Feeds:
Posts
Comments

Archive for the ‘Phoebe Bridgers’ Category

julyaugust200SOUNDTRACK: PHOEBE BRIDGERS-“Kyoto” (2020).

phoebeI’ve heard this song a bunch and I like it more each time.

Phoebe Bridgers’ songs tend to be sad lyrically (and sometimes musically), but this song just overflows with wonder, melody and (apparent) happiness.

The song starts with a gentle keyboard but soon adds a fast bassline as Phoebe sings quietly.  Then pow, a big joyous chorus comes in.  Horns play a gorgeous melody and Phoebe harmonies (with herself?).  The way she sings “tokyp skies” gets me every time.

When the verse returns it feels a bit louder.  But the song is about her complicated feelings for her estranged father:

With my little brother
He said you called on his birthday
You were off by like ten days
But you get a few points for tryin’

The chorus resumes feeling even bigger and happier and yet the outro, featuring those same ebullient horns:

I wanted to see the world
Through your eyes until it happened
Then I changed my mind
Guess I lied
I’m a liar
Who lies
‘Cause I’m a liar

Phoebe said that this song was originally slow but she was tried of singing slow songs so she punched this one up.  It really reflects the mixed feelings you can have for someone.  And if you don’t care so much about the words, it’s a catchy gem.

[READ: June 23, 2020] “Dancing Bear”

This month’s issue of The Walrus is the Summer Reading issue and features two pieces of fiction, one memoir and three poems.

The first piece is the memoir, written by Dimitri Nasrallah.   I had assumed that this would be a First Nations piece with a title like that.  But it is far from that.  It starts in Beirut.

The neighborhood where Dimitri grew up was a battleground between the Palestinian Liberation Organization and the Israel military so his family left for Greece when he was four.

He stayed quiet while they tried to acclimate–they felt covered by the stench of war and wanted to keep a low profile. Then one night his father took the family out to the square.  As they walked around marveling at the sights, he saw a crowd gathered a round a man.

He was showing off a giant brown stanigng on its hind legs, muzzled.  The man made the bear “talk” and dance  Everyone laughed.  But that night Dimitri couldn’t get the sight of the bear out of his mind.  He imagined that he was the bear–muzzled, not wanting to dance.

The next day he told his father that he felt bad for the bear. (more…)

Read Full Post »

SOUNDTRACK: PHOEBE BRIDGERS WORLD TOUR (May 26-June 4, 2010).

Phoebe Bridgers is a fascinating person.  She sings the most delicate songs.  Her voice is soft and almost inaudible. Her music is simple but pretty.  And her lyrics are (often) devastatingly powerful.

And yet she is really quite funny.  Both in interviews and in her visual representation of herself.

Her logo when I saw her was a fascinating faux death metal style of her name.  And now with this world tour, you can see in the poster all of the metal bands referenced in the logos. (There’s Slayer in the kitchen for instance).

And then there’s the basic joke of this world tour.  No one can go anywhere, so she is travelling her world: kitchen, bathroom, and bedroom (second concert by popular demand??)

The first show last night raised money for Downtown Women’s Center.

After some introductory talking and even a magic show (!) from Ethan, her producer, she played five songs.  Midway through she agrees that the set was a bit of a downer, especially opening with these two sad songs.

“Scott Street”
“Funeral”

Then it was time for two new songs (and an electric guitar).

“Moon Song”
“I See You”

Before coming to the end, she delayed, because she was having so much fun (and raising so much money).  So she showed us around her kitchen and pitched the kind of guitar she was playing, the kind of capo (quite expensive!), and her Target-purchased kitchen ware.  

She ended the set with a boygenius song, “Me and My Dog ” dedicated to her dog Max who died at the age of 17 last year.

The first night of her tour was a success. Tonight is night two, from the bathroom.

You’ll laugh, you’ll cry.  You can watch it here.

[READ: May 27, 2020] “California Ghosts”

I don’t usually read profiles of artists I like.  But every once in a while, one strikes me as interesting.

Phoebe Bridgers is a pretty fascinating character (see the above part for some details).  So I though this might be an interesting profile.  And it was.

Bridgers was brought up in Laurel Canyon and came of age listening to emo.  I love that the writer has to define emo for the New Yorker crowd, “a sub-genre of punk focused on disclosure and catharsis.”  That’s probably the most concise definition of emo I have read.

She writes that Conor Oberst (of Bright Eyes) is one of emo’s most beloved practitioners.  Phoebe grew up listening to him and then met him in 2016.  He says when he first heard her he felt like he was reuniting with an old friend.  In 2018 they made Better Oblivion Community Center together.

At Carnegie Hall (where she wore a tea-length black dress and high to Doc Martens), she sang a song with Matt Berninger of The National. (more…)

Read Full Post »

SOUNDTRACK: ANGELICA GARCIA-Tiny Desk Concert #968 (April 15, 2020).

I saw Angelica Garcia open for Phoebe Bridgers.  Her show started off okay but she totally won me over by the end.  She played guitar, she looped her voice and synths and was really impressive.  She also sang some songs in Spanish.

Well, two years later, Angelica Garcia is very different.

The biggest change is the amount of color she has added (when I saw her she was in a black floral print dress).  She is also embracing her heritage a bit more than when I saw her.  It was present then, but it is way out in front here.

Angelica Garcia decorated the Tiny Desk with colorful fabrics, orange flowers, a fuchsia dress, and a great deal of pride in what she calls her “Salva-Mex-American” heritage. Her song “Orange Flower” got my attention back in 2016, but I thought of her only as a Virginia rock and roller. Not anymore. Angelica Garcia’s music in the 2020s embraces her heritage, her life growing up in Los Angeles, and the ranchero music she heard from her family.

The show opens with a sample of a high pitched voice (presumably hers) saying “I wanna be like her.”  It works as a repeated sample in “Guadalupe.”  In this song

Angelica expresses respect for La Virgen de Guadalupe, the patron saint of Mexico, singing “I wanna be like her.” Guadalupe inspires her to declare that “power isn’t defined by your physique.”

But power comes from the loud rocking guitars from John Sizemore (what a great raw sound).  Josh McCormick plays big electronic drums, including some electronic cowbells.  In between the power chords, the melody is provided by a quiet and interesting keyboard sound from Ryan Jones

And let’s not overlook Garcia’s impressive voice.  She has power and a lot of diversity in her delivery.  She might even sound better than she did when I saw her.

The middle of the song has a breakdown where she and percussionist Kenneka Cook sing together a kind of scat.  Anchoring all of this is really great bass sound from Chrissie Lozano.

For “Valentina in the Moonlight” Angelica plays the quieter guitar melody (she’s really good).

This song is slower and quieter, a love song.  When the whole band kicks in, the song gets really full, with quiet guitar chords from Sizemore, while Garcia plays the main melody.  You can clearly hear Lozano’s nice bass sound in this song.

Angelica moved to Virginia at age seventeen. The songs she sings at the Tiny Desk, all from her album Cha Cha Palace, reflect the way she was seen, or more to the point, not seen, in her new home. “Jícama” captures that feeling of invisibility:

“Jícama” starts out with cha cha sounds.  Angelica sings with a pronounced accent.  I really like the splash cymbal sounds that accent her song.  When the whole band kicks in there’s a real Tex-Mex vibe  which feels like a children’s song melody, perhaps the best way to get the message across

“I see you, but you don’t see me
Jícama, jícama, guava tree
I been trying to tell ya but you just don’t see
Like you, I was born in this country.”

Angelica Garcia has definitely changed.  And for the better.

[READ: May 2, 2020] Strong Female Protagonist

Strong Female Protagonist is a webcomic which is on hiatus (although I don’t know for how long).

We’ve had this book floating around the house for a while and I’ve been meaning to read it.  I loved the title–so simple, so terrific.  I finally grabbed it off the shelf and decided today was the day.

I didn’t really know what the story was about and I found myself very surprised.  This proved to be a superhero story with a difference–a huge difference.  Both the origin story of the superpowers and the exploration of the ethics of superpowers are handled in a very different way.

One oft he big differences right up front was the language–these people say bad words… a lot.  It’s while reading this book that you realize you’ve never heard Superman or Spiderman say “fuck.”  But then these superheroes are not superheroes in the conventional sense. (more…)

Read Full Post »

[POSTPONED: March 31, 2020] Soccer Mommy / Tomberlin

indexI was supposed to see Soccer Mommy open for Phoebe Bridgers a few years back.  I felt sick on the way down to the show so I wound up coming home instead.

I loved the name that Sophie Allison had chosen for her project.  Soccer Mommy had released a bunch of songs on bandcamp between 2015-2017. She put out her first “real” album just before I was supposed to see her.  She has since released Color Theory, which is getting rave reviews.  I am genuinely surprised she was able to headline Union Transfer, though.

NPR loves Soccer Mommy.  They also love Tomberlin, who is Sarah Beth Tomberlin.  I saw her Tiny Desk Concert, and thought she was okay.  I gather that her Tiny Desk Concert doesn’t really show what her live show would be like.

I was torn between this show and Vagabon on the same night. I suspect that I’d have picked Johnny Brenda’s over Union Transfer, but it’s also possible I would have just stayed home.  This was the eighteenth show I was interested in seeing in March.  Wow, what a jam-packed month.

EQrcSfvUYAA9oHq

 

Read Full Post »

[POSTPONED: March 31, 2020] Vagabon / Angelica Garcia

indexI really enjoyed Vagabon’s debut album.  It had a great indie rock quality, but the fact that Lætitia Tamko is originally from Cameroon gives her music a unique quality that makes it stand out.  I haven’t heard much of the new album, but I have heard she puts on an excellent show.

I saw Angelica Garcia open for Phoebe Bridgers and was really impressed.  She showcased an impressively diverse style of music. She sang in folk style, she later used a looping pedal.  She sang in Spanish and English and her voice was huge.

This was just one option for this Tuesday night and I was genuinely torn between this show and the Soccer Mommy show across town.

I hadn’t gotten a ticket for either of these shows and it’s possible I wasn’t going to go to either.

53a446bf-e4dc-4c52-b0a2-c3bfda51bb94

 

 

Read Full Post »

SOUNDTRACK: BETTER OBLIVION COMMUNITY CENTER-Tiny Desk Concert #844 (April 24, 2019).

This Tiny Desk Concert marks another one of those rare occasions where I’ve seen a band live BEFORE their Tiny Desk.

I saw BOCC on April 2.   I assume that this Tiny Desk was recorded around that time (bands usually play DC right before or after Philly), but it takes a week or so to get online.

I really enjoyed the BOCC concert, which rocked more than I thought it would.

But I enjoyed this Tiny Desk even more than that because Conor Oberst and Phoebe Bridgers are having so much fun with this show.  Truth be told they had a lot of fun at our show too, but they experiment more here.  They also have lots of experience at the Tiny Desk.

When this fabulous new duo arrived for their Tiny Desk, it felt like old friends coming home. Both Conor Oberst and Phoebe Bridgers are Tiny Desk alum. Conor’s first Tiny Desk Concert came in 2014. Phoebe has come by twice in the past few years, first as a solo artist in 2017 and then as part of another creative and collaborative endeavor with Lucy Dacus and Julien Baker as boygenius in 2018. So, unlike the bundle of nerves that often come with an appearance at the NPR offices, this one was fun and, at times, silly, like when Conor Oberst sang into a fake rubber microphone on the other end of a chopstick that was sitting on my desk. But there was nothing trivial about the songs or the collaboration.

The first song starts off fairly seriously.  They play their (only?) hit, “Dylan Thomas” with Conor on electric guitar and Phoebe and backing guitarist Christian Lee Hutson on acoustic.  It sounds great–possibly even better than the record.

when their voices intertwine, there’s a radiance that often feels joyful even while singing words like the ones on their opening number, “Dylan Thomas.”

“I’m getting used to these dizzy spells
I’m taking a shower at the Bates Motel
I’m getting greedy with this private hell
I’ll go it alone, but that’s just as well”

For the second song, “Exception to the Rule,” Conor and Phoebe put down their guitars and simply sing (Conor into that fake microphone).  Christian plays guitar and Emily Retsas plays an omnichord.  As Emily sets up the “toy” Phoebe says, we’re going to set it to avoid choreography.”  Their voices really do sound great together, even with this ultra-minimal backing music.  The chorus is catchy, too!

For the final song, “My City” Bob Boilen himself comes out swinging a plastic whistling tube.

So I was whipping a corrugated, ribbed plastic hose over my head, creating a high pitched siren sound, trying to blend in with Christian’s electronics on “My City.” It was my Tiny Desk performance debut, and I was thrilled to be part of this magical act.

Conor and Phoebe pick up acoustic guitars and Christian plays a pocket piano (I gather).  This song feels the most like a folk song and again, they mostly sing together.  But Phoebe gets a solo verse near the end and that little change make a big difference in the overall flow of the song.

For the most part this is a quiet song, but the buildup for the end is pretty great.

[READ: April 20, 2019] “Brothers and Sisters Around the World”

This story is set in Madagascar.  Michel is a French-Italian white man who is married to the narrator–an African American woman.  They live in Cannes where it is always sunny.  But on vacation they travel the world to get hotter and wilder.  Islands are what Michel prefers.  “Any place where the people are the color of different grades of coffee.”

She says he loves her for all the wrong reasons.  He thinks she has some of that island wildness inside of her, but she grew up in Massachusetts and has a “steely Protestant core.”  Her parents never thought it would last.  But they have been together for eight years and they have a child.

As the story opens, he is telling her about how he drove “those two little whores” on the Zodiac.  “You should have seen their titties bounce!”

She admits:

It’s no surprise to me when Michel tries to share the ribald thoughts that run though the labyrinth of his Roman Catholic mind.  He doubtless thought that I would get a kick out of hearing about his boat ride with a pair of African sluts.

(more…)

Read Full Post »

[ATTENDED: April 2, 2019] Better Oblivion Community Center

I’m not often on the pulse of what is trending in music.  Sometimes I’m ahead, often I’m not all that interested.  But every once in a while it converges.  And thus on April 2 I was part of one of the hippest crowds in town.

I got there pretty early as I knew it was sold out (it sold out very quickly).  And I was standing pretty close to Pheobe Bridgers.  Earlier this year, I did not get to see the boygenius shows (they didn’t come close enough to us).  But I have seen each of the women solo twice (this is my second Bridgers show and yes, it counts).

There was a photo-op when you walked in.  A life-size cutout for you to take an ID photo for the BOCC.  I declined to do that, but I did get the fun squeezable stress-house.

The band came out and they started playing songs from the album.  I didn’t know the album all that well (I was amazed at how many people knew all the words), but I’d enjoyed what I’d heard.   I expected a kind of folk-rock show.  I was in no way prepared for how much the show rocked and how much fun the show would be.  There were even beach balls thrown around! (more…)

Read Full Post »

[ATTENDED: April 2, 2019] Christian Lee Hutson

I had not heard of Christian Lee Hutson before this show. I had no idea that he was in the Better Oblivion Community Center band (multi-instrumentalist) or that he has written songs for BOCC and boygenius (and that Phoebe Bridgers was producing his album).  So he has a lot of connections in this Community.

He looks rather Southern California.  With his sweeping hair and good looks he could be an extra on the new Veronica Mars series).  But he sings in a lovely accent-less voice. His voice and his guitar lines are clean and classic.  His melodies sound ageless, aside from his more contemporary lyrics (like on Northsiders):

We were so pretentious then
Didn’t trust the government
Said that we were communists
And thought that we invented it

Morrissey apologists
Amateur psychologists
Serial monogamists
We went to different colleges

(more…)

Read Full Post »

SOUNDTRACK: boygenius-Tiny Desk Concert #805 (November 16, 2018).

boygenius have been getting a ton of absolutely deserved press for combining the amazing talents of Julien Baker, Phoebe Bridgers and Lucy Dacus.

I wasn’t that upset when I read that the three weren’t touring near me (the tour was Lucy, Julie, Phoebe and then boygenius) because I had seen all three of them fairly recently.

In fact, I saw Phoebe in July, Lucy in April and Julien a few days after Lucy (as well as in April 2017).  But then I heard exactly how the tour was structured and that the boygenius part at the end was just stunning.  My only (sort of) consolation, was that they didn’t tour anywhere near me, so it’s not like it was my fault I didn’t go.

And I first heard about all three of them from Tiny Desk Concerts.

The group is new, but all of the members of boygenius — Julien Baker, Lucy Dacus and Phoebe Bridgers — are Tiny Desk Concert alumae. In fact, Julien has been behind my desk twice before. So when the usual nerve-racking session was over and I shouted out, “So, is it any easier the second or third time?” I had to laugh when I got a resounding “No!” from all of them.

Boygenius only has six total tunes, all from their just-released, self-titled EP, and here they perform half of that catalog. What you get at the Tiny Desk is a frailer version of these more fleshed-out songs from a band that is likely quite temporary.

All three songs are delicate and lovely–somewhat belying at least Lucy and Phoebe’s ability to totally rock out

“Souvenir” opens with Julien singing the first verse while she gently plays mandolin.  Phoebe plays guitar and sings the second verse.  Lucy (no instrument) sings  a wonderful harmony with Phoebe in the second part of her verse and then sings the end solo.  All three sing the end.  It’s amazing how wonderful their voices sound together–they fit like a practiced team.

Bob asks if they have a joke.  Lucy attempts a cupcake joke and messes it up.  “I shouldn’t have gotten into that.  You baited me.”  Phoebe asks where the king keeps his armies (I’m not giving that away) and no one laughs (although I thought it was great).  Lucy says Jokes are not our forte.  To which Phoebe corrects her, It’s totally my forte, Lucy.

On the second song, “Me & My Dog” Phoebe (whose speaking voice is so much deeper than her singing voice its uncanny) sings the first verse and plays guitar.  Julien is on piano.  There’s gorgeous oohs from Lucy and Julien and then all three of them harmonize on the chorus.

For their closing tune at the Tiny Desk, “Ketchum, ID,” Julien, Phoebe and Lucy each take a verse.

Only Phoebe plays guitar on this one.  And they harmonize beautifully on the chorus.

Lucy’s verse ends the song with the line, “Let’s dissolve the band, move to Idaho.” And the chorus to the song, in stunning harmony, echoes the mileage of the lifestyle, how they live and how they met: “I am never anywhere / Anywhere I go / When I’m home I’m never there / Long enough to know.”

This trio is a special gift to us all in 2018.

There is a part of me that thinks it would be best if they simply made this lovely EP, did some shows and dissolved.  What a great stamp to make on music.

And yet I can’t help but think that we all need more from them.  We should just be grateful we got what we did.

Also, listen to their interview on All Songs Considered for more insight and a full retelling of the muffin joke.

[READ: December 14 2015] “Jelly and Jack”

This story is set in 1985, which is what allows its simple premise to be executed so well.

Jelly is a woman who calls men.  Not as a job or for sexual gratification, exactly.  But just to talk to  them.

The details are a little sketchy about who she calls, but it appears to be people she doesn’t know herself but knows about because of other men.  Some of the men are annoyed by her calls.  Some are angry, some even curse at her.  But others are willing to talk to her. (more…)

Read Full Post »

[ATTENDED: October 23, 2018] Courtney Barnett

S. and I saw Courtney Barnett back in May when her latest album Tell Me How You Really Feel just came out.  She did a few shows where she played the whole album in its entirety.  Our show sold out very quickly and I was lucky to get tickets.

This time around she played the larger Fillmore and did not sell out the venue.  Is it better to play a small club and sell out, or a larger one and not sell out?  I’m still not sure why this one didn’t.

So why would we go to see someone five months after we had just seen her?

Well, primarily because I thought that this show would be different–bigger, longer and a bit more fun. Not that the first wasn’t fun–it was.  But at that show, she had a mission to play that album and make us like it.  This time, we already had the album and we liked it, we just wanted to hear it again!

And man was this show terrific.

I assumed she would not play the album straight through again.  But I shouldn’t have been surprised that she opened with the first two songs.  The stage was bathed in red (terrible for pictures so I didn’t bother trying to get any).  However, I love watching her play guitar–her technique is so bizarre to me and yet it sounds wonderful.  It must hurt like the dickens.  You can see her playing with no pick very clearly in this clip from “City Looks Pretty.”  (more…)

Read Full Post »

Older Posts »