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2008_03_03-400SOUNDTRACK: FOREIGN EXCHANGE-Tiny Desk Concert #370 (July 5, 2014).

FeIt’s amusing how “religious” lead singer Phonte Coleman comes across in this set given how profane his language is.  He begins the set by telling us what a “church clap” is: a church clap is when you clap for someone when they sing in church but they suck.  It’s a slow clap that says keep trying, baby.

Foreign Exchange is Phonte on vocals, guitarist Nicolay, keyboardist Zo! and percussionist Boogie.  Their music (in this setting anyhow) is a kind of mellow stripped down soul pop.

“On A Day Like Today” is a kind of acoustic r&b with acoustic guitar and gentle keyboards. Phonte is an engaging and fun performer enticing people to clap and singing that he’s gonna wipe the sweat off his face as he does so.

He says he’s “sweating like a preacher here.”  After the first song he hits the gong ans says “when you hear this sound, that means turn the motherfuckin’ page.”   he describes the second song, “Listen to the Rain” as when you need to wind down and things ain’t going right.  It is a delicate ballad full of nice percussion.

Before the final song he says, “You never get a second chance to make a first impression so I hope this is a good motherfuckin impression.”  Then as he is ramping up the song, he tells everyone to turn to your neighbor and say “‘Neighbor, put home in your heart,’ goddamn right.” “Call It Home” is a pretty, smooth rocker.  Phonte has a good solid voice and these songs are all pretty enjoyable.

Phonte is a great front man having fun right up to the end as he jokes about how he “felt it” and was overcome during the final song.

[READ: January 29, 2016] “Leaving for Kenosha”

Richard Ford is a famous writer whom I have never read.  I think of him as writing very large books, so I’m surprised to see this short story here.

I have this image of what Ford writes, but I was rather surprised that this was set in New Orleans soon after the flood.  Interestingly, the main character is not the one leaving for Kenosha.

Walter Hobbes (which is the name of the dad in Elf, by the way) is a lawyer.  He is picking up his daughter from school before taking her to the dentist.  His daughter, Louise, is thirteen and trying to be independent.

I really enjoyed the way the Ford set up the family dysfunction–Louise needs a sleep guard to keep her from grinding her teeth–which she has only started doing since her parents got divorced.  There’s some back story about Walter’s wife leaving him and the fact that she still lives in town.  Continue Reading »

[ATTENDED: July 27, 2016] Garbage

2016-07-27 21.26.35Back in the late 1990s, I loved Garbage.  Their debut and 2.0 were two  of my favorite albums of the era.  I had the chance to meet and greet when I was living in Boston, but when I got to the store, the line was huge and they cut it short about ten people in front of me.  But I did get to see them live.  And I saw them live later in the year when they played in New York.

They took a few years off and I didn’t love their next album.  Or the one after that.  I liked them, but I wasn’t as blown away (which I suppose is natural).  They released a new album last year and I liked it–it was a little less slick than those middle ones. And in the meantime, I’ve grown to appreciate those middle albums more–sure they are slicker, but there’s some good stuff on them.

So when I saw they were touring in the area, I thought it would be fun to see them again nearly twenty years later.

And man, was it ever.

Continue Reading »

[ATTENDED: July 27, 2016] Kristin Kontrol

2016-07-27 20.08.28 I didn’t know who Kristin Kontrol was before this show.  I had to look her up and I saw that she used to sing for the Dum Dum Girls (she was Dee Dee Dum Dum).  I never really cared for them (I don’t like old time “girl group” music, so I didn’t need to hear it updated).  For some reason I assumed she would be loud and brash (which I realize is not what the Dum Dum Girls sound like anyhow).  Rather, her new outfit Kristin Kontrol embraces her love of 80s synth pop.

When she came out I didn’t realize she had been performing for a few years already (they formed in 2008), so while I knew she wasn’t a new artist, I was delighted with how much stage presence she had.  She even had “moves” down (arm gestures that went along with the songs) and she was really poised.

She told us that her first concert was Garbage way back in 1995 and it was that show that made her want to be a musician.  So she was delighted to be opening for them.

The band consisted of a drummer (who used a soft mallets on his cymbals, which I liked, as well as a mixture of electronic and analog drums), a guitarist who seemed to be playing lot of weird electronic sounds with is instrument (he was on the far side so I couldn’t really see him) and a bassist/keyboardist who was right in front of me.  Despite the guitar/bass line up, the overall sound was very synthy (even when no one was playing a synth).  Continue Reading »

may16SOUNDTRACK: MARISA ANDERSON-Tiny Desk Concert #374 (July 19, 2014).

marisaMarisa Anderson may be the most unassuming guitar wizard I’ve ever seen.  There’s nothing flashy about her or her look, but man can she make those guitars sound great.  And she plays an old-timey bluegrass style of guitar with slides and lots of picking.

For this set she plays 5 songs (on four different guitars).  She doesn’t sing, she just lets the music do all the work.

“Hard Times Come Again No More” is done on a hollow-bodied electric guitar.  It’s noisy, and fuzzy.  She plays finger-picks the main melody in the high notes and then in the middle of the song she plays big open string chords–buzzy and noisy–while still playing the melody.  She says the song “gets stuck in my head if I’m driving through snow.”

“Sinks and Rises” is about a swimming hole in Kentucky.  She went there in a car, but she wasn’t driving and she’s never been there since but it was the best swimming day of her life.  For this song she plays a lap steel guitar that looks to be made of ivory.  It’s so much fun to watch her slowly moving that slide up and down the neck (sometimes only playing one note) while her picking hand goes like crazy.

For the third song she plays a different hollow body guitar.  “Hesitation Theme and Variation Blues” was inspired by her favorite guitar player Rev. Gary Davis.  She says this is a deconstruction of his “Hesitation Blues.”  She doesn’t sing so she took it apart and put it back together.  It begins with an almost classical theme before launching into a very cool blues.

Then she switches back to guitar #1.  She says she plays in settings didn’t allow cover songs, she didn’t want to do just originals so she played songs from public domain–like the national parks if we don’t use them we’ll lose them.  In 2013, she released an album that was all songs in the public domain.  “Canaan’s Land Medley” is a medley of three gospel songs.  She plays the melodies with her fingers and a slide on her pinky–which adds some cool textures to the song.

For the final song, “Galax,” she brings out guitar #4, a Fender Strat (or knock off). She says she went to a bluegrass festival and was overwhelmed by all of the good songs being played in the parking lot–she’s not even sure if she got to the show.  This song is about all those songs being played at once.  There’s some really fast guitar playing and slide at the same time.  It sounds great and is even more fun to watch.

Anderson is really a marvel–totally soft-spoken and seemingly shy, but main is she amazing to listen to.

[READ: July 13, 2016] “Call Me Crazy”

The May 16, 2016 issue of the New Yorker had a series called “Univent This” in which six authors imagine something that they could make go away. Since I knew many of them, I decided to write about them all.  I have to wonder how much these writers had to think about their answers, or if they’d imagined this all along.

Of the six articles, Brownstein’s was certainly the funniest.  It’s also the most contemporary and almost the most obvious thing to complain about.  But it suits her comic style very well.

She wants to uninvent the conference call.  She assumes that we all agree that the conference call is a bad idea, but in case we need convincing she offers this example. Continue Reading »

[ATTENDED: July 22-24, 2016] XPN Fest

2016-07-24 15.34.58Even though I go to a lot of shows, I don’t really love Festivals.  I actually enjoy concerts too much to enjoy Festivals.  Which sounds dumb, but I’d rather see a band I like on their own play for a full set than for 30 minutes with a bunch of people who don’t really want to see them.

I’ve been to a few festivals over the years, and I have thought about going to other ones, but since I typically don’t want to spend a few days in the sun (and a few hundred dollars), I don’t go.

But the past two years we have seen some great headlining acts at XPN Fest.  And we thought it would be fun to go for the day, bring the kids and just have a fun day outside with music and vendors.  We bought tickets before the lineup was even announced.

WXPN members get half-priced tickets (which is cheaper than some of the regular shows I’ve been to) and kids’ tickets are $15 for the three days.  Perfect.

In the past, I have loved most of the headliners, but this year I didn’t really like any of them. The three day pass includes lawn seats to the headliners, but we wound up not using them at all. Continue Reading »

[ATTENDED: July 24, 2016] David Wax Museum

2016-07-24 15.58.23 David Wax Museum was supposed to play on Saturday.  Then it rained.  Really really hard.  For us, as we waited it out under a tent, the momentum was gone.  The kids were wiped out.  They kicked everyone out of the park because of thunder and lightning.  So even when the sun came back out, we decided to go home.

Well, it turned out that David Wax’s show was cancelled, but they were able to stick around until Sunday and the organizers squeezed them in and we got to see them anyhow!

I knew of David Wax Museum from a Tiny Desk and a Newport Folk performance broadcast on NPR a few years ago.  They played really fun, upbeat music (and used a donkey jaw bone as an instrument) and I was really psyched to see them.

Their set started literally just as The Districts finished up, so we had to hustle over.  And we caught them for the middle of their first song “Yes Maria,” a song I know pretty well and a wonderfully upbeat number.

2016-07-24 15.42.42And then they continued to have one of the most fun sets of the weekend.  Their songs have a Mexican flavor (co-lead singer Suz Slezak was wearing a  (very hot looking) poncho foe the set while Wax was wearing a very sharp looking pseudo-mariachi suit.

They talked to the audience a lot. They said they had driven to the show on Friday night from North Dakota (can that be right?).  Since it was the final night of their tour, they were actually kind of happy that the previous night was cancelled and rescheduled.  They only had to drive from the hotel nearby.  Suz said that it was the first show that they were really well rested for.

Their set included a bunch of sing-alongs, big clapping sections and lots of lyrics in Spanish.

Wax primarily plays the jarana, a Mexican instrument similar to a tiny guitar.  Slezak plays keyboards and fiddle as well as singing along.  And she’s the one who plays the quijada, a percussion instrument made from a donkey’s jawbone.  And yes it was great to see it in action.

Sarah told me after the show that it was her favorite set of the weekend.  I was pretty excited to get their latest album and then, to our surprise they cam over to the merch booth (instead of the meet and greet tent) and signed out disc.  I chatted with them a few minutes, and they were super nice.  Suz showed Tabby her necklace which has one of the teeth from the jawbone.  And their adorable daughter was there too.  She’s 2 and it was the first show of theirs that she got to watch (although I think mostly she was just hot).

I’m so glad that they were able to play and, as with The Districts, I’d love to see them in a smaller venue where they get a longer set.

See some colorful photos and stream their set here.

Setlist:

Yes, Maria, Yes

Dark Night of the Heart

Forgiveness

Harder Before It Gets Easier

Blood Jump

Chuchumbe

Don’t Lose Heart

Born With A Broken Heart

Colas

Guesthouse

[ATTENDED: July 24, 2016] The Districts

2016-07-24 14.47.59 Despite the heat of Saturday, we were prepared to go back to the Fest on Sunday–with plans to pop into the Aquarium before the show.  I had wanted to see three artists on Sunday, but we only managed two.

I knew The Districts from WXPN , and I’d heard that their shows were a lot of fun.  And that was spot on.

This was the only show we watched at the River Front stage–the larger of the two.  Rather than fight the sun, we hung out on the periphery in the shade and, while we weren’t all that close, we could see the band fine and the sound was outstanding–it was actually a little better off to the side then in the front where it was  little ear-piercing.

Unlike the other bands we saw, The Districts were there to rock out and rock out they did. Continue Reading »

2016-07-23 13.16.33[ATTENDED: July 23, 2016] Esmé Patterson

I had originally intended to see five bands on Saturday of the Festival.  Because of a number of unexpected hiccups, I wound up seeing only two.  (More about the hiccups on Monday).

Of the five bands, I definitely had a couple that I wanted to see more than others.  And Esmé Patterson was one of them.  I knew her from All Songs Considered, and although I’d only heard one song, I really liked it and was excited to see her rock out.

We arrived in time for her set, put out our gear, and had a great time.

Esmé has a fun stage presence (and is really kind–she was worried about us all burning in the hot sun), she sings wonderfully and her backing band was totally solid. Continue Reading »

[ATTENDED: July 23, 2016] Darlingside

2016-07-23 14.21.10 Although I had wanted to see five bands on this day, my main focus was Darlingside, a band who sings beautiful songs with wonderful harmonies.

Because we had the kids with us and they were feeling a little wilty from the heat, we spent some of their set walking around looking for shade.  This was less than optimal in terms of enjoying the set, but since the sound was really good, there was no denying how great they were.  Their harmonies were right on and even in a big opened air setting, they still sounded amazing.

What I didn’t expect was how funny and lighthearted they were.  Continue Reading »

CoverStory-KadirNelson-ADayattheBeach3-879x1200-1467305948SOUNDTRACK: LYDIA LOVELESS-Tiny Desk Concert #369 (July 1, 2014).

lovelssI want Lydia Loveless to be a punk singer–Her name is like a combination of Lydia Lunch and a last name that conjures up an asskicking punk.

But not the country singer that Loveless is (even if she is ass-kicking herself). Loveless is a new breed of alt-country which is pretty explicit with noticeably rocking guitar solos.  But her voice is so twangy it’s hard to not call it country (and in fact it’s a bit too much for me to take sometimes).

“Head” features this rather memorable chorus “Don’t stop getting undressed /Don’t stop giving me head.”  It seems especially surprising since Loveless looks like she’s about 12 (she was 23 at the time of this recording).  The buzzy solo is lengthy and more or less runs throughout the song.  Although at some point when Loveless takes her own solo the whole sound seems to fade out and get a little anemic.

Her band is fun with her bassist being very tall and having very long hair playing a very tall upright bass.  And then there’s another guy playing guitar and lap steel.

“Verlaine Shot Rimbaud” has a title that begs for an awesome song.  It’s not an epic masterpiece or anything.  In fact its closer to a pop song, The slide guitar and Loveless’ heavy accent on the chorus place it firmly in the country camp.

“Mile High” has a fun folk riff.  It sounds a lot like The Byrds and the chorus is super catchy.  If I could get her to sing less twangy I would love this song much like I love the punk country of X, or at least the Knitters.

[READ: December 29, 2010] “Who are All These Trump Supporters”

[This essay in the New Yorker also came under the heading “Trump Days.”]

So the title of the essay is a question I myself have been asking as I watch the hatred and vitriol bubble over during the convention.

If there was anyone I wanted to write this piece it would be George Saunders and he is actually the only reason I read it in the first place (I plan to read all of his contributions to the New Yorker eventually, but I’m glad to have read this one when it was timely–I hope it will be utterly irrelevant by the time I get to the rest of his works).  He self identifies as a liberal (although he was a conservative who loved Ayn Rand way back in the Reagan era).  He is a thoughtful and not prone to anger–a perfect foil for the crowd.  And he’s got a great way with words.

So great in fact that I’m just going to be quoting him a lot.  I could have pulled more excellent quotes from the essay, but really you should read the whole thing. Continue Reading »