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Archive for the ‘Yard Act’ Category

[ATTENDED: August 15, 2026] Yard Act

I saw Yard Act at Underground Arts back in 2023.  Guitarist Sam Shipstone was quite the wild man while Ryan Needham’s bass had a great sound and was often the only thing holding the melody down while Shipstone went nuts.  He also provided backing vocals.

And the best part of the show was that singer James Smith doesn’t casually recite his lyrics.  He is a non-stop machine of gestures and quips, singing and screaming lyrics.  Whispering and delaying satisfaction.  He has the entire audience in his hands and he is not afraid to make then do what he wants.  It was amazing to watch.

The tour is rounded out with drummer Jay Russell and touring keyboard/sax player Christopher Duffin.

My wife loved the show–after the craziness of The Armed, I feared that Yard Act would seem tame, but they really showed up.  But she loved the loudness and the intensity.  Indeed listening to some of the songs later she said they were much more fun live (Fiction in particular).  And she absolutely loved Payday (and who wouldn’t)–take the money, take the money, take the money and run).

They opened with New Beginnings, a song we’d heard a number of times on WXPN (and have heard a lot more since then).  It is pretty different from their other songs, but didn’t change the tone of the show at all.

It’s interesting how they play a very different setlist every night.  They didn’t play Payday the following night, although the did play We Make Hits, which I was sure they would play for us, but they didn’t.

When I saw them at Union Transfer last year, they had two backing singer/dancers with them and they made the show a lot of fun.  They added a lot to the visuals, for sure (including a lot of fun percussion and dancing).  I was a little bummed that they had scaled back for this show, but they know how to put on a show regardless of the number of people on stage.

When I first saw them, they ended with the seven minute “The Trench Coat Museum.”  Last time, during the long guitar solo in the middle, James sat on the drum riser with his head in his hands as if he were miserable.  It was funny to see, especially when it was his turn to sing again and he jumped up happily, grabbed a little sampling device and started having a ball throwing out all of the samples from the song and manipulating them on the fly.  There was no sitting for this version, but the sampling device was right there and he played with it making all kinds of fun sounds.  It was terrific.

Sometimes, live, it’s not clear what the lyrics are, even when he’s speaking them.  But sometimes there a lot going on so you may miss these lyrics from Dead Horse

I wasn’t the one lied to and I’m not scared of peopleWho don’t look like me, unlike you
…
And we’re supposed to let it slideBecause the press have normalizedThe idea that racism is something we should humor

An Illusion is a quieter song which slowed things down before the big stomping fun of Redeemer.  It’s a nasty sounding song with a great chorus: Redeemer, you had your fun, now you’re clutching to your rosary like a nun.  I didn’t realize the next song was called Cherophobe Rock, which I assume is a sly dig at Smashing Pumpkins’ Cherub Rock.  Although I don’t know the conntection the song is catchy and bouncy as anything.

 

 

 

“Dark Days” is primarily a bass line and drums with Shipstone making all kinds of noise on his guitar until it builds to a “chorus” changing “Dark Days” (and live the chorus is HUGE, as is the

So much so, that when he introduced “100% Endurance,” he observed how fast the show as going.  “100%” starts out quietly and then build to a big ending.

They raged into the final two songs–the stupidly catchy chorus of The Overload and the moody “Land of the Blind.”  As they paused before the final song, people shouted out the songs they wanted to hear.  James said that they might considered playing those songs if we would graciously allow them to play the songs they wanted to play first.

The final song was the seven minute “The Trench Coat Museum.”  There is a long guitar solo in the middle, during which James sat on the drum riser with his head in his hands as if he were miserable.  It was funny to see, especially when it was his turn to sing again and he jumped up happily, grabbed a little sampling device and started having a ball throwing out all of the samples from the song and manipulating them on the fly.  I only wish they were a little clearer.

When they came out for the encore, he asked what do you want to hear and immediately someone shouted “Peanuts.” He recited the spoken word part first in a “Tom Waits” voice and then like a vampire–there was very much laughter during this section.  Someone shouted out another song title, but they decided to play “Fixer Upper” and everyone was okay with that.

It was a really fun set.  Everyone was into it, the band gave it their all, and we were back on the road by 10:30.  And we’d both happily see them again.

 

2026 Underground Arts 2024 Union Transfer 2023 Underground Arts
New Beginnings ‰ Dead Horse ♠ Dead Horse ♠
Dream Job ⊗ Payday ♠ Dark Days Δ
Fiction ‰ Fizzy Fish ⊗ Petroleum ⊗
Payday ♠ Land of the Blind ♠ Payday ♠
When the Laughter Stops ⊗ Petroleum ⊗ Dream Job ⊗
The Trench Coat Museum ø Down By the Stream ⊗ Pour Another ♠
Dead Horse ♠ Dream Job ⊗ 100% Endurance ♠
An Illusion ⊗ We Make Hits ⊗ Witness (Can I Get A?) ♠
Redeemer ‰ Dark Days Δ The Overload ♠
Cherophobe Rock ‰ A Vineyard for the North ⊗ Land of the Blind ♠
Dark Days Δ When the Laughter Stops ⊗ The Trench Coat Museum ø
A Vineyard for the North ⊗ The Overload ♠ encore
Talky Talky People ‰ 100% Endurance ♠ Peanuts Δ
You’re Gonna Need a Little Music ‰ The Trench Coat Museum ø Fixer Upper Δ
100% Endurance ♠ encore
The Overload ♠ Witness (Can I Get A?) ♠
encore
Peanuts Δ [tour debut]
Fixer Upper Δ

‰ You’re Gonna Need a Little Music (2026)
⊗ Where’s My Utopia (2024)
ø single (2023)
♠ The Overload (2022)
Δ Dark Days EP (2021)

Here’s what they played at Free at Noon (bold songs they didn’t play at night)

  1. Tall Tales ‰
  2. Talky Talky People ‰
  3. Dead Horse ♠
  4. Petroleum ⊗
  5. New Beginnings ‰
  6. Fixer Upper Δ
  7. Pour Another ♠
  8. You’re Gonna Need a Little Music ‰

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[ATTENDED: August 15, 2026] The Armed

I grabbed a ticket to this show for my wife and I as soon as it was announced.   I’ve seen them twice and the last time was so much fun, I was sure my wife would get a kick out of it.   I had never heard of The Armed (whose name is often simplified to ⋈) before the show and when I listened briefly, they sounded like a hardcore band, which was confusing as an opener for Yard Act, who are not hardcore.

We arrived early and got a decent spot.  The lights went down, The Armed came out and the stage exploded.  The entire place was just an explosion of noise and chaos and I was delighted to see the huge smile on my wife’s face.

I had no idea who The Armed were, nor that they had a massive fan base.  The story of the Armed is almost as interesting as their music, although, really, no, the music is far more interesting.  But still:

Although no official members of the group are known for absolute certain, the collective has been represented in the media by advertising creative and director Tony Wolski – formerly known as Adam Vallely.  The Armed allegedly has a central core of members, while simultaneously featuring a rotating line-up of collaborators. The people behind The Armed have gone to considerable lengths to misdirect, deceive, and otherwise toy with their audience when it comes to who is actually a member of the band. To achieve this, the band has largely avoided printing names of its members, had actors pretend to be members of the band and toured in secret, often performing at open mic nights under fake names.

There was a woman singing/screaming in a very high pitched voice not unlike Melt-Banana.  There were two other singers in the band, a guy who screamed as well and a guy who sang in a really nice voice.   I’m not sure how many people were on stage (seven maybe?)  They absolutely filled the stage and never stopped moving.  The guitarist in front of us was a whirlwind of action and near the end of teh set he climbed on a huge speaker cabinet and jumped off.

The male singer frequently put the mic into the crowd for the guys up front (die hard fans) to scream along.  The female singer jumped into the crowd and sang from the floor.

I loved the way Fortune’s Daughter was a wall of noise and then had a neat low-key catchy chorus sung by the third vocalist– and the end had all of the singers (and screamers going at it together).

Grace Obscure was a noisy chaotic song with a big “woah oh” and lots of screaming from the female singer.  And An Iteration started with furious hardcore drumming and then segued into a really catchy rumbling bassline and dual vocals. It was followed by FKA World from their previous album, which was (relatively) mellow–the use of explosive hardcore drumming with slow vocals is really interesting.

Local Millionaires starts softly and then turns into a screamfest.  All Futures continues the explosive sound The set ended with Big Shell a song that concludes with a series of one-two crashes from the whole band as feedback distortion and screams glide over everything.

It was exhausting and exhilarating and amazing.  I’m bummed I didn’t know about them before and I sure hope they mysteriously pop up again.

  1. Night City Aliens ©
  2. Fortune’s Daughter ♥
  3. Grace Obscure ♣
  4. AN ITERATION ∅
  5. FKA World ⊗
  6. Local Millionaire ♣
  7. ALL FUTURES ∅
  8. BIG SHELL ∅

♣ THE FUTURE IS HERE AND EVERYTHING NEEDS TO BE DESTROYED (2025)
⊗ Perfect Saviors (2023)
∅ ULTRAPOP (2021)
© Cyberpunk 2077 soundtrack (2020)  [submitted under the name Homeschool Dropouts]
♥ Only Love (2018)

Here’s an amusing stories about this band from Wikipedia

The Armed released Only Love, with Ben Koller providing drums.  Koller has said the request was short notice, and that the recording would take place right in the middle of tracking drums for a new Converge album, which seemed “[like it would be] pretty stressful.” However, Koller heard that Rob Trujillo would be playing bass on the album, which was “the selling point” to him. In fact, Trujillo was never involved in any capacity with the album. Koller was also told by fellow Converge bandmate and Only Love‘s producer Kurt Ballou that the demos he was sent for this album were Converge songs, spurring him to learn them. Koller went on to say “…essentially, I was conned into playing on this album. I was so taken aback by these weird tactics that I just went with it.”

 

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[ATTENDED: October 10, 2024] Yard Act

I had tickets to see Yard Act last back in 2022.  That show was cancelled at the last minute because Yard Act was called back home to do a live TV appearance for the Mercury Prize (surely a lot more lucrative than playing a gig at Underground Arts).

But they returned to Underground Arts last year and I grabbed a ticket.  My expectations were mild and they blew me away with their energy and fun.

Yard Act are very British (being from Leeds).  On record, “singer” James Smith mostly rants and speaks angrily in his accented English.  His lyrics are placed over some very cool guitars from Sam Shipstone and some really grooving bass from Ryan Needham.  Drummer Jay Russell keeps things together.

For this tour they added two backing singers Daisy Smith and Lauren Fitzpatrick who made a surprising difference to the show.  Their vocal contributions were great but it was their physical presence that added a lot to the show.  They also added a keyboardist Christopher Duffin who fleshed out the sounds–I’m not sure if he was making some of the really weird sounds that floated through the background, but I assume so. (more…)

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[ATTENDED: October 10, 2024] Omni

Omni is a trio from Atlanta. I hadn’t heard of them and thought they were a new band.  Well, they are, but the members of the band have been around for a while.  Guitarist Frankie Broyles on guitar was in Deerhunter.  Drummer Chris Yonker has been in some other bands that I didn’t know and Philip Frobos on vocals and bass has been in Carnivores.

This explains why this band of, what I assumed were young newbies, was so confident playing their off-kilter post punk.  And probably explains why I loved their set immediately.

I was in front of Frobos and it was cool watching him play bass lines that were more like lead lines than simply rhythm.  I also really liked the sound of his bass–clean but not sharp.

I was pretty far from Broyles, but I enjoyed that he played interesting guitar lines that complemented the bass–but it basically meant there was no simply chord playing going on.

Granite Kiss was staccato with fluid lead guitar lines over the stomping bass and drums.  (more…)

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[ATTENDED: November 5, 2023] Yard Act 

I had tickets to see Yard Act last year.  I bought the ticket mostly because I wanted to see the opening band, Gustaf, whom I had recently seen and really liked.

That show was cancelled at the last minute because Yard Act was called back home to do a live TV appearance for the Mercury Prize (surely a lot more lucrative than playing a gig at Underground Arts).

When this new tour was announced I decided to give them a go.  They are very British (being from Leeds).  On record, “singer” James Smith mostly rants and speaks angrily.  His lyrics are placed over some very cool guitars from Sam Shipstone and some really grooving bass from Ryan Needham.  Drummer Jay Russell keeps things together.

For this live show they had a keyboardist/saxophonist who seemed to allow Shipstone to go even more berserk.

I really had no idea that Shipstone would be playing the kind of noisy, feedback drenched sounds he did.  Which is not to say that he was not playing melody because he was, but as the rest of the band took over a song, he was just wild on the far side of the stage.  I was a little annoyed that I couldn’t see him well.  The woman in front of me was dancing and taking up a lot of real estate so I couldn’t lean in around the guy next to me.

Needham’s bass had a great sound and was often the only thing holding the melody down while Shipstone went nuts.  He also provided backing vocals.

But the focus of the show is clearly James Smith.  And the best part of the show is that he doesn’t casually recite his lyrics.  He is a non-stop machine of gestures and quips, singing and screaming lyrics.  Whispering and delaying satisfaction.  He has the entire audience in his hands and he is not afraid to make then do what he wants.  It was amazing to watch.

He was also quite taken with Philadelphia (he apologized that they missed last year’s show…but they had other commitments).  There was even a point where he shouted I love Philly!  And then fell to he knees shouting “And I’m not just saying that!”  He also said if he HAD to move to the States, he’d want to live in Philly.

So I’d listened to the album a couple of times and knew what the band was about, but I didn’t know any of the songs really.

Really, it’s the lyrics though, that keep you coming back, even if they are spoken like in “Dead Horse:” (more…)

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[ATTENDED: November 5, 2023] PVA

I had not hear of PVA before this set.  I listened to one song before the show and liked it.  Then I read this blurb

South London trio PVA’s stunning debut BLUSH consolidates the beating pulse of electronic music with the raw energy of a life-affirming gig and reveals more than they’ve ever shared before. Ella Harris & Josh Baxter (who share vocals, synths, guitars & production) and drummer Louis Satchell, create 11 blistering tracks from a formula of acid, disco, synths, the dancefloor & queer-coded post-punk.

PVA was sitting on the stage when I walked in.  They were still doing sound check and looked pretty bored.  I think they got their set started a little late because of this.  I say this especially because thy played two fewer songs at our show than the previous night’s show and the audience was really responsive to them.

The woman in front of me, who I picked to stand behind because she was fairly short, turned out to be a dancer.  Which is fine.  Except that she took up about four people’s space when she danced.  She moved a lot, so I couldn’t get anywhere close to where I thought I’d be standing.  She also did that very irritating thing that young women do of stacking one hand up in the air randomly.  So, she was annoying but not terrible. (more…)

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[CANCELLED: October 16, 2022] Yard Act / Gustaf

Yard Act are from that peculiar line of art punk that features noisy guitars and a lead vocalist who mostly speaks/yells/gripes.  Sometimes a little of that goes a long way and sometimes it works really well.

I actually didn’t know them all that well.  Although I know some people who hate them passionately–probably because they are much heralded.

At any rate, I was far more interested in seeing Gustaf who I saw open for Idles last year.  They were weird and artsy and amazing live and I need to see them again.  It seemed like a great opportunity to see what Yard Act was all about at the same time.

Then all of a sudden the show was cancelled.

I actually posted on the Gustaf Instagram to discover that Yard Act had been invited to appear at the Mercury Prize Awards on the 18th.  So we lost out on the show.  Good for them.  Bad for us.

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