MUSIC, AS CASSIE SEES IT

Just one more thing about globalFEST, I promise...

2012-01-12T10:07:00.000-08:00

NPR recorded all of the concerts at globalFEST and has them up on the website to stream. There are even still some on the page from last year. And that is why I love NPR.
Listen now!

globalFEST 2012 rocks us into the new year

2012-01-09T18:24:00.000-08:00

I have come to the conclusion that globalFEST is my favorite day of the year. It should be a holiday. It's better than a holiday.

In its ninth year, it is a one-night only celebration of all things world music. This year that meant everything from the virtuoso Wang Li giving what is surely the most stunning performance on the jaw harp (that's right) that you've ever seen, to the enormity of the 60 member Silk Road Ensemble exploring contemporary music on instruments from around the world. Each of the 12 sets is a completely singular experience, transporting audiences to a different point on the globe, and there are moments where everything else disappears except what's right before you. That is, until you remember that you only have 20 minutes left to catch the cross-cultural Southern Italian band upstairs.
Because this is my favorite holiday, I did make a point to see all 12 bands. This was easier than it may sound, as the overlapping schedule allows for, and even encourages, migration from one stage to another within the three spaces at Webster Hall.
That being said, the price of admission is well worth it even if you only catch one or two bands. But once the adrenaline and the rhythms and the horns start pumping through those halls, you might not be surprised if you find that you've spent five hours bouncing from one favorite to the next. And the next. And the next.
Here are a few of my favorites, briefly. Check them out for yourselves, and mark your calendars for early January next year so that globalFEST can round out your Holiday season with a bang. Probably on a bongo drum.
First: M.A.K.U. Soundsystem. Because they totally rocked my world.

This 8 person Colombian get-up packed the downstairs studio at Webster Hall with their irresistible dance beats. They had the crowd blissfully grooving to their percussive funk/ reggae sounds, passionately shouting "Sera!" in response to calls for political action and joyfully jumping up and down in unison. This was where the real dancing happened, folks, making this the hardest room to leave as everyone clearly hoped the set would never end.

Equally uplifting and groovable in its own way was the spirited music from Haitian band, Belo. The music is full of heart and soul, as are the men behind the gentle rhythms. Belo ended the set with a chorus of repeated shouts "Do you want me to go?" To which, of course, the crowd yelled back "NO!"
Check out this PBS story and video on the band's story of hope.

Offering some solid competition to all the seductive caribbean percussion was the French band, Zaz.
I preemptively included a video of this lovely lady of song in a previous post below because I couldn't resist. She is testament to the deep appeal of french jazz and blues, playfully pulling at heartstrings and filling even the vastness of the Webster Hall ballroom with her lilting vocals and natural charm.

And then there was Smod.

I say that because these four men from Mali with their African hip-hop songs could charm the pants off anyone. Watching them run in place while singing and playing their instruments was definitely a hight point in the night.

The festival concluded with Debo Band, who have come from Boston via Ethiopia and are taking New York City by storm. They crammed onto the small stage of the studio room in the basement and had every imaginable instrument represented. This was the party spot. The music was loud, with the energy of a big band jam, crossing electric rock lines with horns, saxophones and probably the most beautiful tuba I've ever seen. Seriously. I noticed it being carried around earlier and its old-world, weathered quality caught my eye even then. At a certain point, there was so much adrenaline and so many sounds coming off the stage that I wasn't sure anymore what was even going on.

But at that point, it didn't matter. I had music coursing through my veins and my body was exhausted from all the dancing. It was way better than Christmas.

An initial highlight from GlobalFEST

2012-01-09T08:51:00.000-08:00

(more to come...)
One of the 12 bands that ignited Webster Hall last night for the annual GlobalFEST world music celebration was this lovely little lady from France.
Watch this. You will fall in love with her.

The Eccentricity of The Barr Brothers, Live at Joe's Pub

2011-12-08T19:30:00.000-08:00

Experiencing a live show with the four musicians and countless instruments that make up the band The Barr Brothers is somewhat akin to stepping into a laboratory; it is as if you are witnessing the process and results, the ifs and thens, of some highly creative experimentation with sounds and instruments. We’re talking playing a guitar made out of a tackle-box; drawing a bow across a cymbal as if it were a violin; weaving thread through the strings of a guitar and manipulating the ends to create a haunting, whirring whisper. That kind of thing. And while it is increasingly enjoyable to listen to their recordings and try to tease apart the sounds in your head, it is fascinating to share a room with these incredibly innovative musicians and discover just where all those disparate sounds are coming from and how exactly they are being manufactured.

Preparing the stage for their set at Joe’s Pub on a rainy December night took almost as long as their Opening Act’s set (the very malleable voice of Jocie Adams and her five piece band, whose simple yet richly textured songs share an Americana sensibility with those of The Barr Brothers). And yet as soon as the cacophony of sounds began to emanate from the small corner stage, there was no question that it was well worth the wait.

There is something delightful about the humble ingenuity and eccentricity of The Barr Brothers. And not just the two brothers, Andrew and Brad, but also Sarah Page, who is redefining the harp, and Andres Vial as master of the drums, with his vast bag of tricks and unidentifiable instruments. The four work seamlessly as a team, no single part greater than another and each equally necessary to the composition of the songs. Despite the bold whimsy of their sound, these are musicians with a great sense of control and focus. Clearly, not much is required from them as performers when what they’re doing as musicians is so captivating.

Their set featured a few new songs mixed in with their increasingly popular staples such as “Beggar in the Morning” and “Deacon’s Son”. The songs bleed into one another, some even sound very similar, but the genre-defying use of rotating instruments keeps it all fresh and has an audience wondering what will come next. It could be a loud rock guitar line, could be the harp plucked like a mandolin, could be gentle three part vocal harmony and rambling lyrics, could be cowbells and impressively syncopated hand clapping. Most likely, whatever comes next will change the way the audience defines not only this band but also any given instrument.

Photo credit: Mike McNamara from the band's website.

Getting Swept Away By Leah Siegel

2010-07-02T19:41:00.000-07:00

Leah Siegel is plugged in, charged up and going for gold. The sultry lady of song has of late been going through a transitional phase with her music, one which she confesses she would’ve done six years ago if she’d had the money, the time and, well, the balls.

Well now she’s got ‘em. The last thing she seems, in fact, is scared. When she throws back her head, opens her mouth and releases sounds with such abandon and passion, she seems downright indomitable.

The new stage at Rockwood Music Hall was a jungle of twisting cords, plugs and pedals when Leah and her band took over on July 1^st. The set was a mix of stirring new songs and reworked Leah Siegel classics, with techno beats, reverberating guitar chords and vocal looping thrown in. The sound was intoxicating, grabbing at heartstrings while also tempting feet to tap and heads to nod all of their own volition. The songs are more complex musically now, with layer upon layer of synthesizers, percussion, guitar lines and vocal echoes by way of a secondary small microphone and a mixing board. They are still dark and melancholy, full of irony and angst, but now there’s an element of groove where once there was mostly rock and blues.

But it is still Leah’s voice that makes your jaw drop and sends shivers down your spine. Her emotional purging is practically contagious, which is what makes her music so irresistible. It’s as if everything else disappears when she opens her mouth and wails. And yet she melts right in to the cacophony around her, building on its energy, its crescendos, its power. Like one organism, the band breathing and moving together, the sounds swelling and rolling off the stage.

Don’t be surprised when it sweeps you up in it, as it inevitably will. You may never be free of Leah Siegel again, and that is a good thing.

A Secret No More

2010-03-11T19:05:00.000-08:00

It was the early show on a Wednesday night at the Mercury Lounge. April Smith and the Great Picture Show were back home after an adventure-filled tour, playing to a room filled past capacity.

This is a band with gigs lined up at SXSW. This is a band with a song that was featured on NPR.org’s “Song of the Day”. This is a band branded as “One of 30 Bands to Watch” at Lollapalooza by Rolling Stone. With all of these accolades, you may be wondering a few things about these Brooklynites: Where have they been hiding? How have I missed them? And where are they headed?

The band’s stylistic choice of suits, ties and fedoras compliments the swinging nature of their music, a throwback to days when cigarette smoke hovered everywhere and things looked better in black and white. Smith is notorious for flamboyant dresses with short ruffled skirts, but don’t be fooled by her coquettish wardrobe, her pixie cut bangs or her dimples. This little lady is a rockstar and boasts a voice you will not believe.

The band’s music has an alluring balance and use of minor notes, crescendos and staccato rhythms. Likewise, Smith colors her vocals with an occasional cry or slide, and there is a strange Gwen Stefani-like shade to her sound at times, particularly in the haunting ballad, “Dixie Boy” (although I have no doubt that Smith could sing circles around Stefani).

The vibrant complexity of the songs is rounded out by Nick D'Agostino (like a contemporary mobster) on drums, Brandon Lowry on keys and accordion, Stevens on bass (both electric and upright) and Marty O’Kane on lead guitar and mandolin (played with uncanny vigor).

Halfway through the set, Smith declared: “I think it’s time to dance. I think a Charleston is in order.” And it was. Until, that is, Smith unleashed that extraordinary voice with its soaring resonance and effortless power, which instantly stopped you dead in your tracks, sending shivers up your spine.

At the end of the set, I overheard a man comment: She was on fire tonight! Which begged the question in my mind: When is she not? I have a feeling that any time April Smith performs, no matter how many times you’ve seen her, she leaves you thinking the same thing: Damn. Who is this girl and where did she come from?

Photo by Gavin Thomas from a show at the Bowery Ballroom

Tally Hall. Unplugged.

2010-03-05T09:14:00.000-08:00

“I don’t know if this helps,” Zubin Sedghi offers as he tilts the microphone towards Rob Cantor’s guitar.

“Probably not, since I played that wrong anyway,” Cantor replies.

(It also didn’t help because the mike wasn’t on.)

Halfway through their set at Bowery Ballroom, the men of Michigan band Tally Hall announced from the stage that the next song would be their last. People checked their watches; this seemed very odd. Concurrently, a man with a trumpet began making his way from backstage through the crowd and up to the balcony. Also odd. Three minutes later, the congenial musicians were following the trumpeter’s lead, as a recorded voice played over the sound system, gently encouraging the audience to take a seat on the floor. (And don’t think too much about how dirty it may be.) Murmurs and giggles broke out and the crowd obeyed, eagerly and earnestly. Amidst all the excitement, the band began setting up shop on the ballroom floor.

Illuminated by an array of floor lamps, four men of Tally Hall, along with special late addition and stand-in, Casey Shea, began the second half of their set tucked under the balcony on the side of the Bowery Ballroom floor. They were unamplified, whether they knew it or not (my bet is they didn’t), which required a greater focus from the audience and also allowed for every individual voice to be heard floating around the now intimate feeling space. Unexpectedly, the rock concert suddenly turned into a sing-a-long (with an occasional trumpet blasting from above). The only thing missing was the campfire.

Those of us unfortunate ones who didn’t know the songs or the words had to strain to pick up the complexity of the compositions, but the creative ambience made our efforts more than worth it. It felt as if these guys had invited hundreds of us over to sit in their living room while they played some ditties they’d been working on. Despite the technical difficulties (or perhaps thanks to them), the performance was a novel and singular experience of the band's contagious music that will not be easily forgotten or replicated.

Photo courtesy of the band's Myspace

The Good Graces of Grace McLean

2010-02-08T13:23:00.000-08:00

Reclining on pillows at the foot of a grand piano, being serenaded by the ever impulsive yet soothing, honeyed voice of Grace McLean is one of the more perfect ways to spend a winter’s Sunday afternoon.

On Sunday, February 7th, for a piece aptly titled “Living Room Experience”, McLean had turned a black box theater into a space so warm and comfortable, complete with paper lanterns strewn across the floor and a floor lamp by the piano, that it was redolent of being in a friend’s living room. The show was part of an ongoing singer/songwriter series called Music with a View at the Flea Theater in Tribeca. The event is defined as a “lab-like space” that is “dedicated to nurturing new works and to the free exchange of ideas, thoughts and opinions between artists and the audience”.

McLean capitalized on this idea of a relationship with the audience by encouraging her attentive crowd to join her in breath exercises during her self-imposed “Intermission”, as well as asking them to close their eyes to let the images of a song titled “The Dream” wash over their imaginations. She also invited the eager young men and women to share a secret with their neighbor before launching into her “Secret Song” and the room momentarily erupted in whispers and giggles reminiscent of a child’s sleepover.

Her rapidly percussive songs, delivered with the utmost vocal control and perfect diction, were accompanied by Justin Goldner on bass and Hiroyuki Matsuura on percussion. The instrumentation of her music is subtle; a gentle background to her dynamic voice and clever, story-driven lyrics.

“I’m in love with my friend’s roommate/ I hope that he’s not gay/ Keep in mind it wouldn’t be the first time affections have wandered that way”

The series was the perfect forum for an artist like McLean who is an innately charming performer with sharp comic timing and an ease that makes her irresistible. One song flowed swiftly into the next, introduced by witty remarks and closed promptly with a simple ‘Thank you’. Her show left you longing to recreate those feelings of peace and bliss at home in your own living room. It would surely be much easier if Ms. McLean could be a permanent fixture next to the sofa.

Photo courtesy of artists' myspace page

ban*ter |ˈbantər|

2010-02-03T14:10:00.000-08:00

There are moments in most live musical sets that more or less require some sort of dialogue, or banter, on the part of the musicians. The smaller the setting, the closer the audience, the more necessary the banter seems. The truth is that this act of bantering is almost as much of an art as the music-playing itself and yet many musicians seem to lack the requisite skills.

The Banter is important because it effects the momentum of the set: it can either interrupt it or it can drive it forward. It could be said there are even musical elements to it: a harmonious balance, a cadence, a duration. The problem many musicians run into is a lack of intuition with this bantering. They may talk too much, or not enough; they may tell random stories from their day or their lives that come across as purely irrelevant; worst of all they may try to make jokes and fail. There’s probably a reason you are a musician and not a comedian, my friend (Although, for the record, Steve Martin in the company of his Banjo Band has the art of Banter DOWN).

All that being said, when musicians rock the art of the Banter, they stand a cut above the rest. They are suddenly performers, not simply music-makers.

A prime example can be found in the trio that is The Spring Standards: James, Heather and James. The most impressive part of their relationship, and consequently their banter, is that it feels genuinely collaborative. No one seems to be the ring leader and no one is trying to steal the spotlight. It is Banter, in the true sense of the word. It is playful, relaxed, endearing, completely comfortable yet totally unplanned. They finish each other’s sentences and make impromptu puns off of each other’s remarks, as well as off of comments from the audience. They are in tune with one another’s senses of humor and at the same time it is clear that they respect and enjoy each other.

As a result, we, the audience are charmed by these three incredibly talented musicians. A wall is broken down that separates them, the rock stars, from us, the civilians. Our hearts open and we trust them. We want to hear every word they say and every note they play. Which is lucky for us because The Spring Standards’ music (around the Banter) is even more enchanting than the banter itself (hence our reason for being at a music set and not an improv show).

So can an excellent musician be terrible at banter? Or can a band with sharp and witty banter play unappealing music? Most likely. But without some level of proficiency in both, they may never be truly great performers.

**Don't miss The Spring Standards in action again at Rockwood Music Hall on Tuesday February 9 at 8 pm**

Photo credit: Jeffrey Augustine Songco, from the band's Myspace

A New Obsession

2009-09-05T09:21:00.001-07:00

Do yourself a favor: meet Pearl and the Beard (even if it's not in person for now). Listen to their music, be awe-inspired, fall in love. As one of the opening acts for Tiger City last night at Mercury Lounge, this trio was the very definition of a hard act to follow.

About half the crowd (and it sure was crowded) raised their hands to express that it was their first time seeing this gem of a band, consisting of Jocelyn Mackenzie, Jeremy Styles, and Emily Hope Price. The band is headed off on what they call the "Raise Your Glasses Tour" (as in eyeglasses, spectacles, if you will) and at its mention, they all, as if on cue, lifted their eyeglasses from their eyes. But not to worry, they will be back and playing here at home later in the fall (October 27th at Joe's Pub).

The Brooklyn-based band has a dynamic sound, layered with guitars, a cello, a variety of percussive elements (including hands and feet), an accordion, a glockenspiel, a melodica. Basically, you name it, these three play it. And on top it all they have composed beautiful harmonies, perfectly in sync, orchestrated with the precision of a concerto. Their talent is also apparent in the fact that one song sounds quite different from the next; from slow and languid ballads to poppy crowd-pleasers to crooning, passionate anthems. From a song featuring six or seven rotating instruments to one that was entirely vocals and percussion, building from claps and stomps to drums and shouts.

What makes these two girls and a guy a hard act to follow, in addition to just some great listening, is the overt sense of play they have together on stage. Their energy and passion is infectious and you only wish you could have as much fun doing your own work.

A few lines into one particular upbeat song, it became clear that they were covering the theme song to the Fresh Prince of Bel-Air. Yes they were. It was a medley, in fact, with highlights from "Men in Black" and "Wild, Wild West" thrown in for good measure. It was a little bit of genius. Here it is: see for yourself.

Later, after some disclosure about playing a love song in a rock club, they launched into a new song (and welcomed suggestions for its title) which silenced the enthusiastic room. Only afterwards was it admitted that this was the first time they had ever played the song for anyone. And therefore, they said, comfort can be taken in knowing that it was the worst that the song will ever be played. Which sure bodes well for the future of the song. And the band, frankly.

Jenny Lewis Rocks Battery Park

2009-07-05T08:35:00.000-07:00

"Saturday. In the Park..." Jenny Lewis begins quietly; a gentle lullaby that is a striking change after an hour of her rocking and crooning at the River to River Festival. But suddenly the hundreds of fans scattered throughout Battery Park know where the song is going, as she continues a capella, "You'd think it was the Fourth of July..." (Which it was.)

Jenny Lewis and her band seem to be the very definition of musicians. They rotate instruments, demonstrating a range of skills that is far from common in their contemporaries. Sure, Lewis is the lead singer and also plays the keys, plus the acoustic and electric guitars, but the other lady of the group, Barbara Gruska, for example, is equally impressive as a backup singer who also rocks on the drums and the harmonica.

The hour long set (as the opening act for their good friends, Conor Oberst and the Mystic Valley Band) featured Lewis classics such as "Acid Tongue", "The Next Messiah" and Rilo Kiley's "Silver Lining" plus one or two new songs. And of course, they pulled Conor Oberst out to join them on one song, at which point he and Lewis pressed their faces together to share the microphone center stage.

The most impressive thing about Lewis and her band, aside from their obvious talent, is the way that they just make you want to be a musician. They not only make it look cool and fashionable (Lewis in her typical tight, short shorts), but also, and more importantly, they make it look fun. That accounts for the energy that rolls off the stage and floods the audience, even one as diverse and sprawling as that on the lawn at Battery Park. They are, needless to say, excellent performers; just enjoying doing their thing, with nothing to prove.

At the end of the set, as her piano notes reverberated over the pulsing drums, Lewis raised her American flag, then waved, simply and shyly, and turned and walked off the stage, leaving the two drummers to a solo showdown on the empty stage. And somehow, her humility and grace made us all proud to be American.

One Woman Who Draws A Crowd

2009-07-01T06:42:00.000-07:00

Julia Weldon is one of those transparent performers who wears her heart on her sleeve. Her lyrical songs speak beautifully to her unique sense of humor and perspective ("I wanna write like Bobby Dylan and go to jail like Johnny Cash"). Even her guitar strumming seems dictated by her impulses, alternating between big and passionate and quiet and gentle.

Playing for the first time at Rockwood Music Hall on June 30th (to a full house despite her admitted fears that no one would show up), Weldon was candid about her nerves. "I'm gonna forget some lyrics," she warned before one song, mid-set, "Just get ready for it."

And yet there is something about her that is charming and comforting despite all nerves. As an audience, you feel well taken care of.

It was a well thought out set, even visually, hinting at Weldon's career as an actor. "Apparently there are sitting and standing songs," she mused as she found herself moving to and from the stool.

She threw in one song a capella, short and sweet, and later invited Alyssa Robbins, a friend and peer in the singer/songwriter scene, to join her onstage. This duet hinted at a good idea for Weldon and her one-woman show; she shares the stage just as well as she holds it on her own, but some of her songs benefit from additional harmonies and instrumental layers.

She is a woman of surprises: the things that come out of her mouth are never what you're expecting. Even her songs go in unforeseen directions, such as "One of These Days" which dissolves pleasantly into her own version of "Over the Rainbow".

So who knows what to expect at Weldon's next show? Other than a charming performance. And probably a stool.

Photo credit: Rebecca Greenberg

Play Away...

2009-05-28T09:28:00.000-07:00

I don't know what it is about the Bowery Ballroom that brings out the off-the-wall playful energy of musicians.

The members of both Jukebox the Ghost and the Jenny Owen Youngs band who played there on May 27th were no exception. They may have been, in fact, the pinnacle of the statement.

The two bands, who were finishing up a three week tour, collaborated at both the end of Youngs' set and at the end of Jukebox's headlining set. This put eight passionate musicians, who had spent three weeks on the road together, onto the same stage and, needless to say, their camaraderie and joy was palpable. They beat each other with tambourines, they laughed and shimmied and flirted, and at one point, three of Youngs' musicians (two guitarists and the drummer I think it was) ended up piled on top of each other on the stage floor. Mid-song, mind you.

During the single cover that Jukebox played ("Temptation" by New Order), dozens of black and purple balloons were released suddenly from the balcony. As they were tossed around the ballroom, the sense of bliss and play sky-rocketed. Fans (and presumably friends of Jukebox pianist, Ben Thornewill) at the foot of the stage found great amusement in pounding Thornewill with balloons as he energetically sang through the song, pausing to shout: "It's hard to play with balloons!".

Perhaps. But it's certainly not hard to find the play in playing the Bowery Ballroom.

Photo of Bowery Ballroom by curtis w. on www.yelp.com

Steve Martin and the Banjo Band

2009-05-19T12:21:00.000-07:00

Who plays a banjo in a suit and tie? Steve Martin does. (Who else would, really?) Well maybe not always in a suit and tie, but yes, he does play the banjo. Quite well, in fact, as evidenced by his new album, The Crow, ranked at the top of the Bluegrass chart. The suit and tie was more a formality (literally) of a benefit concert for the Los Angeles Public Library, which he played at the Club Nokia theater downtown L.A. on May 11. He shared the bill with the brilliant North Carolina bluegrass band Steep Canyon Rangers and later shared the stage with his old friend John McEuen of the Nitty Gritty Dirt Band. The show opened with an interview (turned battle of the wits) conducted by humorist Dave Barry.

Although the concert flirted with stand-up comedy, Mr. Martin is a serious banjo player. And yet he doesn’t take himself too seriously. On more than one occasion, he mocked himself for his lack of skills with the microphone (and even necessitated being rescued by a technical director). “It’s still the amateur night for me,” he reasoned, “It didn’t cost that much to get in.”

Typically in bluegrass music, the sense of play far outweighs the sense of order. Yet this was not the case on stage at Club Nokia, where it felt as though these bluegrass boys were playing by the rules: focused and serious with no time for knee-slapping or hooting and hollering. The audience was equally well mannered, seated as if at a classical recital rather than a toe-tapping celebration of life. Martin left the stage for two songs, allowing the Carolina boys two songs on their own, at which point they flocked to a cluster around the microphone and played with the real charm and energy of a bluegrass jam band.

Most of the songs were from Martin’s new album, one written decades ago while living in Aspen and, admittedly, “probably high” (“Pitkin County Turnaround”); one within the last few years while on vacation in the Caribbean (“I have $35,000 invested in this song” he proclaimed). Most were instrumental, as he acknowledged his shortcomings both in writing lyrics and in singing them. The Steep Canyon Rangers demonstrated their mastery of both of these skills, however, in catchy songs, exhibiting beautiful three part harmony. The result was an amusing contrast between their harmony and Martin’s monotone one line interjections.

The image of a young Steve Martin sitting around, high up in the mountains (pun intended) with the Nitty Gritty Dirt Band (and maybe Jack and Hunter and other notorious Aspen locals) is striking. It feels truer not only to the essence of the music, but also to Martin himself, than this dressed-up version that seemed desperate to free itself of the suit that just doesn’t fit.

Behind the Music with Pete and J...

2009-02-17T14:09:00.000-08:00

"I was terrified. Actually, I wasn't terrified until I met you."

-Pete, of Brooklyn band Pete and J, talking about J

Read the story of Pete and J, excerpted from an interview at the Second Sundays Series at Rockwood Music Hall:

www.profilesofhope.com

Leah Siegel Lets It All Out

2009-02-08T10:40:00.000-08:00

Brooklyn singer Leah Siegel knows how to draw a crowd. At the Living Room on February 6, the room was filled beyond capacity with Leah-fans, old and new. The set started late (much to her apologies) as they waited for Steve Elliot, the guitarist, to arrive (he was, as she promised, well worth the wait).

Leah is a rockstar, in the most unconventional, charming and humble way. She cradles the lyrics of her songs, and you can sense the emotion they illicit as they roll off her tongue. Everything about her music, in fact, is dictated by her emotion: from her volume, to her pitch to her tempo. It is music that moves you, both physically, as well as emotionally. Every note pulls you in closer, as her voice soars delicately to the top of her range, or she throws back her head and opens her mouth, releasing a sound so powerful and resonant that everything else seems to disappear.

Her band is no less talented or innovative. Especially Elliot, who, in one song, picked up a bow which he ran across the strings of his electric guitar during a particularly striking solo. That was unique in and of itself, but also because it is about the only thing that could steal attention away from Leah.

Check her out for yourself, before her rockstar-dom makes her shows too hard to see. It's already getting to be a tight squeeze at the Living Room...

Photo from a previous show at the Living Room; posted on artist's Myspace

Get on this PAPER ROUTE

2009-02-08T10:02:00.001-08:00

In one of those sets that flashes by, ending prematurely, the Nashville band Paper Route set the bar high as an opening act for the new Indie-wonder-band, Passion Pit, at the Bowery Ballroom on February 4th. They played back to back songs, with little time wasted on chitchat, and their energy was both thrilling and infectious. Their performance was so impressive, in fact, that they not only worked up the crowd for Passion Pit (which is the mark of any strong opening act), but also built up the expectations. Could the headliners top their opening act? (They did, but it was close). The dramatic energy of Paper Route's performance was accented perfectly by their last moment on stage: the lead singer, in his small bowler hat, shoved the microphone away triumphantly while the last notes of the song lingered in the air. The image lasted longer than the band, for as soon as the microphone stand returned to its upright position, the musicians were gone, leaving the audience in breathless awe.

Photo by Brandon Chesbro, from the band's Myspace

Christina Courtin: New York's Best Kept Secret

2009-01-29T09:50:00.000-08:00

A few years ago, it seemed Christina Courtin was all people in the New York music scene were talking about, as they followed her around the downtown circuit, on stage everywhere from Joe's Pub to Rockwood Music Hall. But somehow I always seemed to miss her; until last week, when I quite fortuitously stumbled upon her as the opening act for Andrew Bird's show at the Music Hall of Williamsburg.

Ms. Courtin is a very physical performer: she holds her ground center stage, but rocks back and forth on her legs, as if with a little more momentum she could launch directly forward into the audience. This physicality, combined with the quivering, slightly dissonant sound of her voice adds up to some sort of hybrid between Bjork and Jodie Foster's legendary character, Nell (and, misleading as that may seem, I mean that in the very best of ways).

Courtin's repertoire runs the gamut from rock to blues to gentle ballads, but it is the twangy country melodies that seem most improved by her unique, irresistible vocal style. Striking as that is, however, she is firmly supported by the men in her band, all of whom play and sound like a true ensemble of equally important parts.

Let me say one more thing as further testament to the unique character that is Christina Courtin. She stepped out on stage in front of a house of Billyburg hipsters/Andrew-Bird-lovers wearing a tight gold one-piece, with a black belt and black boots. She claims it was because it was bassist Ryan Scott's Golden Birthday.

"Am I the only one wearing a gold one-piece tonight?" She interjected between songs, "I hope so. But I also... don't hope so".

I don't think Christina has to worry much about the risk of blending in, in any sense or on any level.

Photo from www.christinacourtin.com

Wakey Wakey at the Living Room

2009-01-14T09:12:00.000-08:00

Get yourself down to the Living Room one of these last two Mondays in January to see Brooklyn locals Wakey Wakey rock the room during their month-long residency. The five-piece plus band delivers music that makes your toes tap and your heart ache all at once. Mike Grubbs is the man more or less at the center of the sound. His banter and laughter between songs is charming to no end, but it is the music that will really win you over. Grubbs starts many of the songs with a simple folkloric melody on the piano and then, cued with perfect accentuation by Jamie Alegre on the drums, the songs take on a richly textured sound, layered with electric instrumentation (the electric-violin tends to upstage the electric guitars) and nuance.
Wakey's songs flirt with some bright piano chords a la Ben Folds, but stand out on their own due to the vulnerable and honest quality of the lyrics and the passionate and raw crooning of Grubbs' vocals.
Wakey Wakey are true performers: their gracious and playful nature is comforting and amusing and their skills as musicians have the ability to awaken your senses, your passion, your emotions. Like an addiction, they'll leave you wanting more. Thank God for month-long residencies.

Photo by Frank Celenza from the Mercury Lounge CD Release party

A Word with Andrew Bird

2009-01-08T12:44:00.000-08:00

Written for WirelessBollinger.com
Photo from Bird's show at Hiro Ballroom, NYC, October 2008

Andrew Bird’s literate brand of pop is carried out with virtuoso talent and enough eccentricity to ensure that his music is idolised by some and misunderstood by others. Because of this complexity it’s not surprising that Bird speaks in adjectives and broken sentences – taking his time to make sure his message is correct, yet moving in and around points. This is particularly so when Bird describes his new album, Noble Beast.

Compared to past efforts Noble Beast was produced relatively quickly. Bird strived for this streamlined recording to ensure that the initial idea behind the album was maintained. “I wanted it to be more woodsy, kind of mossy, earthy, kind of like that kind of steamy decay of things”, Bird explains.

When asked about the album’s lyrical themes and his characteristic vocal phrasings – part stream of consciousness, part neurotic tales and, on Noble Beast, partly songs of hope – Bird states that he makes a point of visiting Natural History Museums when he’s on tour for inspiration. “[The Field Museum in] Chicago is, like, older and mustier and heavier and darker. [New York’s American Museum of Natural History, where the interview is taking place] is kind of light and airy. But there are more dinosaurs in New York. " That’s cool, right? read more...

Blitzen Trapper is Returning to NYC!

2009-01-02T13:03:00.000-08:00

If you missed these Portland, Oregon up-and-comers in November, don't worry: they will be back to play the Bowery Ballroom on February 27 and the Music Hall of Williamsburg the night after, February 28th.

Review written for WirelessBollinger.com

The live show that Blitzen Trapper put on at Terminal 5 in Manhattan on November 17 was something like watching a road race. The gun goes off and the band fires out of the gate,
with high energy rock songs, well executed but very focused and mostly devoid of emotion. With their sights set so firmly on the track, it’s hard to tell if they’re actually enjoying themselves. But after a few songs, the sextet settles in, finding their own rhythm (which is accented in each of their six bodies in unison) and exposing more and more of their unique sound.
With a combination of shaggy beards and tight hipster jeans, it comes as no surprise that the music from these Portland, Oregon men is a cross between blues/country and rock/funk. Eric Earley sets the mark as the lead singer, who at times croons with the whiny resonance of the best Country singers, only to later bust out a grating opening chorus, screamed into the microphone, flirting with heavy metal associations while maintaining the precision of a classic rock band.
It is not only the vocals from Earley, however, that stand out. Many of Blitzen Trapper’s songs are colored with striking three-part harmonies, pulling the sound back towards blues and country no matter how hard it’s trying to veer away (the occasional introduction of Earley’s harmonica has the same effect).
Their live set was diverse and spanned more musical genres than their typical album; like a sampling of all the options open to them as musicians. This appeared to be more fun for the audience to experience than it was for the young men onstage, as Earley rushed each song’s ending with a cold “Thank you” and the band exited the stage somewhat hurriedly and anti-climatically to allow for Iron & Wine (the headliner) to set up.
For a band that can so clearly hold their own in one of the biggest venues in New York City, they could afford to relish in the moments a little more. Take a lesson from the tortoise: slow and steady wins the race. It helps to make it fun along the way as well.

A San Francisco Jazz Show, Banjo-Style

2008-12-16T08:11:00.000-08:00

Bela Fleck and the Flecktones have a short residency at the Blue Note starting Wednesday, December 17th. If their show at Yoshi's in San Francisco last month is any indication of what to expect, then their gigs here in New York should NOT be missed. Although, with these guys, it's hard to ever know just what to expect...

written for CabaretExchange.com:

What does it mean to defy expectations as a jazz quartet? It means to feature, even star, a banjo instead of a guitar. Two banjos, in fact: an acoustic one and a purple electric one. It means to play the banjo with such silky delicacy and to illicit notes from the electric bass at such extreme ends of the musical scale that the absence of a guitar goes unnoticed. It means to open a set with a song deeply rooted in funk music, move into a medley of Christmas songs and then add some sprinklings of bluegrass here and there to taste. To defy expectations means, at the end of the day, to play like Bela Fleck and the Flecktones. Keep reading...

Why 'The Hot Left' is Hot...

2008-12-09T13:17:00.000-08:00

Music is starting to trickle through town from Brooklyn band The Hot Left, especially now that they have officially released their first album. The collection of ten songs starts off with a bang and moves through diverse musical styles and lyrical themes to end on gentler, more contemplative fare. As a whole, the songs feature catchy guitar hooks (with lead singer David Feddock on guitar and Chris Olson on electric bass), driving tempos (from Pat Van Dyke on drums) and ambitious vocals (despite the occasional unbalanced harmonies). Feddock has written lyrics that are witty yet still reveal an appealing vulnerability behind his rough-edged vocals.

What is most unique (or Hot?) about these guys is their ability to dramatize everyday activities in Brooklyn, charged with toe-tapping rhythms and energetic melodies. From the pain of "It's eight o'clock in the morning and the landlord's running the vacuum", to the familiar relief of "I crack a little smile as I jump the turnstile... right on time again [for the Q train]" to the upbeat but bluesy lamenting of "Stuck in Brooklyn all alone", these songs are like a bright soundtrack for the lives of anyone dealing with the trials and tribulations of New York City.

Photo of David Feddock (left) and Chris Olson (right) from their MySpace photo album

Some Noise from the Silent Years

2008-11-25T12:08:00.000-08:00

As published on WirelessBollinger:
At nine months old, Josh Epstein used to hum in his crib. A prodigy? No, “just an infant that hummed”, he humbly clarifies. From little things big things grow, and now he is the lead singer of a Detroit band called The Silent Years who have just released their third album The Globe.

Their new album is “about the universality of everything,” Epstein explains, “Everyone’s got these problems, and I’m not saying that one is more real than the other, but they’re both equally real to the person who’s experiencing them at the time. The really rich kid in Long Island who’s upset that he didn’t get a BMW for his 16th birthday and the really poor kid in Harlem who’s really upset that he didn’t get, you know, breakfast. They’re both really upset. And while you might say the latter example has the real conflict, they’re both real to those who are experiencing them and the person in Long Island has absolutely no clue in most instances that there’s someone else with a problem that’s greater than their own and that feeling of pain is very real.” keep reading...

Photo of Josh Epstein from the live show at the Hiro Ballroom, NYC

"You Gotta Get A Gimmick..."

2008-11-12T12:09:00.000-08:00

Ultimately as a performer, success comes down to talent. But having a gimmick sure helps to make one talented musician or artist stand out amongst the thousands of others.
In this regard, Minneapolis based band Cloud Cult is good to go on their road towards success.

The seven-member band, who headlined at the Bowery Ballroom on Tuesday night, includes not only an electric cello and violin, electric guitars and drums, but also two live artists. As in, visual artists: painters. It doesn't even seem appropriate to diminish this aesthetic element by deeming it a "gimmick". But in a sense, that's exactly what it is, since it is a trait entirely unique to this group of talented musicians- who could stand out on the radar for that fact alone.

Not to mention the versatility of their sound, as the songs grow from simple lines of gentle strings (beautifully drawn from the violin by Shannon Frid) or acoustic story-telling (by lead singer and guitarist Craig Minowa) to all-out psychedelic jamming or syncopated rock. Or the trombone might come out, and everything takes a turn for something new and different altogether.

The energy onstage is contained but not stifled; the musicians are comfortable working the room and having a dialogue with the ecstatic, overpacked crowd. They put on no airs of celebrity or rockstar: they just show up to play really awesome music. Minowa humbly affirmed that "it's not a given that people are going to come out to hear us play. We know that there are tons of options for music here and we're really grateful that you all chose us".

It would be a shame not to, seeing as the band tours very rarely (and when else is there the opportunity to bid on an iconic painting done onstage by band members?). Their CDs will have to suffice in the meantime; to quench the appetite of all the die-hard fans who are, admittedly, in on some kind of secret. Although, once you've headlined at the Bowery Ballroom, news will get out pretty quickly.

Makin' News:

2008-11-05T13:53:00.000-08:00

If you're not already familiar with Gringo Star, from Atlanta, you better hurry up. The band is up-and-coming in the Indie scene, and they're coming up quick. I saw them play as part of the CMJ Festival at the Delancey (see post below) and was instantly struck by their raucus sound, their unique energy and their standout skills.
My opinion of them has been justified, to some extent, as they were just named Artist of the Day on Spin.com. Read the article here!
They have a new album out, which you can download here ;
or if you prefer to test drive their music first, catch a video of them on Have You Heard here ;
or listen to them jam on Matt Pinfield's show here!
What are you waiting for?? Go!

2008-11-05T13:43:00.000-08:00

As published on WirelessBollinger.com

The Theater Fire, a melting pot of a band from Ft. Worth Texas, played from the fittingly old-fashioned stage at Union Pool in Brooklyn on October 17th. Setting up before the act was almost as much of a production as the act itself, but all was warranted as the seven men launched into beautifully complex songs, pulling more and more instruments out to infuse the down-home country sound with sprinklings of mariachi, zydeco, bluegrass, polka and rock... read more!

A Lesson in Cabaret

2008-10-30T09:58:00.000-07:00

As published on CabaretExchange.com

Cabaret is one of the most misunderstood yet most loosely defined art forms. And although it is considered a "fragile" art, it is not dying. The nineteenth annual Cabaret Convention presented by the Mable Mercer Foundation proves why, and is like a crash course in this unparalleled art. read more...

photo of Mabel Mercer from Wikipedia.com

CMJ in NYC

2008-10-22T16:01:00.000-07:00

Well it's that time of year again: yes, fall, but also the season for the CMJ Annual Music Festival. For anyone outside of the Industry-meets-Indie Music Scene in New York (or non-avid readers of music blogs), CMJ (College Music Journal) puts on a five day festival featuring over 1,100 bands (many of them locals in NYC and Brooklyn) scattered throughout the city's best music venues as well as private lofts and random spaces (like clothing stores). It is, in effect, the New York version of SXSW. Maybe one day it will be as reputable and all-consuming, but for now, it at least provides for some good entertainment and yet another excuse for New Yorkers to rush all over the city.
-------------------------------------------------------------------------------------------------||| Detroit natives, The Silent Years, played the Hiro Ballroom on Thursday night. They were victim to some bad sound engineering which upset the balance of their somewhat experimental rock music, but luckily did not affect their gracious energy. Lead singer/guitarist Josh Epstein fashioned a microphone inside of a telephone receiver which lent a surprising box-recorded effect to his soaring vocals. At the end of the set, keyboard/violinist Cassandra Verras and Epstein, danced off the stage with their instruments and tried to rally within the extended crowd. There was a little too much empty space to achieve the desired effect, but it was a nice try.
-------------------------------------------------------------------------------------------------
||| The Age of Rockets took the stage next. Their sound is about percussion (through a variety of elements), synthesizers, lulling bells and strings and melodic vocals. If only lead singer Andrew Futral wouldn't try to make jokes between songs: like slipping arsenic into a good glass of whiskey.
Photo from the band's Myspace album
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||| Things got a little more post-punk over at the Delancey when Brooklyn band Freshkills took the stage. The four member unit is tightly knit and near perfectly orchestrated, albeit a little intense. The stark contrast between lead singer Zachary's concentrated stillness and guitarist Johnny's risk of internally combusting from the sheer force with which he played was entertaining in and of itself.
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||| Gringo Star, from down south Atlanta, moved in on the stage at the Delancey next. These four guys are the ultimate definition of musicians. They cannot be labeled as 'drummer', 'guitarist', 'singer', etc. because, like a game of musical chairs (or instruments), they rotated roles throughout the set (which only made them all the more impressive both individually and collectively).
Their bright, upbeat songs have a bounciness, highlighted by the physical bouncing of these precise and perfectly synchronized young men on stage as they effortlessly and playfully blasted their way through the songs.
-------------------------------------------------------------------------------------------------
||| Scouting for Girls opened the British showcase (yes, they are from the UK) sponsored by East Village Radio on Wednesday afternoon at Lil' Frankie's Pizza on 1st Avenue. With songs all about unrequited love and broken hearts, this band, who for obvious reasons are more reminicscent of the Beatles than the Beach Boys (who they feel their sound resembles), come across as your classic tale of grade school geeks turned rockstars. Their bright, poppy sound with fluid harmonies is pleasant and perfectly packaged for soundtracks on teenage dramas or chick flicks. Maybe their other songs, besides the three or four hits they played at the acoustic set, sound a little less safe and familiar (the short set list was limited, also, by the fact that lead singer Roy Stride was stricken to the guitar instead of his piano since they didn't have the necessary converter to plug in the keyboard they lugged across the ocean).
Photo from www.eastvillageradio.com
-------------------------------------------------------------------------------------------------
||| No photograph could do justice to Mica Levi (in the yellow-square t-shirt), who took the stage next with her child-size guitar, its size proportionate to her figure but not to her bouffant of a haircut. She was joined by, aptly named, The Shapes: a young man in a t-shirt with a green triangle painted on it and a young lady whose shirt had painted red circles. They both crouched on the floor surrounded by conventional items such as glass bottles and jars, and asked the audience to loan them a set of keys, all of which were employed as percussion. The "band" goes by the name Micachu, and makes you wonder why you never pursued a music career with the imaginative if slightly unskilled kids you used to play with in your own basement or attic.
photo from www.eastvillageradio.com
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||| Emmy the Great, who has been getting a lot of press on blogs of late, followed Micachu with her more traditional band (though that's not saying much considering the context). Lead singer and songwriter Emma-Lee's gentle vocals and simple guitar chords floated the band through the first song, lovely but mysterious enough to catch the attention of the crowd gathering in the small garden room. She lost a little ground, and admitted it, with an attempt to cover a Weezer ballad with "an old friend" with whom she was recently reunited here in New York. Their effort was redeemed when she talked of another time they had done a Weezer cover, with the final lyrics "I'm sorry" and immediately afterwards, she had to say "I'm sorry." to the audience. Her humility and quiet charm, however, need no apology.
Photo from the artist's album at www.emmythegreat.com

Andrew Bird (and Co.) Play NYC

2008-10-22T15:37:00.000-07:00

as published on Wireless Bollinger

When has indie music resembled a symphony? Well it did on October 7th, when Andrew Bird and his band played the Hiro Ballroom in Manhattan. By layering disparate musical elements (from percussive plucking of his electric violin, to the revving of Jeremy Ylvisaker’s electric guitar, Bird’s sweet whistling, the handclaps, the xylophone, the gloceknspiel...) Bird has created his own genre of music. And as good as it sounds on an album (with a new one due out in January), the total effect is best when the music is live. read more!

You Name It, They Play It

2008-10-19T18:57:00.000-07:00

The Theater Fire is a band out of Ft. Worth, Texas that has recently come across my radar (I wrote a review of their show in Brooklyn for Wireless Bollinger). They are a collection of seven men whose songs tell stories about life, love and Texas and sound like country western mixed with a little rock, with maybe some mariachi and even a little big band jazz on the side. In order to fully comprehend what this means, you will just have to listen to them for yourself.
And here's a game to play: as you listen, see how many instruments you can pick out. These men play more instruments in one song than some people even hear in a lifetime. And then they switch them out for new instruments on the next song!

As a little cheat-sheet, I will attempt to list all of the instruments they had on hand at their Brooklyn show last week.

First, the obvious ones: keyboard, electric guitar, electric bass, acoustic guitar, drums.

Then comes the trumpet, the french horn, some other kind of horn (I was never in a band), a xylophone, bongo drums, a mandolin, a banjo, a harmonica, a steel bowl, some version of rainsticks, an accordion, a fiddle, a washboard (yes. they had a washboard).

And now for the ones I really didn't recognize: some version of a keyboard that had strings like a harp, a recorder-like instrument with piano-like keys.
Oh and they sang. Which counts as an instrument in and of itself.

Am I missing anything? You tell me.

Band photo from The Theater Fire Pics album on Myspace

Normal is Not The Same for Ben Folds

2008-10-09T16:01:00.000-07:00

written for Wireless Bollinger:Ben Folds is not normal, despite the title of his most recently released album, Way To Normal. The man writes songs unlike any of his contemporaries. He falls off of a stage in Japan, suffers a concussion but proceeds to play the set, and then writes a song relating the details of the event (‘Hiroshima’). And the song becomes a hit.

... The live show [at Terminal 5 in Manhattan] opened and closed with overhead echoing sounds of “Om” as the eager eyes of the audience scanned the dark stage for any sign of abnormal life... read more!

Jupiter One debut EP

2008-09-24T19:30:00.000-07:00

Originally written for Soundcheck magazine, though not published there

The self-titled debut album by Jupiter One, a New York City band, is electric. In every sense of the word. The crystal clear vocals by K Ishibashi soar above the electronic synthesizers, electric guitars, electric violin and electrifying drums, creating a sound that is complex yet effectively balanced. The signature instruments are the chameleon-like synthesizers, whose impressive range reflects the scope of the entire album.

Like a journey (or more appropriately, a trip), the fiery yet whimsical album opens with a short instrumental piece, “Intro for Ani Enorda” akin to an orchestrated tune-up. From there, with the specificity of Dave Heilman’s drums and the bright melodies from three synthesizers led by Mocha, and assisted by Zac Colwell and Ishibashi (who also alternate with the electric guitar or electric violin), the songs call at times to a disco ball or to Mr. Roboto in all his techno glory. Radio-destined songs such as “Countdown” or “Fire Away” are more than just catchy pop tunes, becoming layered opuses with distinct movements as the instruments build and drop out of the fray.

The crisp, percussive lyrics, treated with such tenderness by Ishibashi, become more extraneous, though no less melodious, as the album goes on (“I never buy umbrellas anymore/ I’ll just lose them anyway”). Vocal harmonies a la Queen are introduced and the focus moves towards exploration with the synthesizers. In “Unglued”, they flutter like a harp then chime like an organ; they are light sabers at the start of “Wrong Line” and merry little bells in “Umbrellas”.

By fusing celebrated musical elements from decades passed with a modern-day sensibility, Jupiter One has an irresistible, unique sound. On “Countdown”, when Ishibashi sings: “And so it
begins” the implications reach far beyond the context of the song.

Down Under Was On Top

2008-09-14T18:17:00.000-07:00

In my attempt to "Australia-ize" myself, I happily accepted an invitation to see Xavier Rudd, the Aussie Jack Johnson, of sorts. He's certainly got the surfer-hippie-beach vibe down, his music has a distinct reggae-island tone and he's playful, humble and charming like a modern-day Crocodile Dundee.

More importantly, though, the man is a multi-instrumentalist wonder. And I do wonder, in fact, if there is anything he can't play. I was witness to him on an acoustic guitar, a Weissenborn slide guitar, a harmonica, a synthesizer, drums (plus the bongos at drummer Dave Tolley's set) and the cherished native Aussie instrument, the didgeridoo.

Now, as Americans, we don't know what we're missing by our ignorance of this instrument. It's reminiscent of those long Swiss horns made famous by the Ricola TV commercials, only more of a straight, hollow wooden pole, traditionally made out of eucalyptus. It was created and originally played by the Australian Aboriginees. It creates a percussive, constant sound not unlike a synthesizer, and each of Rudd's three didgeridoos had a different pitch. Apparently they work somewhat like a harmonica in that the sound and breathing is cyclical and constant, with tones both on the inhale and the exhale. This has led some to believe that playing the didgeridoo is a good cure for snoring and sleep apnea... whaddyaknow? (I want this one)

***
Opening for Xavier Rudd (for all of the shows on his North America tour) was a Nashville folk singer, Griffin House. His acoustic sound and wistful, romantic lyrics ("Any guy who would say goodbye to you is out of his mind") would be more fitting for a coffeehouse or small venue than the flashy Nokia theater in Times Square. Nevertheless, the crowd was seduced by his southern charm through his brief but engaging act. He spoke of returning with his band, with his sights set on playing the Bowery Ballroom. I will be there if he comes.

***

A lot of times at local shows, the doors are opened to the venue long before the first act takes the stage. People tend to mill around, drinking and mingling amid the anxious and enthusiastic energy of the empty space. I found it quite curious then, and amusing really, that at the Nokia theater, of the hundred or so people who chose to enter the vast space early (separate from those who preferred to mingle outside the theater at one of two large bars), most were just chilling on the floor. I mean literally, sitting or even laying on the floor of the venue in the blue mood lights.
(By the way, the lighting engineer at the Nokia theater rocks. True, he or she clearly has awesome equipment to play with, but I was thoroughly impressed with the specificity with which Rudd's set was complimented and dramatized by the lighting.)

Back to the point: Who sits on the floor at an indoor concert hall? I can't wait for the day that this trend makes its way downtown to Bowery Ballroom or the Mercury Lounge...

(Didgeridoo photos from www.ididj.com.au)

NEWSFLASH, MATES!

2008-09-05T13:47:00.000-07:00

As a new contributing writer for yet another online music site, I have now joined the ranks of music-loving Aussies at WirelessBollinger.com.
(Thank you to Nick)
It is a very thorough site based out of Australia featuring music news plus reviews of albums and live shows from around the world (Australia, UK, Ireland, NYC...).
The biggest challenge I foresee is picking up the accent.
Check out the site here, hey!

Jupiter One Takes New York City by Storm

2008-09-05T13:26:00.000-07:00

Written for Soundcheck magazine:

"If Jupiter One were a hurricane, K Ishibashi would be the eye of its storm. Grounded at the center, calm and controlled, his energy spirals off to the rest of the band, each of whom is their own force to be reckoned with. In the same way that a great storm is fascinating, Jupiter One is captivating: the crowd moves, cheers and jumps, as close to the edge of the stage as possible, longing to get swept up into the storm..." read more

** the Album review is still on the editor's desk at Soundcheck magazine, but in the meantime, check out the songs here

The Spring Standards Do Their Thing

2008-08-05T11:53:00.000-07:00

It’s no small thing to play an instrument really well. It’s another thing all together to play three instruments while singing a song that you wrote. Meet The Spring Standards, a band with seven instruments and only three musicians (or maybe you already met them, they used to be called Old Springs Pike. But you should meet them again).

At their CD release party at the Bowery Ballroom on July 31st, the three members of the band gave new meaning to the term “multi-tasking”. Sandwiched between two men (both named James) was Heather Robb with her sweet voice (like a younger, hipper Joni Mitchell), plus her keyboard, harmonica and base drum with cymbals which she beat enthusiastically and with surprising skill. The two James guys (James Cleare and James Smith) share not only the same name, but also the same instruments, switching sides of the stage throughout the set, moving between the acoustic guitar and electric bass. Their stations were also outfitted with segmented drum-sets and a harmonica (for which the crowd went crazy).

The trio had their moments of bright poppy melodies and guitar lines, even approaching a little metal on occasion, but their country roots are undeniable (and happily so). The set was mostly original songs, except for one cover done in tribute to Neil Young and, later, a good old Cranberries song in which the trio invited all of the musicians from the night up to join them in a paramount finale.

James, Heather and James are clearly very talented musicians. But they are also gracious and genuine (Heather commented several times on how happy they were to be back in New York), humble and amiable (James went on a spur-of-the-moment tangent about the movie Anaconda 3 and had to be reeled back in). They play with everything they’ve got, which makes their skills all the more impressive. Any one of them could be pulled out, sat down on their own, and left to give a captivating solo acoustic show. But together, they rock, with layered and seamless harmonies that would make the Beatles proud, and a synchronicity so perfect it’s a wonder that they can breathe without each other.

They came out for an encore (how could they not?) and launched into an upbeat blues song that they seemed born to perform. After the cheers died down, they stepped away from their instruments and announced that the audience would have to be really quiet for the next song. As seems to befit their nature, the trio cut to the chase, jumped off the stage and onto the main floor of the ballroom, where they were quickly encircled by the delighted crowd. With only a ukelele accompanying them, they sang their closing song, like a fond farewell, inviting the remaining diehards in the audience to join in towards the end. Suddenly, the iconic venue felt smaller, the Spring Standards felt like family and the concert became an intimate, unique experience never to be repeated.

And this, the ability to give a performance that is unforgettable, is the most impressive thing of all.
Top photo by Reid Rolls
Live photos by Cassie Newman

Via Audio Plays Bowery Ballroom

2008-08-03T18:34:00.000-07:00

It is a fine line that musicians (or all artists, really) tread. The goal is to be a commodity: to fit a bill or have a skill that others don’t, or to have a sound so unique that you are in a league of your own. But you go too far across that line and you may offend or lose the interest of listeners; you play it too safe and listeners will move right on to something edgier. It seems that some bands have developed a stratagem, then, of versatility: a way to cover their bases and dabble in all sorts of sounds, like a politician trying to please as many people as possible.

Playing at the Bowery Ballroom on July 31st, the Boston/NYC based band, Via Audio, took the audience on somewhat of a musical tour. While some songs are all about the words (often about regret, skepticism, moving on...), others have hardly any lyrics to speak (or sing) of, replaced by bright and loud melodies, somewhat disconnected vocal harmonies and driving drum beats. There seemed to be much more versatility in the live show than is characteristic of the band’s albums. Just when it seemed clear that they were a garage rock band, they’d lean on the synthesizers or the keyboard and the music took a turn for pop. In the next song, the drums would introduce a reggae beat, or the guitars would riff off into heavy metal land. Then, out of nowhere, there would be a horn section (with members clad in the requisite dark sunglasses), taking the music back towards big band jazz. Even a flute made an appearance, adding an entirely new, softer dimension to a sound that by that point had become quite metal. These are instruments that are not utilized as much on the album and really threw the band’s sound in a different direction.

Whatever their sound, whatever they play, they play it well. What helps them stand out, though, is their casual and playful energy on stage. It felt like a big party (four band members, plus up to four guest musicians); like witnessing a jam session that happened to be catering to an audience. Whenever a part wasn’t in the fray, such as the trumpets or the saxophone, the musicians danced around on the side, singing along with the sultry voice of lead singer, Jessica Martins.

It is commonplace, and often helpful, to assign definitions to people or things, to put them in a box. But doing so can be extremely limiting and even destructive, especially when it comes to music or the arts. Well, Via Audio cannot be put into any one box, their sound is not easily labeled or defined. Whether this makes them a commodity or a confused lot is up for debate, but in the mean time, they put on quite an entertaining show.

(top photo courtesy of Via Audio's blog, bottom photo from the band's live show at the Lion's Den and courtesy of "The View from My Seat" blog)

Jukebox the Ghost!

2008-08-03T08:37:00.000-07:00

There's a stage set up at the south end of Union Square, a semi-permanent fixture which exists for the Summer in the Square program. Passing by on a Thursday, New Yorkers and tourists alike may witness the stage playing host to all sorts of entertainment (as if there wasn't enough already in Union Square). From yoga classes led by local studios to dance shows for kids to rockin' concerts at cocktail hour, the stage breathes a diverse life into the corner of the park usually reserved for skateboarders or protests.

I happened to be passing by last Thursday night at aforementioned cocktail hour and there was a huge crowd gathered around, a song ringing out from the stage that I knew somehow and figured to be a cover, though I couldn't quite pin it down. As I got closer, I recognized the drummer on stage, in his typical black square framed sunglasses: Jesse Kristin from the band Jukebox the Ghost.

Let me explain the reasons for my ensuing excitement:
1. It was a hot day, there were too many people in a small area, but what a pleasant surprise to unexpectedly stumble upon one of the most talented bands playing the indie circuit right now.
2. Jukebox, a band out of Philly, seems to travel around the country more than many of their contemporaries, so to find them back in New York is a treat.
3. These guys are incredible musicians and word is still not entirely out. A gig in Union Square will most definitely warrant them much deserved attention and a whole slew of new fanatics.
4. Their poppy music and playful energy (particularly Ben Thornewill on piano and vocals, whose theatricality is irresistible) brings a smile to my face every time. Simply put, they make my day.

Although I only caught the end of their hour-long set (much to my chagrin), I left no less satisfied than after jamming along with them through their longest show. Once again, they made my day.

Jukebox will be back in Brooklyn August 20th at Studio B, and again October 2nd at the Music Hall of Williamsburg. Don't wait to run into them in Union Square: do yourself a favor and go see them in concert.

McCarren Park pool on Sunday July 27th

2008-07-29T11:53:00.000-07:00

Yep, it rained. That seems to be everyone's first question. Everyone, that is, who passed up the chance to see Brooklyn natives MGMT play for free on Sunday at McCarren Pool. And they were all correct in their skepticism of the forecast. The clouds disappeared for an hour, letting the sun beat down on the thousands of people standing in line (which followed the circumference of the block), only to roll back in as quickly as they left and open up to drench the sunburned and sweaty hipsters (and occasional Manhattan music lovers such as myself). It was like nature's challenge to fans seeking a free concert: just how much will they endure?

Suffice it to say, I didn't stay for the whole show. I'm surprised I stayed long enough to wait out the line and get inside at all. I'm not surprised, however, to hear that MGMT gave a great show.

The party was opened by the Ting Tings, a UK band that will be playing at Lollapallooza this weekend. Their poppy sound makes a great soundtrack to the dodgeball, boozing shenanigans that are a staple to McCarren Pool parties. The lyrics are slightly aggressive, and only enhanced by the pixie blonde singer's punky delivery.

After an extremely long changeover, (the interim stereo music didn't distract me enough from the rain, I guess) Black Moth Super Rainbow took the stage. Their music is all instrumental, with heavy emphasis on synthesizers. As suggested by a friend, it would make a great soundtrack, but that doesn't mean we're going to wait in line for three hours "to hear the soundtrack from Indiana Jones". Or the Black Moth Super Rainbow again, particularly in a venue as overbearing as the McCarren Pool on a dreary day.

Upcoming Shows I Would See...

2008-07-18T08:24:00.000-07:00

Sunday July 27
MGMT
photo from the band's website
McCarren Park Pool
Free!

This is just the kind of music you want to groove to in an empty pool in Queens on a hot day: A Brooklyn band with simple melodies and inventive instrumentation. It borders on a little trippy and screams Summer.
See what I mean here

Thursday, July 31
Old Springs Pike CD Release Party
photo at right by Jeff of Gus23
at the Bowery Ballroom
with Via Audio, The Paper Raincoat and Anya Marina

Old Springs Pike, now called The Spring Standards, are a local band with a bright sound, layered harmonies and rock melodies with a healthy tinge of good old country.
Sneak preview here!

Via Audio is another band that plays locally a lot (and I also ran into them in Austin) and have quite the flattering reputation as performers.

Check them out here
Get yer tickets now!

Monday August 4
The National
photo at right from the band's website
Yeasayer
Plants and Animals
Summerstage in Central Park

Do I need to say more?
If so, read what Summerstage has to say (and possibly find a link to tickets) here

Friday, August 22
Jupiter One
photo from the band's web album
Bowery Ballroom

I predict that Jupiter One is about to be big. Their music has a poppy dance beat with some electric reverb thrown in on the guitar. The sound is unique, as they attempt to blur the lines between synthesizers and guitars. The songs just make you want to bounce and croon along.
Don't believe me? Listen for yourself here

Or just buy tickets right now!

A Mates of State State of Mind

2008-07-16T11:23:00.000-07:00

Posted June 20th at Soundcheck magazine

“The function of Art is to Provoke. Love or Hate.”

(www.myspace.com/matesofstate)

Seeing a band play live is often a gamble: will you love them or hate them, will you wish you’d just stayed home with the album? How much of their sound is created in a studio and will be missing from a live performance? What about these small two-person bands? How is their sound going to fill a vast open air venue, with motorcycles revving outside, enormous stationary fans blowing relentlessly and crowds cheering?

Suffice it to say that when the two-person band Mates of State returned to Emo’s on June 13th, their sound was so big that the rest of the world of Austin disappeared for a good 90 minutes. The couple (yes, married, with a daughter) was driven to play four encore songs, the jam-packed audience tirelessly committed despite the unforgiving Austin heat. And they sounded exactly like their recordings. Their music, their art, didn’t change in the transfer from the studio to the stage.

For good, and perhaps for... not so good. Part of the thrill of seeing a band perform live is not only the sensation of being flooded by the music, but also witnessing the musicians as they play. Watching the way they interact and the ways the music affects them can be worth the price of admission.

Kori Gardner and Jason Hammel, the notable Mates, are serious musicians. They bust out vibrant and electric chords on the organ and big, jumpy rhythms on the drums (respectively), all the while singing provocative lyrics (“I’m on my own/ Stop telling me the right way to go”). There is a satisfying contrast in the structure of the songs; the vocals shifting from passionate wails to meditative serenades, Gardner and Hammel trading off, harmonizing and layering phrases. (Oh, and Gardner also plays a mean electric guitar. For an organist.)

But they are serious. They stood at practically opposite ends of the Emo’s stage, and had very little interaction with each other (even the smiles and glances were rare until the encore). They didn’t dance or move around much (except in shifting between organs or from the drumset to the microphone). It just didn’t seem as if they were having fun, which is in complete contradiction to their spirited sound.

Nonetheless, energy rolled off the stage like a wave drowning the thirsty crowd, which is testament to the band’s music. They don’t need to jump and bounce around to give a good show. It’s all in the songs.

For most of the songs (pulled primarily from the new album, but with an occasional throwback to previous hits like “For the Actor” and “Like U Crazy” ), the duo was accompanied by a violinist and/or a cellist (who moonlighted with a trombone). In their sustained notes, the strings added an interesting emotional contrast to the pulsing rock sound, but often all but disappeared beneath the dominant organ and drums.
Just when it seemed the band couldn’t add any more sounds, the fourth song of the encore, and incidentally the finale, brought an onslaught of musicians (ten in all) to the stage. As one fan aptly put it, it was like an “orgy encore”, replete with tambourines, an accordion, the trombone, and of course the drums and organs. The music was invigorating, the energy palpable.

Love or hate it, the show was an impressive display of musicianship, it was as predictable and reliable as any art should or could be, and it achieved its purpose as a live concert: to temporarily transport an audience, to fill them with an external energy, to provoke them to scream and dance around. In a certain sense, the means to that end are irrelevant, as long as it’s achieved.

Watch a music video! Or two...

See a show this summer!

Listen and Learn

The Submarines Dive Into Union Hall

2008-07-15T16:26:00.000-07:00

See The Submarines play this summer!!

Posted June 1 on Soundcheck magazine

Photos by Orrin Anderson

Clad in a retro sailor-style dress with knee-high boots and her blonde hair in braided pigtails, the last thing you’d expect Blake Hazard to be holding is an electric guitar. But as the front-woman for the LA-based garage pop band The Submarines, she did just that on Thursday night as she rocked Brooklyn’s Union Hall, which she claimed to be her favorite stop yet on the band’s East Coast tour. And, yes, she was accompanied by two very committed and apt men, one supplying drums and the other electric guitar (played by her partner in all things music and love, John Dragonetti). But Hazard, with her guitar and flower-framed xylophone, easily stole the show.

While Dragonetti seemed to be all business, focused on the music, Hazard was playful and giggly, truly charming. Not to say she is any less of a musician, rotating between not only her guitar and xylophones but also a tambourine and the recorder-like melodica. After a slightly sticky opening due to a technical imbalance in sound levels (which Hazard handled with great poise, politely requesting several times for more sound on her vocals),the band seemed to warm up into a more cohesive whole.

But it still felt as though most of the energy from the stage flowed from Hazard and her wistful and expressive handling of the music. This energy was more akin to that of a mellow singer-songwriter show, which also calls to Hazard’s sweet but versatile voice. She has the vocal chops of a folk or blues singer and sings like she should be sitting with an acoustic guitar rather than planted firmly behind an electric one in a garage band. But this lends a surprising contrast to the band’s music and image, a brightness to the occasional overdriven sounds of Dragonetti’s guitar or the prominent percussion from the drumset.

The set at Union Hall included new songs as well as hits such as “Brighter Discontent”and “You, Me and the Bourgeoisie”. Anyone still unfamiliar with the latter song about “living the good life” and “fighting the good fight” will surely be charmed by its bright melodies and upbeat tempo as well as by the empathy in its lyrics: “Yeah I know we all want something fine/time for higher ceilings and bourgeois happy feelings... here we are in the center of the firstworld/ it’s laid out for us/ who are we to break down”.

Now and again there seemed to be a noticeable shift in energy, perhaps an indication of which songs the band favored or felt more confident playing. This was especially true in the vivacity of “Swimming Pool”, the first of a three song encore, which Hazard spontaneously and gleefully admitted that they had forgotten to play in the set.

There is something unique about seeing a band perform live, regardless of technical difficulties or improvisation within the songs. It’s rewarding just to see who is behind the music, witness and feel their energy as they play, and watch their interactions on stage. Undeniably, The Submarines are talented musicians and songwriters, which is evident in their sprightly songs, both on the albums and in a live show. But to see Hazard, like a rockstar version of the Swiss Miss girl, singing about life and love and playing with such childlike abandon, is the greatest reward of all.

http://www.thesubmarines.com/

Maude Maggart Enchants at the Oak Room

2008-07-15T16:07:00.000-07:00

Posted April 15, 2008 on CabaretExchange.com

There is something magical about lullabies; there is a naivete, a vulnerability almost, about them. Maude Maggart exhibits these charms, probably in her everyday life, but especially in her cabaret shows at the Oak Room at the Algonquin Hotel.

This setting, which feels like it’s been preserved in exactly the same state since its heyday in the 1940s, is the perfect fit for Ms. Maggart who, herself, seems of a different era. In her casual chatter, she uses phrases such as "I suppose" and accents her songs with balletic gestures of her arms and hands. She moves gracefully and has the mysterious enchantment of Ava Gardner or Rita Hayworth, complete with the low cut black dress and wavy long hair swept over one shoulder.

Her pitch-perfect voice is also reminiscent of the bygone jazz days, with a resonance that can almost be felt in the wood-paneled Oak Room. She has a bright and youthful vibrato that quivers as much as the cello accompanying her and calls to mind the voices of the heroines on classic Disney movies. Ms. Maggart has beautiful enunciation, making every word heard without putting any effort into it, and a genuine connection with the audience that is riveting. She makes eye contact with each person, and even goes so far as to walk up to the tables and take people’s hands. This approach could be discomforting, but Ms. Maggart does it with such an unassuming innocence that, instead, it is heart-warming.

Appropriately, her show at the Oak Room (which continues until May 10th) is titled "Speaking of Dreams", and Ms. Maggart does just that. Last Wednesday night, she hypothesized about the reason that love and dreams are so often connected in songs (suggesting that both can give euphoria and misery almost simultaneously). She also explored her idea of "healthy lullabies" and fairy tales, as in not the kind that imply to young girls that men will only kiss them when they’re half-dead (a la Sleeping Beauty or Snow White). Her idea of a Healthy Lullaby? "When You Wish Upon A Star" from Pinocchio, which, John Boswell, her highly favored pianist, led her straight into following her dissertation-of-sorts.

Although it was highly entertaining to listen to her conjecture on dreams and share witty stories from her past, it is perhaps more important, being that she is a singer, that she also sang of dreams. Every song was tied in to the theme of dreaming, if not literally then symbolically: from "Isn’t It Romantic" to "A Dream Is A Wish Your Heart Makes" from Cinderella to the paramount yearning of "Over the Rainbow".

At this point, it became clear that the evening’s program had been very thoughtfully laid out by Ms. Maggart. Earlier on, in discussing dreams and love, Ms. Maggart asked the audience which natural phenomena associated with dreams occurred during the day (as opposed to the moon and the stars at night). The answer, with a little encouragement from Maggart, was rainbows. So when, sitting casually atop the grand piano, she broke out into the opening verse of this famous song, accompanied only by chords on the guitar, it was like a revelation for the audience, a journey come full circle.

This is a song that, seventy years later, is still being sung constantly around the world. But Ms. Maggart’s rendition was unique: it was stunning in its simplicity. Maggart took her time with the lyrics, bestowing upon them a soft, delicate quality with a sweet naivete that the song longs for but so rarely is afforded. The resulting wistful lullaby had her audience moved to tears.

This, like all classic songs which will never go out of style, is a metaphor for Ms. Maggart herself. It seems that no matter how many times you see her perform, it will never grow old and will never be enough.

photo by Evan Nesbitt
http://www.maudemaggart.com/