[ATTENDED: October 22, 2022] Leah Senior [rescheduled from May 22 and then October 22, 2020 and again on October 23, 2021]
King Gizzard & the Lizard Wizard created a record label (Flightless) and they released Leah Senior’s latest album.
I had listened to Leah Senior when it was first announced that she was going to open for them on the tour. I think her new album wasn’t out yet, because I found what I heard to be fine, decent folk music.
Or as NME says:
Her first two albums, 2015’s ‘Summer’s On The Ground’ and 2017’s ‘Pretty Faces’, are sparsely arranged folk records – usually just Senior and her guitar, maybe a bit of piano – with songs she says were often born from anguish. But on ‘The Passing Scene’, Senior moves away from the sounds of early Joni Mitchell to something echoing the late-’60s, jazzy, jam-band sound of Karen Dalton’s ‘In My Own Time’. Senior says she approached recording with a sense of playfulness for the first time.
Because live, these songs were delightful! Fun and bouncey with a fantastic band and, the killer ingredient: backing vocals by her sister, Andi. Together the two of them sang beautiful harmonies.
I expected to like her set, but I was enchanted by it. By her voice, by the way her band fleshed out these songs and by the overall vibe she generated. She played guitar for the first few songs and then switched to piano/keyboards for the rest.
I was less enchanted by the loud dude near me who felt compelled to talk a lot about which King Gizzard albums he had and how much he hated baseball and how mean the Aussies were during the lockdown. Fortunately, the person he was talking to moved away from him and he was left talking to no one and we all enjoyed the last few Leah Senior songs ever the more.
I couldn’t see her all that well–a wall of KGATLW fans were in my way, but her voice soared over any obstacles.
I saw Stereolab for the first time back in 2019 (after they had been away from Philly for 11 years). I was a fan since the early 90s but had never seen them.
I really enjoyed the previous show–it was everything I wanted. When they announced a new 2022 tour I wasn’t sure if I needed to go. But I figured, why not?
Like last time, the Groop’s was set up in a half circle with Tim Gane on guitar to my far left and Lætitia Sadier singing, playing keys and guitars on my far right. In the middle from left to right was drummer Andy Ramsay, keyboardist Joe Watson (with a giant Fender Rhodes), and bassist Xavier Muñoz Guimera.
As I mentioned for Fievel is Glaque, the crowd was really annoying. I’m not sure what half of these people were doing here. Do drunken college girls in 2022 like Stereolab? Are they all over TikTok? (No, apparently).
Of course, I felt like a poser myself because I didn’t know most of the songs. Stereolab has put out a ton of records and even more compilations of one-off singles. And, like last time they played three songs from one of these compilations (which I haven’t listened to in forever).
Last time, they played the bulk of their songs from their albums that came out in the 1990s, with a few from the 2000s sprinkled in. This time it was a lot more “recent” stuff. I was sure they’d throw in a few songs I knew, but it wasn’t until “The Free Design” that I recognized a song. They playe da few thigs from Dots and Loops, and usually a hugely long song would have me really excited, but I didn’t recognize “Refractions in the Plastic Pulse” which runs 17 minutes on the record (I feel like I should have been super excited for this song but I really wasn’t).
And then the set jumped between rare stuff and “newer” songs. I just wasn’t feeling it.
Perhaps it was me, or the crowd around me rubbing me the wrong way. Whatever the case, I just didn’t enjoy this set as much as I thought I would. The band sounded great. Although I did notice that I wasn’t as blown away by the bass like I was last time (song choices or mixing levels, I guess,, because I’m sure Gimera was great. I also felt like Tim Gane wasn’t quite as much of a maniac as he was last time–I feel like I was less awed by his playing than I was last time.
Lætitia Sadier sounded great. In fact everyone sounded good, but I just wasn’t feeling it. Or maybe I just like Union Transfer better than Franklin Music Hall (I do).
Sadier told us they were playing a special encore for us. A song they hadn’t played since 2001. I was pretty excited, except when they started it, I didn’t know it. Well, actually I did know it because it came from Cobra and Phases Group Play Voltage in the Milky Night, which I know I’ve listened to. But apparently not all that much.
The second encore was French Disko, one of only two songs that they played last time. Normally I love when a band plays a wholly different setlist for a show, but this one went so far into the obscure that I was really excited to hear the two dupes. “French Disko” is super fun song and I did really enjoy that one.
They ended with a song that they released with Nurse with Wound which I didn’t know. That segued into another obscure song. And the night was over.
I’ve enjoyed Stereolab as background listening and as foreground listening. Generally speaking anything they play is cool with me. But I think a lot of factors made this show really less than enjoyable.
I’m sure there are many fans who would look at this setlist and tell me how jealous they were. But I was getting a little nervous because this was two shows in a row that I had been really looking forward to from which I came away feeling meh.
Although here’s a video from Markit Aneight of the whole show. So maybe if I watch it again I’ll enjoy it more
Deradoorian was supposed to open this tour with Stereolab. I hadn’t heard of them, although I have just learned that they are the creation of Angel Deradoorian who was part of Dirty Projectors. She had to drop off the tour for (unstated) personal reasons.
Her loss is a boon for Fievel is Glaque.
Fievel is Glaque is the duo of American keyboardist Zach Phillips and Belgian singer Ma Clément. For the show they were a five piece–with guitar, drums and saxophone/flute.
They played a weird jazzy alt rock. The songs were mostly just over a minute long. And Clément sang in a French-inflected English that was really quite lovely. They were practically like the anti-Stereolab. Like if Stereolab had a younger, brattier cousin.
The audience around me was awful. Five college girls who were talking loudly, dancing wildly, trying to pick up guys and talking to the band. I really should have moved. But I was pretty close. Poor decision on my part as they annoyed me the whole night.
Nevertheless, I enjoyed this strange band with the strange name. Zach told Post Trash:
Our first saxophonist, Eléonore Kenis, spoke the name in all sincerity in the volleyball court of Parc de Forest in 2018. We badly wanted to change it. Fievel is the mouse of cartoon fame (though neither of us have seen those movies) and “glauque” (rhymes with “oak”) is a French word notable for describing both a pale, bluish green and meaning creepy/sleazy/sordid/sinister. My own post-hoc rationalized interpretation goes something like this: gentrification functionally targets run-down, destitute, “glauque” areas; Fievel is an off-brand, “social realist” Mickey Mouse; accordingly, the name means something like “gentrify Mickey Mouse.” We deeply wish we had a different name but are committed to making this one retrospectively cool.
By the end of their set, I was really digging their weird music. A little too much saxophone for me, but their guitarist was really good (as the drunken college girls kept shouting at him). Although when I listened to their studio recordings I didn’t enjoy them quite as much–sounding even more like Stereolab minus the krautrock and adding lite jazz.
Great opening band though. Worth arriving early for.
And here’s a video of the whole show that my new favorite YouTube person Markit Aneight
[DID NOT ATTEND: September 6, 2022] Arlo Parks / Del Water Gap
I was really bummed when I missed Arlo Parks at The Foundry (a very tiny venue). But I was really surprised to see that her next Philly show, barely a year later, would be at Franklin Music Hall, one of the larger venues in Philly.
Arlo Parks was supposed to open for or co-headline with Clairo at the Fillmore on February 26 2022, but the show was cancelled and when Clairo came back around in July, she had a different opener (my daughter and I went to that show).
So I was looking forward to seeing Arlo (enough that I did not get Neko Case tickets, because I already had them for Arlo). But as the show approached, I was feeling less excited about the prospect. I listened to her album and liked it, but didn’t know if I wanted to go all the way there for it. The Foundry show would have been fun and intimate, but I couldn’t quite picture her in the much bigger FMH. So I decided to stay home.
Del Water Gap is a great pseudonym. Samuel Holden Jaffe is Del Water Gap and has been making music for over ten years. I can’t believe I haven’t heard of him sooner (with a name like that).
His music has a catchy and poppy indie sound. His voice reminds me a bit of Andy Shauf. The music is pleasant enough that I could see him being used in an indie film.
[ATTENDED: July 24, 2022] Mitski [rescheduled from March 25, 2022]
I saw Mitski back in 2018. She sold out Union Transfer and while I enjoyed the show very much, I remember being disappointed that I was so far back and behind so many tall people that I couldn’t really see her performance all that well.
In that time, Mitski has taken off even more with the young people. Both of my kids love her (as does a large section of the youth). When this tour was announced, there was no question that I would get four tickets for my two kids and one of their friends.
I figured it wouldn’t be that hard, since she was playing at a pretty huge venue. But the presale sold out in like 5 seconds. And the main day sale also sold out in like 5 seconds. The bots were all over this tour. It was so obnoxious.
My kids really wanted to see her but there was no way I was spending a ton of money on her, so we were SOL.
Then a few days before the show was to happen, it was postponed because of COVID. It’s not often that we are happy that things are postponed, but this one worked out very well for us., because a rescheduled date meant a possibility of new tickets being made available. I put my name on the waiting list. But didn’t really have much hope. (more…)
[ATTENDED: July 24, 2022] The Weather Station [rescheduled from March 25, 2022]
Back in March, Mitski was forced to postpone a few shows, including Philadelphia, because of a COVID case in her touring party. She rescheduled her shows in the summer.
Unbelievably, I was able to get tickets for this show and I was a hero to my kids.
We arrived early and the line to get in was around the block and half way down the street. But it was warm and pleasant and the mood was good on line, so we didn’t mind the wait all that much.
We finally got into the building a few minutes before 8PM.
Everyone wanted merch. It’s Mitski, after all! Since I had seen her a few years ago, I offered to wait on line while they all found a spot as far up as they could get (which wasn’t very far). My son and his friend went off to the left, but my daughter hung out with me. (more…)
[POSTPONED: July 13, 2022] Bikini Kill / Brontez Purnell [rescheduled from November 22, 2020 and October 2, 2021; moved to April 7, 2023]
About a week before this show was supposed to happen we got another update that the show was postponed yet again.
I like to note that I bought ticket to this show on November 10, 2019.
The reunited riot grrrl stars were originally set to play a host of North American shows across June and July this year, but had to postpone them due to a positive COVID case in their touring party.
Original support act Alice Bag is long gone replaced by Brontez Purnell who is still slotted to support next year.
Brontez Purnell is an American writer, musician, dancer, and director based out of Oakland, California. He is the author of several books, including Since I Laid My Burden Down, and the zine Fag School; frontman for the punk band The Younger Lovers; and founder of the Brontez Purnell Dance Company.
[DID NOT ATTEND: June 22, 2022] Midnight Oil / Liz Stringer
When I was in college I was a DJ for a few years. My freshman year, I loved “Beds Are Burning” and played the song on my show all the time.
I enjoyed the rest of the album, but really don’t know much else by them.
When this tour–their final tour–was announced, I dithered about whether to get tickets. I assumed it wouldn’t sell out (it didn’t). I don’t love Franklin Music Hall, so that was a strike against it. A friend of mine said they were great live (she went to the NYC show and said it was great)./
But ultimately, I decided not to go (or buy a ticket).
And I’m okay with that.
Liz Stringer is an Australian singer who is beloved by many Australian musicians. She has a devoted cult following. but it never translates into mega sales. I’m a little surprised by this because her music is pretty straightforward with an alt-country feel that could appeal pretty broadly here.
I guess I’m not that upset that I missed her though.
[DID NOT ATTEND: June 17, 2022] Belle and Sebastian / Los Bitchos
This was a terrible week for concerts for my wife and I.
After missing out on Sigur Ros because of an awards ceremony at my daughter’s school, this evening was scheduled for her graduation as well.
Obviously, those events are very important and there was no question which we would go to. It’s just maddening that these dates were announced so late that we had already gotten tickets to both events long before the conflict came up.
Oh well.
I’m sure we’ll be seeing Belle & Sebastian again.
Los Bitchos is a four piece from London. The band consists of Serra Petale (guitar), Agustina Ruiz (keytar), Josefine Jonsson (bass), and Nic Crawshaw (drums; percussion). They predominantly play instrumental music in the style of cumbia from the 70s and 80s.
And they are a lot of fun. Sounds like a great opening act.
[DID NOT ATTEND: May 13, 2022] The Menzingers / oso oso / Sincere Engineer
I have seen The Menzingers twice. The first time I missed most of their set. The second time I was in a terrible location and the sound was dismal. I told myself that I really wanted to see one good set with them.
They play Philly all the time, but I think I might just be over seeing them. I feel like I’ve been shut out of seeing them enough (and I’ve got a bad taste in my mouth from the crowd last time), that maybe I don’t need to see this mythical third show anymore
Especially if Oso Oso is the support band.
I saw them open for The Front Bottoms and said
I’m not sure if I was annoyed by the crowd (SO CROWDED) or what but I found oso oso to be one the most meh band I’ve seen on a long time. I really felt nothing for them. …
Their music was fine–occasionally catchy but not really memorable and I found that I really didn’t like the lead singer’s voice. It wasn’t bad or awful, it just didn’t seem to fit the music and I found myself enjoying their instrumental sections a ton more.
Someone near me said that they thought he was so stoned he couldn’t sing right. He did seem like he was a little off, including his weird between song banter and chants. But maybe he’s just a weird guy.
I haven’t heard of Sincere Engineer, but listening to her now I’m blown away. I love her/their stuff. The band is from Chicago and the blurb says
Deanna Belos has been a fixture in the Chicago punk scene since she was in Junior High, attending shows, singing along, and raising hell in general. But she was more than just a face in the crowd, Deanna was a radiant friend to all, and at some point she picked up a guitar and made a different contribution to the Chicago underground scene: her own music under the name Sincere Engineer. Over the last couple years we’ve encouraged her to keep writing songs and she surprised us all by assembling a great band and recording an impressive album. Her debut, “Rhombithian”, was produced by Matt Jordan (You Blew It!, Dowsing, etc.) and pairs the sounds of Chicago punk and the youthful Midwest “emo revival” movement. No one is more excited about music than Sincere Engineer, and Deanna plans to play a lot of shows and bring her infectious energy to the rest of the planet in support of “Rhombithian”.
She plays grungey emo pop punk stuff. With a heavy grungey guitar. But what sets Sincere Engineer apart is Deanna’s voice–a snarl that doesn’t detract from her natural melody. It’s the perfect voice for these songs. Plus she has a song called “Corn Dog Sonnet No.7”
King Gizzard & the Lizard Wizard created a record label (Flightless) and they released Leah Senior’s latest album.
I Just Read About That... 