Tag: New York City

Phoenix, Local Natives 6/3/17

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(i) lineup

1a. Local Natives
2b. Phoenix

(1a) (Local Natives) setlist

    1. Jellyfish
    2. Wide Eyes
    3. You and I
    4. Airplanes
    5. Colombia
    6. I Saw You Close Your Eyes
    7. Ultralight Beam (Kanye West cover)
    8. Past Lives
    9. Fountain of Youth
    10. Dark Days
    11. Who Knows, Who Cares
    12. Sun Hands

(1b) highlights

  • first time seeing Local Natives who I’ve casually enjoyed since around 2010 when they first hit the scene and man, they were great
  • unexpectedly surprised by not only their stage presence but ability to keep such intimate tracks feel lively and awake in a festival format
  • normally I get annoyed when lead singers decide to crowd surf solely for the sake of making a set suddenly more interesting, but when Taylor Rice came into the crowd twice during the set, it felt so deliberate and genuinely fun
  • their lighting and simply yet pretty stage production was beautiful; it perfectly set the scene for these fellow Angelenos
  • the sun setting around the time their set was ending, and the dust was picking up at their stage – it reminded me of my home in LA in the best way

(1c) lowlights

  • nothing comes to mind – they came out and did exactly what they needed to

(1d) overall thoughts

Local Natives popped up in my life when I was having a difficult time a little less than a decade ago. I always liked them even though they were a bunch of hipsters from Silver Lake. They had goofy mustaches and their music videos looked like Urban Outfitters, sure. But unlike the usual pack of hacks out there, Local Natives also had the tunes.

And after this performance, I realized that they have the presence and performing chops too. Taylor Rice and Kelcey Ayer take turns on lead vocals, guitar, and keyboards, harmonizing in that sweet spot of Beach Boys-inspired and pre-folk explosion that happened because of half-ass bands like Lumineers and Mumford and Sons. Local Natives’ songs are sweet and floaty and fit right in around the Coachella Valley, sure, but they have a lasting effect because they come from some place real. “You and I” practically floats across the stage and dances in the light, and is there a sweeter sunset-y singalong than “Who Knows, Who Cares”? You don’t want to miss these guys live.

 

Bottom line: To the uncultured eye, Local Natives might get lost in the sea of same-y folksy LA-transplants, but they’re so much more than that. Their stage presence, resonating harmonies, and purposeful guitar work really makes them memorable and standout.

 

(2a) (Phoenix’s) setlist

    1. Ti Amo
    2. Lasso
    3. Entertainment
    4. Lisztomania
    5. J-Boy
    6. Long Distance Call
    7. Fences
    8. Try To Be Cool / Drakkar Noir
    9. Lovelife
    10. S.O.S. In Bel Air
    11. Role Model
    12. Girlfriend
    13. Love Like A Sunset Part 1 / Bankrupt! / Love Like A Sunset Part 2
    14. If I Ever Feel Better / Funky Squaredance
    15. Armistice
    16. Rome
    17. Fior di Latte
    18. Meant
    19. 1901
    20. Ti Amo Di Piu

(2b) highlights

  • Phoenix!!!! Those dudes have such class, style, and grace – so damn French
  • yo, I don’t know if Warren Fu is the man responsible, but Phoenix have the dopest stage set-up I’ve seen in recently memory. A giant panel of mirrors is all you need for endless joy and entertainment
  • everyone in Phoenix feels so refined and older than their contemporaries, and I’m so into it
  • have you ever heard a band write so many catchy earworms that don’t make you wanna die? me either.
  • Love. Like. A. Sunset. enough said.

(2c) lowlights

  • they could’ve played for another hour and I would’ve been into it
  • the crowd could’ve and should’ve been bigger – I blame the fact that Childish Gambino was playing the opposite stage at the same time

(2d) overall thoughts

I first encountered Phoenix sometime in late 2005, early 2006. I undoubtedly saw their name in fine print somewhere in NME or Uncut or Mojo or Spin, and wrote their name down as a band to not forget. To me, they were always that “fun, French band,” and then somehow, just when I forgot about them, Wolfgang Amadeus Phoenix dropped into the world and every car commercial ever was never the same.

When Phoenix got huge, I had no idea how to respond. What happens when a bunch of older dudes finally hit it off with their fifth album? Luckily, Phoenix didn’t completely lose their minds and instead decided to put out pure joy with Ti Amo, and brought all that passion to the stage. Words can’t do their production justice; few bands can so easily meld sound, aesthetics, and production into such a complete package. You watch Phoenix perform one live song on their stage and you suddenly feel like you understand them as a band. New Order is another band that comes to mind that really nails this combination of performance and art, but no one’s doing it like Phoenix today.

There’s few things I respect more than when big bands headline at festivals and skip over the obvious tracks to play deep cuts and objectively “unsuitable” tracks. “Love Like A Sunset” doesn’t belong at any festival but a song never felt so appropriate for a summer night on Randall’s Island than that one. The reds, oranges, and yellows washed over the crowd in real-time and in the reflection of the giant mirror that framed the performers. Yeah, everyone danced when “Lisztomonia” started, but everyone felt when “Love Like A Sunset” hit like a sonic boom.

 

Bottom line: Phoenix are not only clearly impeccable songwriters, but they’ve manage to create the perfect marriage of sound, aesthetic, and art that elevates every performance to another place. Their contemporaries better recognize what Phoenix brings to the world, because – from where I’m sitting – it’s nothing but light.

Cold War Kids 4/10/17

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(a) setlist

    1. Love Is Mystical
    2. Miracle Mile
    3. Can We Hang On?
    4. So Tied Up
    5. First
    6. Love On The Brain (Rihanna cover)
    7. Something Is Not Right With Me

(b) highlights

  • how great is this band, like really
  • the new songs from LA Divine are so solid, I cannot wait to hear the rest of the album, it’s unreal
  • I’m not really a fan of Rihanna, but dayummm, Nathan brought some real soul to that cover and performance of “Love On The Brain”
  • “Can We Hang On?” is honestly one of my favorite Cold War Kids tracks ever and it only just came out a month or do ago; how incredible that a band I’ve loved for over a decade can still create great work
  • the sound in the venue was fantastic; Rough Trade is solid and better than most other Brooklyn venues, in my opinion

(c) lowlights

  • wish the set could’ve been longer

(d) overall thoughts

I’ve talked about this extensively before, but Cold War Kids are probably one of the most underrated bands out there. This show was a free in-store performance at Rough Trade to promote their new album LA Divine, but it mostly worked as a sweet appetizer for a meal later on that you know is gonna be good.

I love going to one of the first shows of any band’s new album and tour, but I feel like it sets the tone for what that album and tour season will look like. The fact that so many of LA Divine‘s songs immediately pulled me in, and the crowd responded so positively to every track – I really feel like this album will be big for the band. And I feel so lucky to have witnessed that first hand, and get to watch it play-out in real time.

Although the show itself was short, the band played as if it was a full-bodied set. They were high-energy and engaged, as usual, playing into how the stage was small, the venue was small, and the crowd was packed tight. The smallness aided in the intimacy in the best way. Nathan Willett brought his soulful lyrics to life and Matt Maust killed it on his funky bass as usual. I was disappointed when the band announced sometime last year that guitarist Dann Gallucci would be leaving only to be replaced by David Quon, but I was pleasantly surprised by his performance. His guitar work on “So Tied Up” was a stand out for sure and I look forward to seeing him at future shows.

Ultimately, the best part about the show was remembering how much joy and happiness Cold War Kids’ music brings to me. The crowd was having a great time – responding positively to new and old songs alike – and everything felt so happy and joyful. I think it speaks volumes to reflect on how I used to hate “Something Is Not Right With Me” when it first came out in 2008 on Loyalty To Loyalty, and how elated and moved I was hearing just this past week. Cold War Kids are the type of band who understand the importance of storytelling and crafting a real sound that resonates with a crowd; seeing them live always reminds me of that.

 

Bottom line: Cold War Kids are true artists who craft not only meaningful hits with ease, but perform in such a way that you can’t help but feel connect to them. LA Divine is going to be huge for them and I cannot wait to see the success it brings.

The Struts 12/17/16

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(a) setlist

    1. Put Your Hands Up
    2. These Times Are Changing
    3. Could Have Been Me
    4. Matter Of Time
    5. Kiss This
    6. Mary Go Round
    7. I Just Know
    8. Dirty Sexy Money
    9. Let’s Make This Happen Tonight
    10. Put Your Money On Me
    11. Only Just a Call Away
    12. Rebel Rebel (David Bowie cover)
    13. Where Did She Go

(b) highlights

  • The Struts are one of the best live bands in recent memory. Period.
  • any band that has FOUR costume changes casually included in their set gets an A+ in my book.
  • you haven’t seen audience participation until you’ve been to a Struts show; Luke Spiller is one of the most charismatic and energetic frontman imaginable – you know you’re doing something right when most people compare you to Freddie Mercury and Steven Tyler in terms of performance, voice, and attitude.
  • 2016 was the year of David Bowie covers for obvious reasons, and this cover of “Rebel Rebel” nailed it on all accounts.
  • I really cannot underscore how much fun Struts shows are – everyone was into every song whether they knew the lyrics or not.
  • Luke came into the crowd after costume change number 3 and took control of the crowd instantly.
  • I love the Warsaw – awesome venue, awesome sound, such a solid night.

(c) lowlights

  • I really can’t say there was anything bad to say about this show; I would tell everyone and their mother to see the Struts live if I could.

(d) overall thoughts

The first time I saw The Struts, they opened for The Killers in Arizona in April earlier this year. Needless to say, I was completely blown away by their show despite having never heard any of their songs let alone knew they were a band. They only have one full-length album out, Everyone Wants, but man, is that album packed with clear hits. Track after track feels like a full-bodied hit; every song could be a single and every song is a triumphant fist-pump to boot. The English band gives off a classic rock vibe – 80’s hair metal minus the metal and more arena-type singalongs.

“Put Your Hands Up,” “Could Have Been Me,” and “Kiss This” are notable standouts, but honestly, every single track was high-energy and fun. Luke Spiller brings audience engagement and participation to the next level, and every band member plays their instrument well. If I only had one word to describe what makes The Struts so magical live is presence. The band just has it. And you know that everyone in the room can feel it. Whether we’re all clapping together, jumping in formation, or singing in one voice “oh oh oh ohhhh!” – we’re all in it. By the time the confetti rained down on the audience, every person in the room was grinning ear-to-ear.

Bottom line: The Struts are one hell of a band of performers and they put everything into their live shows. From presentation and sound to attitude and theatrics, this Struts gig was the perfect way to put an end to 2016.

Brian Wilson 9/24/16

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(a) setlist

Set 1:

    1. Our Prayer
    2. Heroes and Villains
    3. California Girls
    4. Dance, Dance, Dance
    5. I Get Around
    6. Shut Down
    7. Little Deuce Coupe
    8. In My Room
    9. Surfer Girl
    10. Don’t Worry Baby
    11. Salt Lake City
    12. Wake The World
    13. Add Some Music to Your Day
    14. California Saga: California
    15. Darlin’
    16. Sail Away
    17. Wild Honey
    18. Sail On, Sailor

Pet Sounds set:

    1. Wouldn’t It Be Nice
    2. You Still Believe In Me
    3. That’s Not Me
    4. Don’t Talk (Put Your Head On My Shoulder)
    5. I’m Waiting for the Day
    6. Let’s Go Away for Awhile
    7. Sloop John B
    8. God Only Knows
    9. I Know There’s An Answer
    10. Here Today
    11. I Just Wasn’t Made for These Times
    12. Pet Sounds
    13. Caroline, No

Encore:

    1. Good Vibrations
    2. Help Me, Rhonda
    3. Barbara Ann
    4. Surfin’ USA
    5. Fun, Fun, Fun
    6. Love and Mercy

(b) highlights

  • BRIAN. GODDAMN. WILSON.
  • I can’t even emotionally talk about the setlist, I mean look at the setlist, LOOK AT IT, ARE YOU LOOKING??? Pet Sounds. Those “opening” tracks.” The classics…I can’t even believe I witnessed what I actually witnessed.
  • I don’t think people understand how much I love the Beach Boys and how incredible it was to see Brian Goddamn Wilson and Al Jardine live performing Pet Sounds in its entirety.
  • The following quotes are some of my most favorite things I’ve ever heard at a show:
    • “Did anyone come to the show tonight to hear bad vibrations? What about weird vibrations? No! It’s about Good Vibrations! Hit it, boys!”
    • “Hi, I’m Brian Wilson and this is the first song I ever wrote.” *starts “Surfer Girl”*
    • “This next one is the greatest song I ever wrote.” *starts “God Only Knows”*
    • “Can everyone sing ‘Row, Row, Row Your Boat’? This is my favorite part of the show.”
  • Every single minute of this show is something I’ll remember until the day I die and I feel privileged as hell to say I was even there at all.

(c) lowlights

  • this is barely a lowlight and more speaks to reality, but it was a bit rough to see how much Brian Wilson has aged over the years. I suppose any of us should be lucky that this true GENIUS of a man is still with us, but he has officially reached full Grandpa Status and you know what? That’s actually okay. Not a lowlight. Just a fact.
  • the lighting, ughhhh. Al Jardine wearing all white + harsh lighting + sitting in tier 3 = not the best photos of all time.

(d) overall thoughts

One of my earliest memories in existence involves The Beach Boys. Music is such a powerful thing – that’s obvious – but it really speaks to me as a person that I honest-to-God remember being two years old, sitting in the backseat of my dad’s car and hearing “Fun, Fun, Fun” playing on the radio.I was born and raised in Los Angeles, and lived there the first 18 years of my life before leaving California for college…so I suppose it’s not that surprising to hear that I’m a fan of the Beach Boys. I’m one of those fans that – yeah, of course I love The Beatles, I am human, after all – however, if I had to choose between The Beach Boys and The Beatles…I’m going to go with the former. I know. I’m a huge Anglophile and could never doubt the lasting effect that Paul, John, George, and Ringo have had on not only music but culture. But also, if I’m being honest, I understand and attach myself to the clear genius that is Brian, Carl, Dennis, Al, and Mike and I will defend them until the day I die. (Fun fact: After hearing “Good Vibrations,” John Lennon and Paul McCartney went back to the studio, scrapped nearly the entire album they had recorded at the time, and knew they had to start over because of how incredible that one song was. Then they wrote Sgt. Pepper’s Lonely Hearts Club Band…you’re welcome, world.)

But I’m getting away from Brian Wilson. This is all about him. Tickets for this show went on sale just a few short weeks after the stupidly and emotionally devastating death of David Bowie. And I feel awful saying this, but I knew I couldn’t miss this. I was lucky enough to see “The Beach Boys” (aka just Mike Love and a bunch of dudes including John Stamos as a badass drummer) a few summers ago, but I’ve never had the opportunity to see Brian Wilson perform – let alone see him perform the entirety of Pet Sounds with Al Jardine. I didn’t know what to expect other than pure, unadultered genius, and holy crap did I get that and then some.

You know you’re a musical genius and a one-in-a-million human being when you can open your 50th Anniversary show for an album that you wrote when you were 23 (!!!!) with an hour and a half of hits, b-sides, and deep cuts and the entire audience pretty much knows every word without even hinting at that 50th anniversary album. What. Like. Brian Goddamn Wilson. The emotional night started off heavy and never let up for the next three hours. We had the pain of “Heroes and Villains” and “In My Room,” among others, while absorbing all the classic fun of “Dance, Dance, Dance,” “I Get Around,” and Little Deuce Coupe.” Unbelievable. Sure, I went to this show alone and was definitely in the 2% minority of young people below the age of 35 in the crowd, but I’m sure I looked even weirder pretty much crying during every song. The New York crowd absolutely enjoyed themselves in every way, but I’m not sure non-California-born people could appreciate the perfection that was “California Girl.” And with God as my witness, “Don’t Worry Baby” is probably my most favorite song of all-time. Ever. Like EVER. And to see Brian Wilson perform it?? With Al Jardine? Truly ungoddamnbelievable.

By the time we got to Pet Sounds, the music had literally taken over the room. It’s as if all those hits had a mind of their own. Each track felt bigger than the one before it, and filled every inch of the Beacon Theatre. The show almost should’ve taken place outside just so each note could float above and beyond the people before it. You almost forgot that Brian Wilson was the mind behind those songs because they even felt bigger than him, bigger than all of us. What an incredible musician must you be for your work to transcend time, space, people, and emotion to just exist as an ideal?? The harmonics of “Wouldn’t It Be Nice,” “Don’t Talk,” and “Sloop John B” alone is enough for The Beach Boys to stand the test of time, but then you have “God Only Knows” – a song that John Lennon once called “the greatest song ever written” – and it’s unbelievable that something like that exists.

I could go on for days and nights and all of time talking about those songs, but I won’t. Aside from the music itself, some things must be noted. Yeah, Brian Wilson didn’t quite sound like his best self because he’s an old grandpa and um, has also been through some things in his life (re: every bio on Wilson and the Beach Boys ever written), but it’s okay. Al Jardine still sounded pretty damn good and is still a solid guitar player, but shiiiiiittttt, his son Matt Jardine was NEXT LEVEL. Brian and Al had a pretty extensive backing band of about a dozen dudes including Al’s son Matt, who has essentially taken on the super high harmonies that Brian used to handle. He sounded unbelievably and truly just like Wilson used to; he brought so many subtle vocal moments and harmonies to life, and I loved it so much. Musically, every note felt and sounded exactly like putting Pet Sounds on vinyl in gigantic room, closing your eyes, and swimming. And what else could I possibly ask for? You don’t need anything once you have those songs because, just as they did 50 years ago, or about 20 years ago just for me, those songs mean everything.

 

Bottom line: Brian Wilson is a musical treasure, genius, and historically significant man in our culture whether music fans know it or not. Getting to hear so many of those classic and perfect songs – let alone Pet Sounds alone – isn’t something I’ll ever forget. The closest emotional live experience I’ve had to this show is seeing Paul McCartney live – and I don’t think that’s a coincidence. Acts like The Beach Boys and The Beatles are legends because someone who’s half the age of their music can so easily connect it decades down the line. I am living proof that this music has and will continue to stand the test of time, so I can’t freaking wait to see who else will fall in love with it in the years to come.

Bear Ceuse 9/10/16

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(a) setlist

I don’t know! And it doesn’t even matter. Local bands who come out and jam the night away don’t need setlists. The band played for about an hour and they rocked.

(b) highlights

  • seeing my awesome coworker Cameron – who happens to be the frontman of Bear Ceuse – be a badass singer, excellent guitarist, and general fun frontman; and I say this pretty objectively speaking…he was awesome.
  • I freaking love Mercury Lounge – one of the best venues in New York City without a doubt. It always reminds me of all the bands I’ve seen there before, especially The Cribs, and I can’t help but think about how The Strokes and Yeah Yeah Yeahs got their start there in the early 2000’s. Love it.
  • despite having never heard any of the songs before, I was so into Bear Ceuse’s rock ‘n’ roll vibe in the vein of Big Talk, slight alt-country hint a la Snakearm, and Everclear-esque vocals. The music was both familiar and fresh all at once.
  • a super sweet and heart-warming cover of Gene Wilder’s “Pure Imagination” in light of his then-recent death was unexpected and charming.

(c) lowlights

  • the venue was hot af; broken air-conditioners in an Indian summer are not that great.

(d) overall thoughts

I don’t see a ton of local bands in NYC, which I’m sure comes across as a gigantic and embarrassing loss of opportunity, but oh well. I was happy that the chance to see Bear Ceuse popped up. I was in need of a show – I was getting that twitch of having not seen a live show in awhile (over a month!!! what!), so I jumped at this. The lead singer and songwriter of Bear Ceuse, Cameron Matthews, is actually my coworker and a freaking cool ass dude. He super downplays his talent and Bear Ceuse is cool as hell.

As I mentioned, Bear Ceuse is unique because they sound a bit like a bunch of different bands, but also sound like no one else. With a traditional set-up of four dudes on drums, bass, and two guitars, they felt like a slice of rock ‘n’ roll without being too punk. Cameron mentioned that the second song was “a country one,” which gave away a bit more about how the band views themselves than the type of band they actually are. I’ve seen a couple of acts the last two years or so that really utilized that gritty and fun crossover of alt-country and funky rock ‘n’ roll (including Halloween Town and Romance Fantasy), and I’ve decided that I really dig it. A couple of songs in the set absolutely gave way to a late-90’s post-grunge feel close to Everclear or even Soundgarden sometimes, but the refreshing playfulness to the performance made the experience fun, to say the least.

 

Bottom line: Bear Ceuse is cool as shit and seems to be bursting with musical ideas; I look forward to listening to more of their work to find more connective threads in the their songs that appear to be brush with fun and unique influences.

The Last Shadow Puppets 8/2/16

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(a) setlist

    1. Ghost Rider (Suicide cover)
    2. The Age of the Understatement
    3. Only the Truth
    4. Aviation
    5. Used to be My Girl
    6. The Element of Surprise
    7. Dracula Teeth
    8. My Mistakes Were Made For You
    9. Bad Habits
    10. Totally Wired (The Fall cover)
    11. Miracle Aligner
    12. Pattern
    13. Standing Next to Me
    14. Sweet Dreams, TN
    15. In My Room

Encore:

  1. The Dream Synopsis
  2. Meeting Place
  3. Moonage Daydream (David Bowie cover)

(b) highlights

  • this was probably the first time I’ve seen Alex Turner perform live in some capacity in which he was only 10% insufferable, good job Alex!
  • the performance overall felt adequately paced and enjoyable – much better than the band’s last performance at Webster Hall in NYC a few months ago
  • there was less hair gel, less stupid outfits, less general nonsense from Alex and Miles Kane than normal; their antics were turned down and a lot of it felt real
  • “The Age of the Understatement” and “My Mistakes are Made For You” are freaking classic tracks that can’t be touched
  • shockingly, the sound in the venue was pretty good (a unique case for Terminal 5) and the lighting and production really set the tone and scene for TLSP’s aesthetic
  • for the beginning of the encore, Alex sang like a lounge act singer from the second floor balcony and it was kinda so stupidly ridiculous that it ended up being great
  • I’ve seen mannnnny David Bowie covers this year and they’re not always good – this one by the Last Shadow Puppets was great

(c) lowlights

  • I freaking hate Terminal 5 – this show wasn’t even supposed to be at that event but we rescheduled and we all had to suffer, ugh
  • I don’t really like the Arctic Monkeys fanbase and they come out in droves when Alex Turner is around

(d) overall thoughts

As I’ve mentioned in the past, my history with Alex Turner and his bands goes back quite a bit. I’ve been finding him particularly insufferable and annoying these last few years and his showmanship and antics with Miles Kane only amplify that. When I saw The Last Shadow Puppets a few months ago at Webster Hall, I enjoyed the music, yes, but found myself distracted by their laughable stage personas and embodiment of performance in every sense of the word.

But this show felt a bit different. Sure, Alex and Miles were still Alex and Miles. Alex crooned like a lounge act singer from the second floor balcony and smooth-talked between songs like Richard Dawson on Family Feud, and Miles strutted around in what I believe was a $3,000 silk bathrobe that I guess was supposed to be sexy (?), but it was all very toned-down in comparison. The songs were a solid mix of emotional string ballads and gritty guitar ditties, and tracks from Everything You’ve Come To Expect flawlessly intermingled with those from The Age of the Understatement; although, I must admit that – in the moment – I found myself more excited to hear the latter.

The arrangement of songs was a bit strange, though. I remember thinking after “Bad Habits” was performed: wait, what else do they have left? What even are they going to play? Despite the hits-heavy first-half, you can’t not love a great David Bowie cover. “Moonage Daydream” is a personal favorite of mine for sentimental reasons and I didn’t even mind that they ended with it nor that it felt a bit over-indulgent at one point. Their Beatles cover at Webster Hall was exceptionally self-indulgent, so this – much like the rest of the show – felt notably understated. Which isn’t what I expected at all. Oh, the double, sweet irony.

 

Bottom line: The Last Shadow Puppets are capable of real musical artistry and performance once they remove their heads from their asses; they have two solid albums’ worth of pristine material and I hate when that’s shattered by a silk robe.

Radiohead 7/27/16

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(a) setlist

    1. Burn The Witch
    2. Daydreaming
    3. Decks Dark
    4. Desert Island Disk
    5. Ful Stop
    6. My Iron Lung
    7. Climbing Up The Walls
    8. Morning Mr. Magpie
    9. Pyramid Song
    10. Bloom
    11. Identikit
    12. The Numbers
    13. The Gloaming
    14. Weird Fishes/Arpeggi
    15. Everything In Its Right Place
    16. Idioteque
    17. There There

Encore 1:

  1. Give Up The Ghost
  2. Let Down
  3. Present Tense
  4. Planet Telex
  5. Karma Police

Encore 2:

  1. Reckoner
  2. Creep

(b) highlights

  • Two nights in a row of Radiohead, I don’t deserve this life
  • I’VE BEEN WAITING LIKE 10 YEARS TO FINALLY HEAR “KARMA POLICE” AND THEY FINALLY PLAYED IT LIVE, WAHHHH
  • Looooooooooooool, Christ Almighty they played “Creep” live. Nope. First time they played it in the U.S. in 12 years. I was laugh-crying throughout the whole thing
  • The same way “No Surprises” made me feel really emotional the night before, “Climbing Up The Walls” totally wrecked me at this show
  • Dayummm, “There There” sounds so good live; Ed O’Brien on those drums alongside Phil Selway was top notch
  • the energy of the entire set felt just a few notches above the previous night; both the setlist and crowd felt more adventurous and alive
  • Thom chatted a bit more to the audience, mostly saying mundane things that ended up feeling moving and profound just because Thom Yorke was saying them (e.g. “Everything will be better when we wake up. But we need to wake up.”)
  • have I mentioned Thom Yorke’s dancing?? Because his dancing needs to be mentioned.

(c) lowlights

  • I’m just going to quietly say that we might not have needed so many songs from King of Limbs and maybe could’ve gotten “Talk Show Host” or “True Love Waits” but REALLY this show was amazing and I will not be complaining when half of New York couldn’t even get tickets

(d) overall thoughts

Is seeing the same band two nights in a row at the same venue ever necessary? What a dumb ass question that is, first of all, and second of all, the setlist for Radiohead’s second night at Madison Square Garden might as well be a work of art. I initially wasn’t planning on going to this show, but fate brought me back to that arena and I know it’s because it was finally time for me to hear my favorite Radiohead song of all time: “Karma Police.” Yeah, it might be basic, but oh well. I don’t care.

Just like the night before, Radiohead didn’t hold back any emotional punches when it came to crafting their performance. The lighting was just as eerie, the songs just as touching, and the sound was just as perfectly played. Thom appeared a bit looser, a bit more relaxed, and nearly undetectable string of energy felt like it was vibrating through the crowd all night. Each song felt like a set piece or episodic chapter in a larger story; the narrative played out quite well. “Climbing Up The Walls” was freaking phenomenal, “My Iron Lung” was such a treat, “Weird Fishes” felt like it floated around the whole arena without ever touching down while “There There” pounded its way right through the core of everyone, and I can’t even begin with the encore.

The pairing of “Let Down” with “Present Tense” and then “Planet Telex” with “Karma Police” felt like it was designed to destroy me in the best way possible. I know I’ll never forget that feeling of being all the way up in the rafters and overlooking the band and crowd and just singing with every fiber of me, “For a minute there, I lost myself, I lost myseeeellllff.” God. What magic. It felt like the whole crowd had become a single tingling being by the time “Reckoner” ended that I feel like I don’t even remember being present when “Creep” started. Thom said into the mic, “Well, this is show business” just before the opening notes began and it was suddenly so hard for me to not laugh. Not in a funny way, but in a “Wow, I cannot believe this is actually happening right now and not some strange dream.” You know a show is good when you go from feeling pure excitement to profound sadness followed by total elation and unbelievable shock in a 10-minute span. What a show, what a night, what a band, what a life.

Bottom line: There’s no other band in the world like Radiohead and I hope there never is one like them again. Because we don’t deserve it. I don’t deserve it. But man, I can’t help but enjoy it.

 

*Bonus Material: I took several videos of the night and they’re mostly of Thom’s dancing and me scream-singing-crying, but this bit of “Creep” was salvageable:

 

Radiohead 7/26/16

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(a) setlist

    1. Burn The Witch
    2. Daydreaming
    3. Decks Dark
    4. Desert Island Disk
    5. Ful Stop
    6. Lotus Flower
    7. The National Anthem
    8. 15 Step
    9. No Surprises
    10. Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief
    11. Separator
    12. Planet Telex
    13. The Numbers
    14. 2 + 2 = 5
    15. Everything In Its Right Place
    16. Myxomatosis
    17. Idioteque

Encore 1:

  1. Let Down
  2. Present Tense
  3. Paranoid Android
  4. Nude
  5. Bodysnatchers

Encore 2:

  1. Bloom
  2. Street Spirit (Fade Out)

(b) highlights

  • RADIOHEAD!!! WHAAAAAAAT.
  • “Let Down”!! It was the first time Radiohead played it live since 2006. That’s 10 years. What.
  • I never could’ve predicted it, but wow, “No Surprises” made me so emotional; I have always worshiped OK Computer and I think hearing such a beautiful song from me reminded me of the first time I really got into that album
  • “2 + 2 = 5”!!!! One of my favorite Radiohead tracks ever, holy crap this was amazing and I never thought they’d play it
  • the new material from A Moon Shaped Pool was freaking amazing; I love the album a ton and hearing so much of it live elevated it beyond what I thought possible; “Present Tense” is my favorite from the album and it was p e r f e c t live. perfect.
  • really this entire setlist, like, this band is incredible
  • just being at this show in general; there was and still is so much controversy over the ticket sales and how it all sold out in about half a second (I don’t even want to talk about how much I paid these tickets via StubHub…)

(c) lowlights

  • pretty much nothing; might’ve been cool to hear “Karma Police,” “Talk Show Host,” and “True Love Waits,” but man I can’t really complain at all
  • oh, and why on God’s green Earth are Radiohead selling a sweatshirt that is more expensive than the damn ticket to the show at their merch table; why was every t-shirt at least $50 when they’re just simple cotton shirts, come on lads

(d) overall thoughts

Most people might not know this, but Radiohead is my second favorite band of all time. I’ve loved them ever since I got really into their first couple of albums in high school and they’ve stuck with me ever since. This show was the first time I’d seen them in over 8 years and it felt like the first time all over again. OK Computer, In Rainbows, Hail to the Thief, The Bends – they’re really all incredible. True pieces of art that have withstood decades already and will withstand many more.

Radiohead’s live shows are those sort of experiences where it feels like time stops and everyone is choosing to stop along with it. Every single body in Madison Square Garden was standing, awake, erect, and alive that night. Not everyone was moving to the music, which was at first strange to me, but it really started making sense in context as the show continued. Radiohead has this overwhelming ability to command all attention without doing anything. I feel like any popular band can get people screaming and losing their minds, but it takes true artists to completely silence a room. Thom Yorke has that ability. How? I don’t know. Everything about him just feels profound and thoughtful. He hadn’t even opened his mouth near the microphone yet and the entire arena was frozen, gaping, and ready to be taken for a ride. What a ride it was.

The Moon Shaped Pool material felt just as perfectly heavy and floaty and deep and surface and sad and triumphant as it does on the album, but significantly better. All the songs sounded exactly like the album, but widely elevated. It’s the strange conundrum that is Radiohead. They’re abstract and intimidating and can feel pretentious, but they’re also extremely simple and understated and intimately understanding. Madison Square Garden felt so massive when everyone was singing “Everything In Its Right Place,” but then immediately shrunk to this small, intimate space once “Present Tense” began. Hearing “Daydreaming” instantly put me into the music video and I swear I could feel the temperature in the room drop as if we were all walking through that Paul Thomas Anderson landscape. “15 Step,” “Nude,” and “Paranoid Android” plummeted me into memories of high school and before – how crazy is it that In Rainbows is nearly a decade old now? These songs are so indicative of the time in which they were released, sure, but even more than that – they’re timeless. Just like Radiohead shows. You feel every hair on your body stand when the opening notes to “Idioteque” start, but your body also isn’t even present. The outside world stopped once the show began, but the performance also rapidly soared by; I couldn’t believe that over an hour had passed once we got to the encore. I guess what I’m saying is, Radiohead is contradictory and unique and that’s magic. Simple as that.

 

Bottom line: Radiohead is one of the greatest bands of all time and I’m pretty sure there isn’t an argument there; their live performance feels like an existentially spiritual experience. I think the fact their music feels philosophically contradictory is the beauty of them.

She Wants Revenge 7/16/16

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(a) setlist

    1. Red Flags and Long Nights
    2. These Things
    3. I Don’t Want to Fall in Love
    4. Out of Control
    5. Monologue
    6. Broken Promises for Broken Hearts
    7. Sister
    8. Disconnect
    9. Us
    10. Someone Must Get Hurt
    11. Tear You Apart
    12. She Loves Me, She Loves Me Not

Encore:*

  1. Sleep
  2. True Romance
  3. Black Liner Run
  4. Take the World
  5. Replacement
  6. Written in Blood
  7. Rachael

*I’m not sure about the order of the encore because my memory is hazy and records online are incomplete.

(b) highlights

  • man, She Wants Revenge are freaking cool
  • it says a lot when your debut album has so many strong tracks – and 10 years later people want to come back and see it
  • the crowd was awesome – literally every person in Irving Plaza was dancing and totally into it
  • Justin and Adam seemed like the most genuine dudes I’ve seen on-stage in awhile; they were so humble and proud that the crowd came out and spoke so fondly of their time in New York over the years
  • “These Things,” “I Don’t Want to Fall in Love,” “Out of Control,” and “Tear You Apart” were total highlights – talk about moody, broody, and beautifully setting-the-scene lyrical treasures

(c) lowlights

  • can’t think of a single bad thing to say about it

(d) overall thoughts

I discovered She Wants Revenge right around the time their self-titled debut came out in 2006. They come from the same hometown as me, which is a cool coincidence even if their music doesn’t really depict that at all. She Wants Revenge has always sounded a bit like Interpol if they were dirtier, or Joy Division if they were sexier, so God knows I’m down for that. This show really highlighted their strengths in setting the scene with super sexy lyrical turns of phrase, overwhelming bass line and rhythms, and lighting displays that really dictate the mood.

As the band played their whole first album, I couldn’t help but remember when I first got into it during high school, the friends of mine at the time who also liked and appreciated my weird musical taste, and all the times She Wants Revenge were a pleasant relief on the modern rock radio between all the garbage that was streamed on there. The music took me back, but it also really resonated even more now as an adult living in New York City. Even though both She Wants Revenge and I are from Los Angeles, something about that music feels very much wrapped in the city. And Adam 12 and Justin Warfield, the band co-founders even took the time to mention this during the show. They talked about the significance New York city had on their career – not only musically, but audience-wise. It’s cool to hear and remember how, as a fan, you really affect the livelihood of these guys.

Bottom line: I danced all night, I heard some memorably sexy and dark tracks that I loved when I was young and love even a bit more now, and got to be a part of a crowd that genuinely showed up for excellent music – what more could I ask for when it comes to seeing a great band like She Wants Revenge? Absolutely nothing.

Noel Gallagher’s High Flying Birds 7/5/16

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(a) setlist

    1. Everybody’s on the Run
    2. Lock All The Doors
    3. In the Heat of the Moment
    4. Riverman
    5. Fade Away (Oasis cover)
    6. The Death of You and Me
    7. You Know We Can’t Go Back
    8. Champagne Supernova (Oasis cover)
    9. Ballad of the Mighty I
    10. Talk Tonight (Oasis cover)
    11. D’Yer Wanna Be a Spaceman? (Oasis cover)
    12. The Mexican
    13. Half The World Away (Oasis cover)
    14. Listen Up (Oasis cover)
    15. If I Had a Gun…
    16. Digsy’s Dinner (Oasis cover)
    17. The Masterplan (Oasis cover)

Encore:

  1. Wonderwall (Oasis cover)
  2. AKA…What a Life!
  3. Don’t Look Back in Anger (Oasis cover)

(b) highlights

  • NOEEEELLLLLLLLLLLLLLLLLL
  • I have been waiting to see Noel Gallagher live since the beginning of time, this show was incredible
  • people who hate on Noel Gallagher: I have one question for you – did you write “Champagne Supernova”? No? Then sit the eff down and shut it.
  • “Talk Tonight,” “The Masterplan,” “Wonderwall,” “Champagne Supernova,” “Half the World Way,” “If I Had a Gun…” LIKE OH OKAY
  • “Don’t Look Back in Anger” is one of my favorite songs ever written. like. of all time. It meant so, so, so much to hear it live, you have no idea
  • Noel Gallagher’s in-between song banter is what puts him just about “National Treasure” into “Perfect Human” category
  • for the most part, the crowd was super into everything and dead awesome

(c) lowlights

  • my friends and I stood up during “Champagne Supernova” because we are human and the people behind us got annoyed. even though we also had people standing in front of us. and these people were fully capable of standing. and instead of just asking us to maybe sit, they threw a cup at me. LOOOOOOL.

(d) overall thoughts

Noel Gallagher is a genius. The end. Not much else to say.

But I guess I could go on. The Beacon Theatre is completely gorgeous and I’d been looking forward to this show the moment I heard about it. I first really got into Oasis about 12 years ago, so I never got to see them when they were still touring and the Gallaghers didn’t fully hate each other yet. I’ve always thought Noel was the real talent between the two (sorry Liam), so getting to see him during his solo work was amazing. Chasing Yesterday is a killer album and that live band really brings home the goods. And I don’t think a single person in that venue wasn’t singing along to “If I Had a Gun…” Man, how great is that.

Noel has always said that he plays so much Oasis material because they’re his songs – he wrote them – and the dude’s got a point. I freaking loved every minute of it. You can’t deny the significance of Oasis or Noel Gallagher or Britpop in general when you walk into the venue and hear “Champagne Supernova” echoing off the walls. Noel is pretty much just standing there in simple slacks and a button-down, with his guitar, and a modest screen behind him. That’s it. There aren’t big shiny laser lights or huge theatrics. Just these massive songs with incredible feeling and emotion. And for all the jokes Gallagher tells and all the times he swears he doesn’t give a shit about anything…you know he cares about those songs. How could you not?

Noel started the encore by saying, “This next song pays for my wages. And the band’s wages. And got me a house. And probably paid your wages too. It’s because of this song, that I can do anything at all.” Some might find that cynical or whatever – hell, I admit that I laughed – but, also…how freaking special is that? Because “Wonderwall” is a song that exists in the world, literally thousands of people get to do what they love and witness something really freaking cool. “Don’t Look Back in Anger” is one of my favorite songs ever – really, truly ever – and you know that a musician or songwriter has unbelievable power when he doesn’t even have to sing the words; the entire crowd sang it back to him. Every person in that theatre sang every chorus of the song right back to Noel and, Christ, there are few better moments in live music than that.

Bottom line: Noel Gallagher is one of my favorite people ever, so seeing this show is something I’ll treasure for the rest of my life. Not only is Noel freaking hysterical in every way, but he’s a killer musician who’s still consistently putting out stellar music. Who else can say they wrote one song that changed the world? Not many.