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Archive for the ‘Venues’ Category

[ATTENDED: January 14, 2023] Teddy Thompson

This was my eleventh time seeing Richard Thompson.  For a while we had been seeing him pretty regularly and then his habits changed.

I had been seeing him every chance I could, but I took a little time off from his tours, hoping that he would perhaps come back with an electric tour.  Sadly for me, he did in fact come around with an electric trio tour in 2018, but it coincided with a hike that we were scheduled to go on, so I had to miss it.

Back in 2020, he introduced a new component to his show, his new partner Zara Philips has been singing with him on many songs (often Richard & Linda Thompson songs, but sometimes adding backing vocals to Richard’s songs.

For a while it felt like Richard was playing the same basic songs at all of his shows, although as I look at his setlists I see that he always mixes in a few new songs every tour.  Indeed, in 2020, he threw in a whole bunch of songs that I hadn’t heard him play before.

I was super excited that he opened with Gethsemane, an older song (I can’t believe that album is 20 years old!) that I like a lot.  He sounded great and his guitar playing was, of course, outstanding.

During the pandemic, Richard released some online albums.  He played If I could Live My Life again from Bloody Noses (which he had played back in 2020, just before the shutdown).

He jokes about the age of the audience and said he would play a song from a Fairport Convention album.  He described the origins of Genesis Hall, and that it was a protest song, which I didn’t know.  He had played it before but not for more than seven or so years, so it was good to hear it again.

Richard recently played a few nights of all request shows in New York City, which I’d love to attend (al though I suspect people probably just request all the popular songs anyhow).   But I wonder if it makes him want to mix up his setlists at all.  Whatever the case it was great to hear him plat “Turning of the Tide” a song that I love and haven’t heard him play live for a long long time.

Then he played “Beeswing.”  I don’t think there’s been a show where he hasn’t played the song and yet this time it really hit me how beautiful it was.  And I was marveling about how Richard Thompson, creator of the song was merely thirty or forty feet away from us playing this song and how amazing it was to be so close to someone so creative.  I had a real moment.  (I’m going to assume it came from talking about how wild it must have been for my young kids to go to concerts and see their favorite bands up close like that, something I never got to do as a a little kid). (more…)

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[ATTENDED: January 14, 2023] Teddy Thompson

This was our first experience with Outpost in the Burbs, a fun venue in Montclair.  The venue is actually in a church (I think it might be outside in the summer).  This Richard Thompson show was sold out.  But the tickets were first come / first seated.  In a church.  So, in a series of pews.

We arrived in what we thought was plenty of time, but we couldn’t find parking and wound up pretty far away, so by the time we got into the church, it was almost 8PM.  We walked in and the lights went down.  Luckily there were announcements to be had (which we missed), as we were sent looking for a seat.  We were told there were seats in the balcony, so we trudged up the stairs to the (very full) balcony.  We headed back down, having seen seats across the room.  We headed over there only to discover that these seats (strangely empty) ere positioned directly behind two massive speaker cabinets which entirely blocked the stage–thus, why they were empty.  Really they should not have even been available.

Luckily, right next to them was a pew bench against the wall that had a mostly unobstructed view of Teddy as he came out on stage.  If he backed away from the mic I couldn’t see him at all, but he didn’t do that very often so it was fine. In fact, it was actually quiet comfortable.  The bench had a cushion, and I was in the corner, so I had a corner edge to lean against.  And, plenty of leg room!

And, it must be said, the acoustics were outstanding, even in this weird eave.

I saw Teddy Thompson open for his father about ten years ago in Princeton.  He played songs from his then new album and sang some songs with his father. (more…)

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[ATTENDED: January 12, 2023] They Might Be Giants [rescheduled from March 13, 2020, September 8, 2020, April 15, 2021, March 22, 2022 and June 16, 2022]

After five failed attempts, They Might Be Giants FINALLY got to play Union Transfer.

It was only mildly anti-climactic that they played Union Transfer the night before with a show that was billed as an entirely different show but which, when setlists were compared, turned out to be almost exactly the same.

January 11 (left): note the similarly-named show title which implied something different.  From the venue:

We assume that means songs from their latest album, ‘Book’ and some ‘Flood’ “faves”, and a bunch of horns on stage. How many horns? We can’t say for sure…Maybe 5, maybe 100!?

It felt a little cheaty that this day-ahead show got the same (more or less) show as us.  But hey, who cares, at least we didn’t splurge for the second day.  Because I’d have been a little cheesed to get the same show two nights in a row, no matter how good it was.  And it was really good!

So I saw They Might Be Giants about twenty-five years ago in Boston.  I don’t remember a lot from the show, but it was the Factory Showroom tour and they played a lot of my favorite songs as well.

I haven’t seen them live since then, even though I know they put on a good show.  I’m not sure why it neve happened.  Possibly because when I try to see them a pandemic occurs.

We arrived a little later than intended, had to stand on a huge line (there was no opening act), although everyone at a TMBG show is friendly, and then wound up on the side lower balcony in Union Transfer–where I’ve never stood before.  It was actually kind of nice-we were above most of the heads and still felt a part of the mass of people.

The band also was giving out “paper crowns” that said THEY on them.  John F:  “Be sure to grab one so you can sell it later.”

The Johns came out at 8 as promised and jumped right into “Letterbox” from Flood.  But it’s not the first song from Flood.  So clearly, they weren’t going to play the album in order.  They never said they were going to, just that they were going to play the whole album.  Aha! (more…)

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[DID NOT ATTEND: December 17-18, 2022] Champagne Jam 2022

Every year for quite some time, The Front Bottoms have been doing a Champagne Jam at the close of the calendar year.  Brooklyn Vegan talked about in 2019:

The Front Bottoms‘ annual holiday concert Champagne Jam has taken place in NYC and NJ in the past, and this year it moves to Philadelphia. It happens December 21 (the Saturday before Christmas) at The Fillmore Philly Complex.

2022 saw them return to Philly, which has three venues all more or less connected.  I don’t know how the set times are structured–if there’s any way to see everyone (probably not).  But then again, I dind;t want to see everyone.

I bought my son and I tickets to the Saturday December 17 show figuring it was one last opportunity to see The Front Bottoms (since we kept missing them for one reason or another).  Then we wound up scheduling our own holiday jam for the same night.

So we weren’t going to go to the Friday night show anyhow, but here’s the full lineup:

Friday, December 16, 2022 in the Lobby

  • DJ Spicy Brown

Friday, December 16 2022 at The Foundry 

  • Flycatcher are from New Brunswick, NJ  According to The Deli
    • Flycatcher are a four-piece rock combo hailing from New Brunswick, New Jersey, three of whom have immaculately sculpted facial hair (well ok one of them has a bushy beard but still it’s neatly trimmed and shaped). On the musical side of things Flycatcher carry on in the fine tradition of immaculately sculpted extremely catchy power-pop-that-rocks made in the Tristate Area with oft-witty lyrics and a distinctly que será, será attitude as established by such legendary acts as Fountains of Wayne, The Feelies, The Smithereens, and the ripe-for-revival Cucumbers.
    • They sound like they are worth checking out–the one song I’ve listened to is pretty slackery.
  • Sweet Pill is an emo band from New Jersey. The band consists of vocalist Zayna Youssef, guitarist Jayce Williams, guitarist Sean McCall, bassist Ryan Cullen, and drummer Chris Kearney.  The video I watched for High Hopes was super catchy (and set in a bowling alley).
  • Another Michael is a band who have opened for a bunch of shows I haven’t gone to.  They play a kind of mellow indie rock with lead Michael’s vocals veering into R&B styles.  Not quite my thing.  But that’s only one dud in a bill I didn’t even think about going to.
  • Slothrust are from Boston.  In a review from The Revue (in Canada) from 2021, they talk about an evolving band:
    • In the 8 years we’ve been covering Slothrust, we’ve seen the band change a lot musically. They’ve shifted from the early days of jazz-infused grunge, which eventually grew into much bigger and less easy to classify sounds. Each record feels like a rebirth, from Everyone Else having a fine polish on that distinctive Slothrust sound but expanding on it at the same time. The Pact felt like an even more diverse records, with the band diving more into electronic sounds and even diving into poppier sounds. It set up any future releases nicely to dive even more into the trio’s widening approach. Their latest record, Parallel Timeline, heralds yet another rebirth of the band.  “Cranium” kicks off the record and immediately sets the tone. This is a slower Slothrust, as the chugging basslines and heavy drums are nowhere to be found. All the things that make Leah Wellbaum stand out as an artist, however, are on full display. Her voice, her surreal lyrics, and, at about halfway through the song, her guitar work. “Once More For The Ocean” hits a bit harder, kicking of with a ripping guitar solo, but it stays a bit in that pop realm with a bunch of sections that just beg to be sung along with.

Sounds like a really good night and some bands I should be on the look out for.

Friday, December 16, 2022 at Fillmore Philadelphia

  • Lunar Vacation I saw Lunar Vacation open for The Beths and they were great.  I’d happily see them again.
  • Emperor X is from Louisville, Kentucky (and presumably not the Emperor X from Berlin).  He plays a kind of low-fi pop that I see is described as a “bummer jam” which is absolutely not my thing.
  • Joyce Manor is a punk band from California who I always think are someone else.  Their latest album 40 oz to Fresno was described by The New York Times (!!!) as “relentlessly tuneful 17-minute collection of all-killer, no-filler power-pop.”  I rather like their clean punk sound.
  • The Front Bottoms are the stars of the night and the main attraction.  They were, no doubt fantastic, and I love that they give a lot of other New Jersey bands a platform.

Saturday, December 17, 2022 at Brooklyn Bowl

  • Shannen Moser I’ve seen Shannen Moser twice.  Her intense folk songs are quite good
  • Shane Henderson was the singer of Valencia and now does mostly production.
  • Tom May has “lived the dream” of being a full time, working, self-supporting folk musician.  Tom is also the founder and host of the nationally-syndicated live radio program, River City Folk.
  • Kevin Devine is someone I love and I was really looking forward to seeing his set–and hoping that it didn’t conflict with any of the other headliners.

Saturday, December 17, 2022 at The Foundry

  • Riverby are from Philly.  They are a fun indie rock band with a loose sound (and a cover of “Walk Through the Fire” from Buffy the Vampire Slayer.
  • Hotline TNT is the shoegaze/indie rock project of singer-songwriter Will Anderson (a.k.a. Flip Sandy). The project began after Anderson moved from Vancouver to Minneapolis. Now based in New York, Anderson still handles the songwriting himself and has played live shows with several different lineups.
  • Kid Sister is a rapper who has appeared with Sault.

Saturday, December 17, 2022 at Fillmore Philadelphia

  • Prince Daddy & The Hyena is an American rock band from Albany, New York, formed in 2014 described as indie rock with punk and “slacker” influences
  • Soul Glo is a band I really want to see. They are an extreme punk band and will probably scare the heck out of me.  It would have been safest to see them amid all of these other bands
  • Titus Andronicus is a band I should probably love, but I just can’t get into them.
  • The Front Bottoms headlining a second night.

This seems like a really fun festival.

Jordan Norris nicely posted a video of The Front Bottoms from both shows

Friday night:

Saturday night

Also

Also, The Flycatcher review had these two videos (because of a song called sodas in the freezer)

And a Shasta commercial

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[ATTENDED: December 15, 2022] Modest Mouse 

Last year, Modest Mouse was the first concert I saw after the pandemic. This year, Modest Mouse was the last concert I’ll see in 2022 (nothing dramatic about that, I just don’t have any more shows lined up until next year).

As I’ve said before, I wasn’t planning to see them.  In fact, I felt like I had seen them even more recently than last year.  But this was a special tour–the 25th anniversary tour of their album The Lonesome Crowded West, with a really stripped down band.  Last time I saw them, there were six people on stage (there were like nine the previous show).  This time it’s just a four piece: Isaac Brock and co-founder Jeremiah Green joined by (regular) bassist Russell Higbee and guitarist Simon O’Connor who played last time I saw them.

This meant a stripped down, really rocking show.  Which befits the far more stripped down and rocking sound of this earlier album. 

Normally I’m all about seeing the opening band.  But I’ve had a few liberating experiences lately where i have deliberately blown off the opening band and been pleased with the decision.  I hadn’t heard of the band Mattress.  I looked them up before the show and learned that Mattress is the project of Rex Marshall.  And that the act is pretty much Marshall wearing a gold lame suit and acting like an abrasive lounge singer.

I listened to a song online and decided that I did not need to stand through that.  Sidenote:  It reminded me a lot of Wetface the weird, is-it-a-joke band who opened for Built to Spill this summer.  I sat through that twice and consider that my penance.  (incidentally, I often think of Built to Spill and Modest Mouse in the same breath for some reason, so it’s interesting that they would have similar bands on this year’s tour).

So that mean I got to the Fillmore around 8:45.  The evening happened to be one of the rainiest nights in recent memory.  It rained hard.  All day.  I very much considered not going to this show because of the weather.  But I decided to go and drove through the terrible lashing rain.  I kinda thought that the rain might keep others away and, if I was arriving late, maybe I could get free parking at the the Fillmore lot.  Indeed no.  In fact, it was full.  So I went past the lot and immediately got lost in the bowels of the roads beneath 95.  Holy cow.  I drove for about 8 minutes in crazy rain knowing where I was but having not idea where I actually was.  I finally found my way to the casino for parking and hurries across to the venue only to find a lineup! (more…)

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[DID NOT ATTEND: December 16, 2022] The Lemonheads / Juliana Hatfield / On Being an Angel [moved from April 21, 2022]

Back in 2018, I saw Evan Dando play a solo set in Jersey City.  It was him with an acoustic guitar and he played over forty songs.

It was a shambolic affair, but fun.  I didn’t really feel compelled to see him again, but I thought it would be fun to see him with a band.  And when he announced this 30th Anniversary of It’s a Shame About Ray, my favorite album of theirs, I grabbed a ticket.

This show had been announced for a pretty long time before any other American dates were added.  I never bothered to get a ticket for it and eventually it sold out.  I’d much rather go to Union Transfer than a sold out White Eagle Hall show.  So, it was an easy decision.

It sounds like he played some extra or different songs at WEH (we didn’t get Mrs. Robinson).   But that’s okay.

Leah Hennessey was supposed to open but she was replaced by Juliana Hatfield and On Being an Angel.

I was a big fan of Juliana Hatfield back in the 90s.  I thought she was the bomb.  She had toured Philly back in 2015 and I considered going because it was the Juliana Hatfield Three playing again (I should have gone!).  She also played in 2019, but I wasn’t quite as sure about that one for some reason.  But here she was opening for The Lemonheads!

A few minutes after On Being an Angel cleared their stuff, Juliana came out.  It was just her and her guitar plugged into a tiny amp.  The volume was perfect  She sounded great.

On Being an Angel are a four-piece from Austin.  Given that they were opening for Lemonheads and Juliana Hatfield, I was expecting a sound that fit in with them.

They were actually a bit heavier and a bit more fuzzy than I would have expected.  And I loved their sound instantly.

And then singer Paige stepped up to the mic and…we couldn’t hear her at all.  Was it Union Transfer’s fault?  That seemed unlikely.  We were very close to the stage and that can certainly impact how you hear a band, but it seemed like the lead guitar (from Nick) was just cranked up super loud and drowned out everything else.

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[ATTENDED: December 14, 2022] Lemonheads

Back in 2018, I saw Evan Dando play a solo set in Jersey City.  It was him with an acoustic guitar and he played over forty songs.

It was a shambolic affair, but fun.  I didn’t really feel compelled to see him again, but I thought it would be fun to see him with a band.  And when he announced this 30th Anniversary of It’s a Shame About Ray, my favorite album of theirs, I grabbed a ticket.

Juliana Hatfield finished and didn’t really need to clear her gear (as we’ll see).  And yet for some reason, it took Evan and the other two guys almost 45 minutes to come out on stage.  

This wasn’t an auspicious sign.  I was actually 40% surprised the show hadn’t been cancelled outright.  But it sounds like Evan Dando has gotten his shit (somewhat) together, so maybe this is a new lease on life for him.  

Eventually the band came out on stage.  Bassist Farley Glavin and drummer Lee Falco came out first.  Then Evan came out on stage, grabbed an acoustic guitar and they launched right into “Into Your Arms.”  This is one of my favorite songs of the 90s–so sweet and delightful.  I had literally no idea that it was a cover until I was reading someone else’s review of this tour (it was written by Australian duo Love Positions (Robyn St. Clare (who wrote the song) and Nic Dalton).  It sounded like he hadn’t really warmed up yet and this was his way of easing into the show.  He didn’t hit any of the higher notes.  But he still wounded quite good. (more…)

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[ATTENDED: December 14, 2022] Juliana Hatfield

I was a big fan of Juliana Hatfield back in the 90s.  I thought she was the bomb.  And I was really excited to see her play live when she opened for the B-52s at Boston College back in 1993.  I actually hated the B-52s (they were so overplayed at my college in 1991 that I never wanted to hear “Love Shack” again in my life) so I left before they came on.

And then, some time around 2000 I lost track of her.  I was always happy to hear she was putting out new music, but I didn’t give it much of a listen.  However, her 2018 album that is all covers of Olivia Newton John songs is pretty sweet.

She had toured Philly back in 2015 and I considered going because it was the Juliana Hatfield Three playing again (I should have gone!).  She also played in 2019, but I wasn’t quite as sure about that one for some reason.  But here she was opening for The Lemonheads!

A few minutes after On Being an Angel cleared their stuff, Juliana came out.  It was just her and her guitar plugged into a tiny amp.  The volume was perfect  She sounded great as she started singing a song I knew immediately.. (more…)

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[ATTENDED: December 14, 2022] On Being an Angel

On Being an Angel are a four-piece from Austin.  Given that they were opening for Lemonheads and Juliana Hatfield, I was expecting a sound that fit in with them.

They were actually a bit heavier and a bit more fuzzy than I would have expected.  And I loved their sound instantly. 

And then singer Paige stepped up to the mic and…we couldn’t hear her at all.  Was it Union Transfer’s fault?  That seemed unlikely.  We were very close to the stage and that can certainly impact how you hear a band, but it seemed like the lead guitar (from Nick) was just cranked up super loud and drowned out everything else.

The guy next to me even typed out on his phone (fix the vocal levels) but no one reacted to that.

Then I saw this comment in a 2019 review of them in Austin: “[On Being an Angel] tore apart the crowd’s broken chatter with a roaring wall of sound. Rumbling electric fuzz nearly drowned out Paige Applin’s faint vocals as the slowcore quartet played.”  The rest of the band sounded great–a big grungy sound that I was really excited to hear on record, too.

But when I listened to the (first) record, the sound was really different–far more mellow, far less noise.  The opener, “Eyes Shut” has a fantastic 90s alt rock sound with a catchy lead guitar riff.  But on record, it’s a quiet folk song with no riff at all.

The newer record (on being a tape vol. 2) has a much heavier sound.–much more satisfying.  Paige’s vocals are also forward in the mix.  (more…)

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[DID NOT ATTEND: December 14, 2022] Foals / Inner Wave / Glove

Back in 2008, Foals were a weird indie rock band.  Cryptic, with odd instrumental passages.  By their third album, Holy Fire, they had ditched all of that for huge bombast.  But it was still great, “Inhaler” was my favorite song of the year, getting bigger and bigger until it somehow exploded.

I kind of forgot about them, and then heard that they were releasing a two part epic: Everything Not Saved Will Be Lost.

In 2022, they released their most recent album, Life is Yours, recording now as a trio.  I actually hadn’t heard anything from the album.

I had tickets to see the Lemonheads that night.  And I really wanted to see them, so Foals would have to wait until next time.

Although now that I check the setlist, I think that Foals show might have been the better bet.  Maybe.

Inner Wave was going to open for Chicano Batman when I saw them in 2020, but when the show was rescheduled, there was a new opening band.

Inner Wave is a five-piece ensemble, and three of the bandmates – lead vocalist and guitarist Pablo Sotelo, bassist and vocalist Jean Pierre Narvaez, and guitarist and keyboard player Elijah Trujillo – go all the way back to middle school. Some back-in-the-day homies left the band in 2016, and keyboardist Chris Runners and drummer Luis Portillo joined the group. [They are] an indie rock quintet who seamlessly float between psychedelic and synthwave sounds.

I can see them opening for Chicano Batman with their retro sounds and soft vocals.  I don’t exactly see it working with Foals.

Glove opened for A Place to Bury Strangers, a show I did not go to.  Glove is a retro synth band, in the vein of Depeche Mode or New Order.  They’re from Tampa but look like they are straight out of the 80’s UK music scene.

I don’t quite see them opening for Foals either, unless the new Foals music is a lot more synthy.

 

 

 

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