March 6th) at the Hoosier Dome. Much of what makes Chappell’s recorded material so enthralling was still ever present within her live performance. Her two bandmates contributed percussion and guitar, whilst she bellowed and crooned into the microphone for each song. Her setlist comprised mainly of recorded material from her EP and a few singles. She did pull out an unreleased tune, which she performed without the help of her bandmates and stated: “this song may never be released”. It was an emotionally challenging listen and surely difficult for the songstress as well. Though, it was brilliantly done. All of this giving testament to the kind of artist Chappell is already – mature and ready to lay it all out for the sake of her passion. Whether that be the beauty or the ugly.

To top off Chappell’s set in Indianapolis, she performed a rendition of Dreams by The Cranberries. Her vocals were spot on and reminiscent of Dolores O’Riordan herself. Such a performance only confirmed what I had been thinking the entire time, “This girl can SING”.

Chappell’s talents are gleaming. Atlantic Records are lucky to have such a young, yet refined talent within their catalog of recording artists. I look forward to her debut full-length LP.

The Killers: an electrifying performance in a …

The Killers: an electrifying performance in a disappointing venue 

The Killers @ Place Bell in Montreal, CA on January 6th, 2018

Allison Buffam Photo: Rob Loud

In a tweet to follow the show in Laval, Quebec, The Killers commented on how the crowd was electric, but the venue was not. The crowd was indeed electric and kept the show going when the technical issues came quickly. It didn’t stop the band from performing, though, and in fact, with their perseverance, the show was one of their best.

The Killers are currently on their North American tour, promoting their newest album ‘Wonderful Wonderful’, and the concert definitely lived up to the title. Their setlist was almost electrifying and performance was one that would cause other bands to be jealous. A setlist full from their debut album, ‘Hot Fuss’, reaching up to their newest release as well with a cover of Arcade Fire’s ‘Crown Of Love’, the show was enough to send fans out pumped up with adrenaline. Lead singer, Brandon Flowers commenting on how Evel Knievel said, “People don’t want to see the perfect landing; they come to see the attempt”. And what happened on Saturday, January 6th, was definitely an attempt.

Fans were treated to a performance after waiting in temperatures around -40 Celsius for roughly an hour, only to have technical issues occur within the first song. Within the first forty seconds of ‘Run for Cover’, the power to the microphones and amplifiers were cut. Flowers tried to reassure the audience that the venue was new and that they could keep trying but they have to keep the power on. The power stayed on after that until they reached the half of the first song for the encore, ‘The Calling’. Flowers fell to his knees in annoyance, remarking when the power came back on that he “can’t lean into the light anymore” and Vannucci stood up, arms reached out asking a silent question to the technicians in control of the sound: Why? The venue was unorganized, unprepared for the mass amount of fans waiting to see The Killers perform. Flowers even apologized to fans of having to wait.

Evenko and Place Bell are both receiving negative feedback from the concert. Only Place Bell released a statement regarding the problems that occurred during the concert, still no update from Enenko.

Technical and venue issues aside, the concert was one to remember. The crowd gave the band motivation to carry on. The screens displaying graphics suiting their setlist. ‘Human’ had a heart pump throughout the song while the side displays had ARE WE HUMAN OR ARE WE DANCERS in a coding terminal. The visual experience suited the band, giving them a suitable backdrop. Confetti was shot out into the audience twice: once during ‘The Man’ and once during ‘All These Things I’ve Done’. Sparks lit up the stage during the second last song of the night, ‘When You Were Young’ and Flowers changed outfits during the break before the encore started, coming out in a gold suit that sparkled. The impression that was given off was a warm and inviting one, bringing freezing attendees to fabulous Las Vegas for just a few hours. Flowers dancing when he wasn’t at the keyboard. When they announced that they had to leave for Boston, the crowd erupted with booing only to have the band perform the song that got their career started, ‘Mr. Brightside’.

The songs performed from their new album were ‘The Man’, ‘Run for Cover’, ‘Rut’, ‘The Calling’ and my personal favorite: ‘Tyson vs Douglas’. If you were having doubts about the album or even if you didn’t like it as much as previous albums – this tour will change your mind. I loved ‘Wonderful Wonderful’ from the moment I heard it, but I couldn’t stand ‘The Calling’ until I heard it live. Woody Harrelson’s voice boomed in the arena and from the short time they played it until the power was dropped again, the attendees were in a groove. ‘A Dustland Fairytale’ was somber – couples dancing in the general admission area together. Lead guitarist for the tour Ted Sablay joined Flowers in covering Arcade Fire’s ‘Crown of Love’, the crowd sang quietly along. A short yet sweet cover with Flowers voice and Sablay’s strumming of the guitar. Sablay and bassist Jake Blanton performed in a way that if you closed your eyes, you could almost imagine Dave Keuning and Mark Stoermer on stage. Vannucci provided life when it was quiet, hitting a drum solo within the first twenty minutes of the concert, and told fans at the end of the concert that he loved them. It was their best performance even if the venue was the worst in eastern Canada. 

It was candid and genuine when ‘Smile Like You Mean It’, ‘Rut’ and ‘Runaways’ were performed, serving the audience an emotional journey. The setlist was laid out like a story, even – starting off with ‘Run for Cover’, the latest single to their first major hit, ‘Mr. Brightside’. It told a story of developing, of growing up. The emotion from the crowd was one of appreciation: that the show went on even against the odds. Songs from their older album such as ‘Jenny Was a Friend of Mine’, ‘Sam’s Town’, ‘Andy, You’re a Star’ and ‘Read My Mind’ were performed new yet carried a familiar element.

The band has a dynamic presence on the stage, commanding it in a way that newer bands crave. All the right moves were made. Even with the technical errors and the disorganized venue, this was a concert you couldn’t forget even if you tried. They ended the show by filling the audience with a real sense of plenitude, with a longing for youth. From the experience of an electric performance, it gained a particular strength and warmth through its uniqueness and difficulties. If you still haven’t seen them perform, do it now. Do it while you have the chance. Love with all your heart for a band that has so much heart, you wouldn’t believe it.

Cage the Elephant’s ‘unpeeled’ concert at Le Trabendo in…

Cage the Elephant’s ‘unpeeled’ concert at Le Trabendo in Paris 

Photos: Sharon Lopez

Leila Ricca 

October 24, 2017

Known for their energetic live performances characterized by spectacular crowd-surfs, lively festival sets, and sometimes eccentric looks, Cage the Elephant surprisingly maintained their live charisma within the intimacy and uniqueness of this exclusive acoustic show.

While in Paris to open for the Rolling Stones’ three stadium shows, the American rock band announced two special headlining dates: an electric show on the 18th of October and an acoustic one on the 24th. After Grammy-winning album Tell Me I’m Pretty, the group released ‘Unpeeled’, a live acoustic album featuring the band’s biggest hits and covers accompanied by string arrangements. These “unpeeled” versions come from various concerts from their USA tour, making this acoustic show in Paris an unprecedented and unique event.

“As you might have noticed, this show is a little different”, stated lead vocalist Matt Shultz after opening the concert with a touching and rich performance of ‘How Are You True’. The relatively small venue gathered an intimate and harmonious audience in front of a really small stage. Radically different to the Élysée Montmartre, a spacious venue with a vast stage where the band performed last January, Le Trabendo was unexpectedly well suited to this surprisingly intimate performance, with a powerful sound and a warm atmosphere. Matt Shultz established his stage presence in a striking way within this unusual setting. Refusing the static presence one could have expected from such a show, Shultz fully occupied the limited stage that was available to him, and used this rare closeness with the public to interact differently with it. Instead of giving this impression of being trapped – or should I say caged -, he managed to use the space limitation in order to further enhance the intimacy, but also occupied it fully with impressive dance moves and liveliness. It is no wonder that Cage the Elephant are opening for the Rolling Stones given the similarities between Shultz and Jagger: from movements, energy and presence to facial expressions and some vocals, the resemblance is remarkable.

Throughout the concert, the band managed to balance the intimacy provided by the setting or the acoustic resonances of the strings, and the powerful energy and liveliness that particularly distinguishes them. Shultz confused lyrics twice through the show, on Spiderhead and Whole Wide World (a cover of Wreckless Eric’s 1978 track), which would have been disappointing or irritating in another context. However, it only appeared as a touching secondary mistake, perhaps nearly as if the audience had been attending a rehearsal, or at least an imperfect and thus particularly human performance. Shultz himself jokingly said “I’m a real human being… surprise!” On both mistakes, the band restarted the song with an amused expression. There was a significant cohesion within the band members, from the traditional members to the string quartet. A notable revelation were the vocals of the keyboardist Matthan Minster on Instant Crush (cover of Daft Punk’s 2013 track), who seemed to painlessly reach high notes and harmoniously accompanied Shultz’ lines.

If there was this sense of harmony amongst the players, the public itself was extremely receptive, which created a real sense of union between the stage and the crowd. The audience fully chanted choruses on their most famous tracks such as ‘Cigarette Daydreams’ or the ending of ‘Shake Me Down’ but was also trusted to sing full verses on ‘Come a Little Closer’, reflecting the relationship of confidence between the audience and the band that seemed to emanate from the performance. In another way, the crowd also quieted considerably in more emotional and personal parts of the show, emphasizing this real emotional exchange that seems to have been silently established. While performing ‘Rubber Ball’, Shutlz tangled himself with the microphone in a very touching movement, and later asked members of the audience to help him “free” him at the end of the song, reflecting once more this sense of trust.

It wouldn’t be fair to mention this show without describing the particularly emotional encore. After a very long, rich and energetic concert, Shultz came back alone on stage with an acoustic guitar. Whilst thanking the audience, Shultz also asserted his identity as a human being: “while the performance is something that is real and is a reflection of who we are, there is a platform with some people on top of others, and it isn’t natural (…) we are all the same, we all do the same things in life”. With a paradoxically lighthearted solemnity, he read out a message from a fan before thanking the audience and proceeded to sing ‘Right Before My Eyes’ with outstanding sincerity and emotion. If Shultz uncovered some personal emotions through tracks like ‘Sweetie Little Jean’ or ‘Telescope’, he seems to have fully unveiled his vulnerability during this last part. The roughness of a sole acoustic guitar as opposed to the very rich instrumental part of the band’s tracks gave the encore an exceptional sense of self-exposure and sentiment. He also performed two new and seemingly personal songs in a perhaps even more genuine and candid way, during which the emotion enabled the audience to adopt a calm response in order to truly appreciate the moment.

This striking emotional component ended the show by filling the audience with a real sense of plenitude. If the concert strongly differed from the experience of an electric performance, it gained a particular strength and warmth through its uniqueness. The duality of the performance between touching parts and a dynamic presence allowed it to gain a complexity and an eclectic sound that few artists manage to pull off with such harmony and humanity, both concerning the physical performance itself and the band’s rich musical sound.

Big Thief live at the Park Theatre in Michigan Michaela StockThe…

Big Thief live at the Park Theatre in Michigan 

Michaela Stock

The sallow glow of yellow street lamps striped Adrianne Lenker’s defined cheekbones as we talked after her show in Holland, Michigan’s Park Theatre.  Adrianne’s band, Big Thief, had just finished their headlining set and were zipping around the venue’s back lot on skateboards.  I watched the rubber wheels steam off of the ninety-degree asphalt.  Adrianne’s eyes had an observant ambiance about them as if the transience of life on the road kept her mind rolling along with the van she traveled in.

Based in Brooklyn, New York, Big Thief is a dynamic indie rock band that consists of guitarist and vocalist Adrianne Lenker, bassist Max Oleartchik, and James Krivchenia.  Their fourth member, Buck Meek, was not present for their Park Theatre show.  The band was strangely plotted on stage, as Adrianne led on stage left, Max on bass took center, and James drummed on stage right.  It contradicted the typical drums-in-the-back and lead-in-the-front stage mix, adding instant intrigue and uniqueness to their set.

Big Thief played a gut-wrenching set that sank deep into intelligence and emotion.  Adrianne’s massive strums upon her f-holed electric, tasteful screams of angst, and the band’s cohesive, tight playing made the experience near spiritual.  Big Thief was musically complex yet conceptual.  It is no doubt that Lenker has a way with words.

Soft-spoken and a seeker of silence, Adrianne welcomed the spaces within conversation and shows.  She did not work to fill the quiet gaps of time while on stage.  When she tuned her electric, she noted her love of silence between her and the audience.  “Somehow, we’ve gotten really quick at tuning,” Adrianne said.  She then remarked something along the lines of, “I’ve missed these long pauses on stage with you.”  Even in her and my conversations before and after the show, she did not work to fill any silence that occurred between us. Adrianne carried herself in a way that was centered, within herself and within the quiet.  She was immaculately present in every moment.

Adrianne’s ability to appreciate the present permeated through her live show beyond tuning her guitar.  She was deeply in touch with how she was feeling during her set and was not afraid to share it the crowd.  When the crowd clapped for an encore, Adrianne returned to the stage, took the microphone without her guitar, and said that playing an extra song did not feel right to her at that time.  Her approach to declining the encore was not out of distain or snobbery but out of pure, present emotion.  I can speak for myself and others by saying that we all left the show with a deeper respect for Big Thief and Adrianne’s artistic genuineness.  

Photo Gallery: Coast Modern at the Echo in Los Angeles, CAJordan…

Photo Gallery: Coast Modern at the Echo in Los Angeles, CA

Jordan Dragjlovic 

October 9, 2017