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Archive for the ‘Theatre of Living Arts’ Category

[ATTENDED: January 23, 2024] Honey Revenge

I hadn’t heard of Honey Revenge, but before the show I checked out a few songs and really liked them.

Apparently they have a pretty big fan base too, because there were several people who left the front after their set.  And one guy in front of me who was dancing in a very elbows-in-your-face kinda way.  I was very glad when he pushed further forward.

Honey Revenge has played Philly three times in about a year, once as a headliner at The Foundry, so the Philly love is big.

So Honey Revenge is evidently a two-piece: Devin Papadol (vocals) and Donovan Lloyd (guitar), although there were two other people on stage too–touring musicians Tay Fischer (@witchybassist) who was super fun and jumped off the bass drum at one point (and who will be playing with Jhariah in February) and drummer Matt Arsenault who I feel like I’ve seen play with other people too.

They play grungy 90s rock with great pop hooks.

Papadol is a take-no-shit front woman.  She encouraged people to mosh and to crowd surf (it’s not often that people crowd surf for an opener, but they did).  She asked who had never crowd surfed before and aid that tonight was the time to do it.  And, she threatened, if anyone gets dropped, I will stop the show.  It was really fun seeing little kids (with big era protectors) crowd surfing during the songs.

She also insisted that there be a pit AND a conga line.

Lloyd was a great guitarist too.  I didn’t really notice the guitar work at first because really, all eyes are on Papadol, but Lloyd pulled out some great sounds and some kicking (but short) solos.

I also really liked their lyrics which were empowering.  But also funny.  Like a song that is part slacker, part ass kicker

Sure, I could be doing more, but I could be doing lessUsed to going overboard and if I had to take a guessNever been too proud, I’ve always been too loud to ignoreMy mouth’s a messNow being annoying comes with reward and everyone’s impressed

Although one of their most popular songs is “Airhead” as in “damn, I’m such a” so there is definitely a sense of humor in the lyrics.

They were a lot of fun and I would absolutely see them again.

  1. Seeing Negative (Disappointment)
  2. Worst Apology
  3. Recipe for Disaster @
  4. Favorite Song
  5. Habitual
  6. Rerun
  7. Murphy’s Law
  8. Are You Impressed?
  9. Airhead
  10. Distracted

@ new song 2024
∞ Retrovision (2023)
[from this album, they did not play Fight or Flight, Sensitive, Scapegoat]

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[ATTENDED: January 23, 2024] John Harvie

I didn’t know who John Harvie was before this set.  He seemed like a slightly out of place artist since everyone else was female (token male on the tour perhaps?).  Although he was more of an odd presence because his songs are mega-emo rather than pop punky.

But he won me over pretty quickly because he’s a Philly guy and he was pretty psyched to be playing in his hometown.

Unlike Elliot Lee, Harvie had a live drummer.  Although like Lee, much of the rest of the music was on backing tracks. John did occasionally play guitar too.

The things that really made an impression on me were his stage presence and his voice.  he absolutely commanded the stage like a guy who has been playing for far longer.  And, even more impressive, his voice sounded like he was the singer for any number of long-time emo bands.  He strained his voice to the breaking point a few times (and may have paid for it by the end oft he show).

Most of his songs seemed to be a bout breakup, but there was some clever wordplay in the lyrics, which I appreciated.

I also chuckled when he said that “Beauty in the Bad Things” was about being an Eagles fan.

I wound up enjoying his set more than I thought I would.

  1. roses £
  2. A Little Bit Longer ©
  3. Alaina ©
  4. Beauty in the Bad Things ©
  5. at my worst £
  6. figure 8 £
  7. Bleach (On the Rocks) ©

£ single 2023
© Told Ya. (2022)

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[ATTENDED: January 23, 2024] Elliot Lee

Elliot Lee looks like they are about 12 years old. In fact, they are 26 and are simultaneously adorable and, for someone who commands a stage, really nervous-seeming.

I didn’t know anything about Elliot Lee before this show.  I listened to a couple of their songs and wanted to get there early enough to see their set.  I’m glad I did, even if it was only 20 minutes.

They played five songs and when the lights first dimmed a guy in a full on bunny costume (with really long ears) came out and either did nothing or triggered the sounds of the first song “Sicko.”

Elliot came out shortly after wearing a bonnet with small ears.  The whole outfit was wild–striped shirt, colorful bra on the outside and pink ski pants.  And they proceeded to bounce around the stage with abandon.

Her songs are catchy and poppy but with a dark edge.  On record, the production is really sharp with lots going on.  But live, the music was stripped down, letting Elliot’s voice shine.

“Fun” is pretty much a disco song with a dark edge (come to think of it, just like ABBA).

Elliot was pretty clear about what the songs were about, but here’s an article from Outwrite (more…)

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[ATTENDED: November 29, 2023] Deafheaven

I saw Deafheaven last year and found the show exhilarating and cathartic.  They played a lot of new music which is far less screamy and far more pretty (an unexpected thing from Deafheaven).

When they came back earlier this year (again at Union Transfer), I didn’t go (mostly because I had another commitment).  I wondered why they were playing TLA.  I think of it as a much smaller venue than Union Transfer, but the capacity limit is only 200 fewer people.  But I guess if they were in town just seven months ago, maybe they needed a different venue.

But for a full scale play of Sunbather?  The album that everyone thinks is amazing?  Heck yeah I was going to be there.  And I got right up front (but right behind a super tall dude).

The band came out–it was the same guys as last time.  But there was no backdrop–nothing fancy.  Just a low table for George Clarke to climb on and some pretty cool lighting rigs.

And after the cheering died down, they launched into “Dream House.”  And it was amazing.  The wall of sound was there, Clarke’s screamed vocals were there.  But you could FEEL the music.  Fascinatingly, it wasn’t all that loud.  Or, conversely, my earplugs were working exactly as they were supposed to.

I was in front of guitarist Shiv Mehra and bassist Chris Johnson–both of whom impressed me so much last time.  And I had a pretty clear view of the drumming machine that is Daniel Tracy.  It was amazing watching him play these super-fast machine gun snare drums like he was barely doing anything.

The only person I couldn’t really see was Kerry McCoy who was at the far side of the stage.

I was really impressed with the band last time and was even more so this time, since I actually knew this record pretty well.  They switched gears seamlessly and soon they were playing the quiet moments of Dream House, before ramping it back up again..

They also left the stage a lot.  Everyone but the two guitarists left the stage so that the two of them could play the pretty “Irresistible.”  Then they came back out for “Sunbather.”  And ripped through the song with ease,  I t was mesmerizing watching Clarke prowl the stage. He was wearing a button down short sleeve shirt and sort of dress pants.  But he also had elbow-length PVC gloves on.  You could see the sweat dripping off of them. He climbed up onto the platform and screamed.  Then he climbed down and screamed some more.  he even jumped down to the barrier and sang right in the fans’ faces.  I was a little surprised he never came over by us, but he did acknowledge us a bunch.

The band left and a taped recording of “Please Remember” began.  It’s like 3 minutes of droning noise and then both guitarists came out to play the pretty melody that ends the song.

Everyone was back in full for Vertigo and then they all left again for the nearly five minutes of “Windows” which was all played on tape.  It was kind of surreal to be standing, looking at a stage with no one on it–a recording of noises and dialogue playing over the speakers with throbbing lights pulsing on stage.  There was literally nothing to see, but it still felt pretty neat.  I hope the band got to rest a little during these pauses, but Clarke always looked dripping wet.

They returned once more for “The Pecan Tree.”  Like the other songs, it was intense and overwhelming.

And that was that. Yep, only 6 songs, but the record is about an hour long.

They left the stage and the Clarke came back and asked if we had time for one more.  he also announced that Kissinger was dead–so there’s a nice memory for the show.   He was kind of funny and giddy and he waited for the song to start.  He squatted and whispered in a kiddie voice “what’s it gonna be??”

They played Brought to the Water from New Bermuda.  It’s the same encore they played last time I saw them.  It was a massive hit with the fans then and it may have been an even bigger hit with the fans this time.  The song sounded huge. The quite parts were catchy and George danced on the platform to the melodic parts.

And then it was done too.

I am very glad I had quality earplugs in, because there was no ringing at all, and I have to assume that there should have been a lot of ringing.  I don’t know that I would need to see them again.  Perhaps it depends on what the new album will sound like.  They have changed their sound quite a bit recently, so I’m curious what direction they’ll go in.

 

2023 2022
Dream House § Shellstar
Irresistible § In Blur
Sunbather § Great Mass of Color
Please Remember § (drone opening played on tape) Honeycomb
Vertigo § From the Kettle Onto the Coil
Windows § [tape recording] Worthless Animal
The Pecan Tree The Gnashing
encore Mombasa
Brought to the Water ß encore
Brought to the Water ß
Dream House §

∞ Infinite Granite (2021)
♥ Ordinary Corrupt Human Love (2018)
∀ adult swim single (2014)
ß New Bermuda (2015)
§ Sunbather (2013)

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[ATTENDED: November 29, 2023] Touché Amoré

Touché Amoré (what a fun name to say) have been on my radar for a little over a year.  I assumed they were a dance band, not a punk band.  But indeed. They punk.

And they punk hard.

The band came out and started right in with a big, clean sound and singer Jeremy Bolm screaming the lyrics.  The best thing about his screaming is that it is intense like old school punk, but it is completely clear.

I loved that for every verse or chorus he put the mic out for the audience to sing the last word or phrase. And they did.  There was a huge Touché Amoré fanbase there.  [There was a gross couple in front of me who had hands all over each other who, thankfully, left after the band was done].

At first I thought they were “just” a screaming punk band.  But I quickly got totally into them.  I loved the sound of the band–not too complicated but every song has something interesting going on in it.  Drummer Elliot Babin is a maniac behind the kit.  And I loved that you could hear both guitarists Clayton Stevens and Nick Steinhardt very clearly (Nick Steinhardt was on the far side of the stage, so I couldn’t see him very well, but I could clearly see his sparkly shirt).  And bassist Tyler Kirby would punctuate songs with excellent thumping bass.

But it was the lyrics that constantly impressed me.  I couldn’t understand them all obviously, but the ones I did were impressive. (more…)

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[ATTENDED: November 29, 2023] Mary Jane Dunphe

I didn’t know there was an opening act for this show until a few hours before the show.  I looked up Mary Jane Dunphe, listened to a song and didn’t much like it.

So, according to The Creative Independent

Mary Jane Dunphe is a poet and musician who tells stories—not through direct narrative but through embodied presence and performance, through cinematic and fragmented memory, the wild transmission of feeling. Her versatile songwriting has garnered critical acclaim in past projects such as the visceral punk of Vexx and Gen Pop, the minimal dream pop of CCFX and CC Dust, and the lonesome country-rock of The County Liners—and now Dunphe’s debut solo album, Stage of Love (out now on Pop Wig), is the start of a captivating new chapter.

Mary Jane came out on stage wearing a Sinead O’Connor T-shirt with FIGHT THE REAL ENEMY on the back.  A very promising start.  Then she told us it was her birthday.  When someone started singing happy birthday to her, she held up a finger and said “No.  I’m the singer,” and then laughed.

Then she hit a key on a device behind her, strapped on a guitar and sang a very mediocre song.  The music was okay and the lyrics were hard to decipher.  I see now that she is a poet, so I suspect that means the words are more important than the music.  When the song ended, she played chords on her guitar for a few more measures, eventually sliding up the neck to make a wall of noise.  When that stopped, she put down the guitar, tapped the device again and walked to the mic.

The music–even more spare without the guitar–filled the room.  Mary Jane swayed and spun and danced and hopped and occasionally sang.  It occurred  to me that the singing wasn’t really in tune or on time.

And her performing wasn’t particularly interesting either.  A lot of spinning, some stomping, occasionally touching herself.  There was even a somersault at one point.  It just felt a lot like what a little kid thinks performance is.  And since you couldn’t really hear the words, it wasn’t very impactful.

I honestly wondered if she was like the local promoter’s daughter who was getting her first shot at being on stage.  And then I discovered  that she has been in bands for years.

I am a very forgiving viewer, but I had a really hard time with this one.  I also assumed she’s be done after 20 minutes (12 was enough), but she was allowed to stay up there for 30.  Oof.

She received decent applause after each song, but I don’t know if people were entirely genuine about it.  Both Touché Amoré and Deafheaven sang her praises during their set, with Touché Amoré really hyping her.  But I didn’t get it.

I have also seen that Ringo Deathstarr opened for them on a few shows.  I would have 200% preferred to see them.

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[DID NOT ATTEND: November 7, 2023] Jeff Tweedy with Seth Meyers

Usually any show with Jeff Tweedy is one I want to go to. For one reason or another I wasn’t really feeling the need to see Jeff Tweedy read from his book.

Ironically I just finished listening to his first book (on audio with Tweedy reading) and loved it.  So, really there’s no reason I shouldn’t have gone.

Later on, when I found out that he was going to be interviewed by Seth Meyers, my personal choice for Late Night hijinks, I was really bummed that I didn’t get a ticket.  By then it was sold out.

I guess I didn’t realize it would be a kind of fun night of q and a and reading or whatever.

Oh well.

I did get to go to Isiliel that night, so it’s all good.

That night or the night before or earlier that day (who knows) Jeff was on Seth’s TV show.  I wonder if they talked about the same things in Jersey City as they did in NYC.

 

 

 

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[ATTENDED: October 17, 2023] Don Broco

I know of Don Broco from a tour in which they did not play when they were supposed to.  They opened for Pierce the Veil and The Used at the Stone Pony Summer Stage.   But that night a huge storm was forecast, so they moved the whole show up (and cut the show short).

We walked in after Don Broco finished.  The only evidence we had of them was when singer Rob Damiani came out later to sing with The Used.  He was a character and he had a great voice.

So when this headlining tour was announced, I grabbed a ticket to check out what I missed. I grabbed a ticket early because that’s what I do, but I had no idea that the show would sell out.  Rob told is that Philly was (probably) the first show of the tour to sell out.

The opening band The Home Team told us that Don Broco would blow us away.  And they did.  They came out and from the start they were running on all cylinders, with Ron wearing a tight white T-shirt that had homemade writing I ♥ Don Broco.

“Gumshield” is super heavy but it opens with this weird little kinda cheesy synth riff (which is really catchy).  As is the chant at the end of the song “Yes, I’m angry and I’m disappointed.”

The crowd was with them 100% right from the start–singing along to every word, even the very very British “Manchester Super Reds No.1 Fan” (which has several super catchy parts).

I was also pretty pleased to read about the meanings behind some of their songs, which only made me like them more.  “Manchester” is (according to reddit)

The song’s actually about toxic fandom and bullying on social media, which is pretty much the opposite of “oi oi lads lads lads” in my opinion.

Rob said “I wanted to write something about an aspect of social media culture I’d really noticed in the last year. Of people tearing other people down, with much of that destructive negativity coming from the supposed fans of bands and teams. In football, you get these ultra fans who go way beyond the point of criticism into cruel, unadulterated bullying.”

I enjoy the way Rob sings with such intensity but when he sings the opening of “Uber,” he throws in an much thicker accent than he has when he speaks.  And the song is explicitly anti-racist

The song is a fairly explicit recounting of experiences the band had while in America, particularly drawing inspiration from racist Uber drivers they rode with.  “Within the space of a week three separate Uber drivers were openly racist in front of us, I guess assuming as white guys we’d share their views.”  The lyrics reflect those experiences, with lead vocalist Rob Damiani fiercely singing: “I’ve been dealing with the driver who’s sorry for my lot/’Cause my country got us mixing our blood/And it’s boiling his blood/And it’s spoiling my blood.”  “‘Uber’ is about being angry about that,” the band said, “being angry that racists seem to be growing in confidence to speak their hate in public and it’s a reminder to me to call out that discrimination whenever I see it.”

The woman in front of me recorded all of “Come Out to LA” (her camera was right in front of and her footage was so jumpy and erratic that if she watches it again she might throw up).  The drummer Matt Donnelly sings the high vocals in this song (as well as all the harmonies and extra vocals).  His voice is a nice contrast.

And guitarist Simon Delaney was not at the show.  He evidently had to stay back in England for some reason.  For this tour, he was replaced by Marc Okubo from Veil of Maya.  I don’t know if he replicated the band’s sound well, but I thought the guitar sounded amazing.

Rob has been very pleased with the moshing going on and after “Automatic” he insisted on a wall of death shoving mosh pit.  It went very well and when the song was over her called up on stage the kid he had seen in the crowd (a ten year old whom he called fearless).  The kid invited up his brother and Mother? Sister?  to be introduced and they were allowed to stay on the side of the stage or get back in the pit.  Tough choice.  I’m not sure what they chose.

A lot of the Don Broco songs feature screamed/chanted parts.  Like “Pretty” which has some quiet moments features a chanted “eight days a week, sucker eight days a week,” which the crowd loves.  “One True Prince” has a quiet opening that reminds me of Deftones with the whispered way that Matt sings over the quiet guitars.

I also really enjoyed the sound that bassist Tom Doyle managed–a good variety of slapping, funk and really deep and heavy rumbling.  Like the way “Endorphins” starts kind of poppy but then has a huge metal chorus.

Rob talked about how great the Philly crowd was.  He talked about when they played with Pierce the Veil and The Used and how great the crowd was there (that’s the our that my son and I went to, but Don Broco was cancelled because of the rain).

Then he introduced the song with his favorite riff–“Bruce Willis.”  The song is crazy catchy with the Willis-quoted chorus “Yippie Ki Yay Mother Fucker.”  Someone in the crowd had a black bedazzled cowboy hat which Ron wore for the whole song.

“Everybody” has the insanely catchy rising vocal line “No one’s ever seen me like this!”

They ended the set with “Birthday Party,” their new single.  It’s stupidly catchy and featured everybody else–The Color 8, Ryan Oakes and at least the singer from The Home Team) on stage to sing and jump around the stage.  It was delightful chaos and a fun way to end the set.

I knew there’s be an encore (everyone else got one and they loved Philly).  It took a while, but eventually they came out with the heavy new-ish single “Fingernails” which reminds me of the “eight days a week” part of the show with the chanted “one by one by one by one.”

The final song was an older one, “T-Shirt Song,” in which everyone in the crowd waved their (recently purchased one assumes) T-shirts around.  (In one case the T shirt was a spangled bra which made its way to the stage).

I couldn’t see all that well for the show (I was very far back) and videos and pictures were not easy to get.  There were also a few tall guys in front of me.  But it sounded great and I had a lot of fun.

But when that show was over, I bolted out there happy to get out of Philly before the game (which Philly killed in) was over and the fans hit the streets.

I’m really glad I went.

Incidentally, if you like music videos, Don Broco makes AMAZING ones.

SETLIST is not quite accurate but is close.

  1. Gumshield Æ
  2. Manchester Super Reds No.1 Fan Æ
  3. Uber Æ
  4. Come Out to LA
  5. Automatic €
  6. Pretty
  7. One True Prince Æ
  8. ACTION ®
  9. Endorphins Æ
  10. Bruce Willis Æ
  11. Everybody
  12. Birthday Party (with The Home Team, Ryan Oakes & The Color 8 to Perform the USA Remix)
    encore
  13. Fingernails ψ
  14. T-Shirt Song

‰ single (2023)
ψ single (2022)

Æ Amazing Things (2021)
® single (2019)
⊕ Technology (2018)
€ Automatic (2015)

Incidentally, when they played Asbury Park, their setlist was only seven songs. My show was a much better way to see them.

  1. Pretty
  2. Everybody
  3. Come Out to LA
  4. Gumshield Æ
  5. One True Prince Æ
  6. Bruce Willis Æ
  7. T-Shirt Song

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[ATTENDED: October 17, 2023] The Home Team / Ryan Oakes / The Color 8

I wasn’t entirely sure if I was going to this show.  I was sort of off going, but since I’d missed the Saturday shows, I figured I wouldn’t blow off this one.  Even if I wasn’t that excited about the opening bands.

I left later than I normally do, since the listing said that the show started at 7:30.  I figured if I got there around 8, I’d miss Ryan Oakes.  If I got there around 8:30, I’d miss some of The Home Team, and that would be grand.

Traffic was really light and, shockingly, South Street parking was widely available.  AND, because the Phillies are in the playoffs (I assume that’s why), parking was free.  I parked 500 feet from TLA.  Nice.

The show was sold out (which surprised me, but good for them) and I walked in to hear… Ryan Oakes.  He was finishing up two songs or so.  And the places was PACKED.

So it turned out there was ANOTHER opening band called The Color 8.  Okay, so if you read that poster carefully, it appears that The Color 8 are playing all the shows, and only Ryan Oakes and Skyler Accord are rotating shows.

I’ve never heard of them, although I see that they (along with everyone else on this bill) did a remix of a Don Broco song “Birthday Party.”

Suffice it to say that I missed them entirely.  The Home Team raved about them saying that The Color 8 plays the same instruments that they do, but they do incredible things with them.  I’ve listened to a few songs and I’m on the fence.  I hate the saxophone, although I do applaud them for including it on some of these metal rap songs just for a change of pace.

There is no genre that they are afraid to use, although I’d say they comfortably sit in a metal/rap vein. (more…)

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[DID NOT ATTEND: September 13, 2023] The Lemonheads / Willy Mason

I rather enjoyed The Lemonheads’ anniversary of It’s a Shame About Ray.  I thought I might also really enjoy the anniversary of Come On Feel the Lemonheads.

But when I asked my wife if she wanted to go, she said no. And, while I like that album a whole lot, I think I may have had my fill of Evan Dando.

Willy Mason is a folk singer with a deep voice.  I listened to a little of one song and didn’t like his vibe at all.  So that kind of helped me decide not to go to this tour.

Markit Aneight was there so I didn’t have to be

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