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[ATTENDED: January 18, 2024] Black Pumas 

My wife and I really liked the first Black Pumas album a lot.  I’m not sure why we didn’t go see them when they played Philly in 2019 (at the Foundry–he was probably in the audience the whole time!).

When this tour was announced, I was shocked at the price of tickets.  I later found out that this was one of the first times Ticketmaster listed the price WITH FEES, so the outrageous price was what you’d pay after the sticker shock, but with the sticker shock up front.  I resisted getting tickets even though we both wanted to go.  And then Live Nation sent a code for $20 off tickets and boom, we were in.

And then the weather discouraged us from going.  It was COLD, and icy and about to snow, and neither of us really felt like going out.  But we did.  And boy was it worth it.

Neither of us knows the new album all that well, but since they only have two albums out there was no reason they wouldn’t play most of the debut as well.  Which they did (7 from the debut and 9 from the new).

And the show was stellar right from the start.  From the cool backdrop (which not only featured the pumas on that poster (right), but it also featured the twinkling teeth and eyes.  And the lights were incredible.

The band came out with singer Eric Burton out front and guitarist Adrian Quesada to the right.  The rest of the band surrounded them–bass, drums, keys and tow backing singers.

They opened with a song from their debut and then more or less went back and forth between a new song and an old one.

The new album has a few more mellow songs, and they were placed properly to give the band and the audience some breathing room in between dancing.

The most impressive part of the show was, without a doubt, Eric Burton’s voice.  His voice is amazing on record, but it was even better live.  It soared and flew, whispered and screamed.  He hit high notes with ease and sounded enormous throughout the set.

Even crazier, during Know You Better, Burton leaped off the stage into the crowd–after parting the crowd, he jumped feet first off the stage, soaring through the air and landed on his feet.  He then sang the rest of the song from the audience with people crowding around him.

It was amazing hearing him sing “Black Moon Rising” and doing those soft but powerful “ow”s that come after each line.

“Ice Cream” sounded fantastic live and everyone was dancing by then.  “OCT 33” was really powerful and “Mrs. Postman” was more fun than the recorded version.

Quesada didn’t say anything, and he didn’t do a lot of soloing, but when he did, his guitar sounded fantastic.

Burton jumped down to the front of the crowd later in the set and sang with the front row folks.  He also handed someone the setlist before the show was even over.

We sang along, we danced, we raised our hands, we clapped.  It was a full experience.

And then they started “Colors” the big hit.  A woman behind me shouted “this is my song” and everyone around her no doubt thought, “no, everyone loves this song, duh.”  Despite her, the song sounded fantastic.  So big, so powerful.  Everyone’s voices rising along.

The only disappointment for the night was the two guys in front of us.  I knew they were trouble when Digable Planets came on and I suggested we should move from them, but a nice gentleman next to us sort of encouraged us to get in front of him and it was hard to say no.

Fortunately for me, their drunken idiocy was far enough from me that it didn’t really impact me.  But my poor wife was stuck in their wake (in fairness I did ask if she wanted to move on a few occasions and she said no).  For two guys who loved the band as much as they did, they were sure disrespectful–talking loudly, leaving for drinks every three songs and then even falling on the floor.  Ooph.

I had seen earlier that Black Pumas had been playing 16 songs, so I thought we might get two encores.  I couldn’t think of any other songs I wanted to hear and the came out and played Hello from the new album.

I always think that encores should be fan favorites–big rockers to get everyone singing along (like Colors).  But that seems to be changing of late.  Hello is a mellow song that is quite lovely.  They followed it with Rock and Roll, the final song on the new album.  The song is kind of simple, but boy they built on the repetition in the song until it sounded massive.

This was supposed to be my first show of the year until The Musical Box cropped up on my radar.  But since that show was a) a cover band and b) seated, I feel like this was really my first real show of the year.  And it was a doozy.  So glad we went!

  1. Fire ♠
  2. Gemini Sun ◊
  3. Know You Better ♠
  4. Black Moon Rising ♠
  5. Sauvignon ◊
  6. Ice Cream (Pay Phone) ◊
  7. Angel ◊
  8. More Than a Love Song ◊
  9. Confines ♠
  10. OCT 33 ♠
  11. Mrs. Postman ◊
  12. Stay Gold ♠
  13. Chronicles of a Diamond ◊
  14. Colors ♠
    encore
  15. Hello ◊
  16. Rock and Roll ◊

♠ Black Pumas (2019)
◊ Chronicles of a Diamond (2023)

no: ♠ Old Man, Touch the Sky, Sweet Conversations
no: ◊ Tomorrow

[CANCELLED: January 19, 2024] Ride

I found out that Ride was doing a Free at Noon just recently.  I had tickets to see them that night at Union Transfer, so I didn’t feel the need to go to this show.

Then it snowed.  Not a ton, but enough to make Philly clear the streets for cleaning.  Which meant there was no parking around the WXPN facility.  I’m sure there was more to it than that, but for whatever reason, this show was cancelled.

I also wound up not going to the show that night because of the snow.  So, no Ride for me.

[ATTENDED: January 18, 2024] Digable Planets 

I was really surprised to see that Digable Planets were opening for Black Pumas.  Largely because I had no idea they were still a thing.

So a brief history shows that they formed between 1987 and 1989 and put out their debut in 1992.  This featured “Rebirth of Slick (Cool Like Dat)” which was a pretty big hit.  I had no idea that their second album Blowout Comb (1994) was a stark departure from the previous album, being darker, less hook-oriented and more overtly political in its references to Black Panther and communist imagery.

And then they broke up. They reunited in the mid-2000s and then again in the late 2010s.  But they’ve never released new music (just live albums).

So if you’re a fan of their old stuff, well, that’s all there is. Continue Reading »

[DID NOT ATTEND: January 17, 2023] Wednesday / Hotline TNT / Echotracer

Back in June, Wednesday headlined Union Transfer.  I wrote:

Wednesday were supposed to open for Beach Bunny at The Fillmore last year.  They bailed on the show and I was a little bummed because I had heard good things about them.  When they announced this headlining tour (at Union Transfer?  They’re big enough for there already?) I was intrigued.  I’d heard a song or two that I liked, but there was something that held me back.

I really like the fuzzy guitars and largely grunge sound, but there’s a kind of alt-country vibe that underpins their sound that I just can’t get past.  They have a lap steel guitar (which I either love or hate depending on how it’s used) and are often described as merging shoegaze and country.  So I didn’t feel compelled to go to this show after all.  And it was nice to have a Saturday night at home.

They have only gotten more popular in the last six months and I was interested in going this time.  However, it was on the night of a very special date for me–so I had other plans.

Hotline TNT plays what I can only describe as classic shoegaze, which is definitely having a moment again.  Unlike a lot of their contemporaries, they don’t really mess with the classic shoegaze vibe all that much–not adding elements at all.  Their music warms my heart and I’d love to see them live.

Echotracer is a couple of DJs or something.  They are members of a couple of Philly bands who make a kind of noisy dance collage.  I listened to a few minutes and didn’t like them.

 

 

 

[DID NOT ATTEND: January 13, 2024] The Teeth / Lindsey Noel

I had never heard of The Teeth before I saw that they had sold out three nights at Johnny Brenda’s months and months before these shows happened.

So who were they?

The Teeth was an indie rock band from Philadelphia consisting of twin brothers Aaron MoDavis on rhythm guitar and Peter MoDavis

After abruptly breaking up 15 years ago The Teeth are reuniting for a pair of special shows at Johnny Brenda’s in Philadelphia. Twin brothers Peter MoDavis (Bass) and Aaron MoDavis (guitar) will reassemble with Jonas Oesterle (drums) and Brian Ashby (guitar) on their favorite stage in the City of Brotherly Love.

Opening for this show was magician Lindsey Noel.  I watched a clip of her performing in front of Penn and Teller and it was quite good.  But what a weird opening act!

Here’s some more about The Teeth: Continue Reading »

[DID NOT ATTEND: January 12, 2024] The Teeth / Brad Howe

I had never heard of The Teeth before I saw that they had sold out three nights at Johnny Brenda’s months and months before these shows happened.

So who were they?

The Teeth was an indie rock band from Philadelphia consisting of twin brothers Aaron MoDavis on rhythm guitar and Peter MoDavis

After abruptly breaking up 15 years ago The Teeth are reuniting for a pair of special shows at Johnny Brenda’s in Philadelphia. Twin brothers Peter MoDavis (Bass) and Aaron MoDavis (guitar) will reassemble with Jonas Oesterle (drums) and Brian Ashby (guitar) on their favorite stage in the City of Brotherly Love.

Opening for this show was comedian Brad Howe.  I watched a clip of his stuff from 2017 and rather liked him.

Here’s some more about The Teeth: Continue Reading »

[ATTENDED: October 8, 2024] Kishi Bashi

This was our SIXTH (!) time seeing Kishi Bashi and it was so different from the last time!

The previous show was an anniversary show of his debut album.  This one was supporting his new album.

The previous show was at the tiny Foundry and this one was at the (relatively) huge Brooklyn Bowl.  And, K. came out with a fantastic outfit (stunning jacket and pants) and a kick ass keytar!

Tall Tall Trees was on banjo and keys, but his backing band was the guys from Sweet Loretta!  And they suited him perfectly.

K. busted out a violin of course, and stayed with some of the newer dancier songs for a while.

There was a couple in front of us who were pretty grossly all over each other (their elaborate dance routines took up way too much space).  But they were also huge fans and knew all the songs, so I couldn’t be too annoyed.

Although the first songs were new, he didn’t leave out the old stuff, jumping right into It All Began with a Burst (and he still builds the songs with a looping pedal).

I loved the way he mixed up the albums he played from, with a dancey and lovely Can’t Let Go Juno, followed by a beautiful (fantastic harmonies from Sweet Loretta) Marigolds.

After playing Colorful State from the new album, he did a fun beat boxing improv which he said he hoped someone recorded and might send it to him so he could develop it later (I did, but he didn’t acknowledge it).

The rest of the band stayed away as he did a fantastic solo rendition of I am the Antichrist to You.  K. has always had a great voice but it has gotten even better over the years.  Then he busted out an acoustic guitar for the lovely, gentle Summer of ’42.

The band returned for the appropriately large Violin Tsunami and then played the Talking Heads cover.

And  then things got crazy.  The band returned dressed in costumes including one of the crew dressed in golden wings like Icarus for Escape from Knossos/Icarus with some seriously heavy rocking from the Sweet Loretta guys (some killer guitar soloing) and some wicked use of the keytar.  The chaos settled into a big dancealong of Hahaha Pt. 2 a very unexpected (but welcomed) song choice!

Lilliputian Chop continued the dancey/funky vein and then we were joined by Mr Steak (how much I love how silly Kishi Bashi shows can get).  Mr. Steak danced to his song and we all danced along.

Kishi Bashi has not gotten to the point where he’s not going to play some of my favorite songs because he has so many songs.  But he didn’t leave out the fantastic Philosophize in It! Chemicalize with It! (complete with beatboxing and looping).

The set ended with a fun clapalong of Honeybody.  And yes everybody was in the best mood after that.

For the encore, K and  the band all moved to the center of the floor (we hung back away from the throngs.  They gathered round and stood on a chair and sang the sweetest Penny Rabbit and Summer Bear.  It was like a campfire in the dimly lit room.   It was followed by a more soaring Manchester.

Then they ended with a fun cover of Rod Stewart’s Ooh La La with the chorus I wish that I knew what I know nowwhen I was younger.  They continued to sing the song from the middle of the floor to backstage.

What a fun-filled night.  I’m only surprised more people don’t know about him.  We look forward to show number 7!

 

2024 Brooklyn Bowl 2022 The Foundry 2019 Union Transfer
Violin Akai € Intro / Pathos, Pathos ∇ Marigolds Ø
Chiba Funk € Manchester F Delano Ø
Late Night Comic € Bright Whites Hey Big Star $
It All Began With a Burst It All Began With a Burst Say Yeah $
Can’t Let Go, Juno $ Wonder Woman, Wonder Me ∇ Carry on Phenomenon
Marigolds Ø Atticus, in the Desert Honeybody $
Colorful State € I Am the Antichrist to You Honeybody Remix $
solo improv Beat the Bright Out of Me ∇ Can’t Let Go, Juno $
I Am the Antichrist to You (solo) This Must Be the Place (Naive Melody) (Talking Heads cover) Theme From Jerome (Forgotten Words) Ø
Summer of ’42 (solo) Ø Q&A I Am the Antichrist to You (solo)
Violin Tsunami Ø Penny Rabbit and Summer Bear Ø This Must Be the Place (Naive Melody) (Talking Heads cover) (solo)
This Must Be the Place (Naive Melody) (Talking Heads cover) (solo) Marigolds Ø Violin/Banjo improv
Escape from Knossos € I’d Do Anything for Love (But I Won’t Do That) (Meat Loaf cover) Bright Whites
Icarus IV € The Ballad of Mr. Steak Q&A
Hahaha Pt. 2 ∠ Honeybody (began with studio arrangement which bled into performing in the style of the Mattsoro remix) $ Penny Rabbit and Summer Bear Ø
Lilliputian Chop € encore Angeline Ø
The Ballad of Mr. Steak Violin Tsunami Ø Violin Tsunami Ø
Philosophize in It! Chemicalize with It! Philosophize in It! Chemicalize with It! Ode to My Next Life $
Honeybody $ Philosophize in It! Chemicalize with It!
encore Atticus, in the Desert
Penny Rabbit and Summer Bear (acoustic, in crowd) Ø (I’ve Had) The Time of My Life (Bill Medley & Jennifer Warnes cover)
Manchester (acoustic, in crowd) The Ballad of Mr. Steak
Ooh La La (Rod Stewart cover) (acoustic, in crowd) It All Began With a Burst
encore
Annie, Heart Thief of the Sea (acoustic, in crowd) Ø
Manchester (acoustic, in crowd)
Summer of ’42 (acoustic, in crowd) Ø

 

 

 

2016 Union Transfer 2015 TLA (opening for Guster) 2014 New Brunswick (opening for Rod y Gab)
Stranger Things Theme [recordong] violin improv violin improv
Statues in a Gallery $ Atticus, in the Desert ∇     It All Began With a Burst ∇
Hey Big Star $ Bright Whites Bittersweet Genesis for Him AND Her ∠
m’lover $ Bittersweet Genesis for Him AND Her Atticus, in the Desert ∇ 
Atticus, in the Desert (featuring extended banjo percussion solo) ∇     The Ballad of Mr. Steak ∠ Bright Whites ∇
Bright Whites (with improv interlude featuring flute solo) Q&A ∠ Philosophize in It! Chemicalize with It! ∠
Carry on Phenomenon ∠ Philosophize in It! Chemicalize with It! Manchester ∇
Who’d You Kill $ Manchester
Can’t Let Go, Juno $
Say Yeah $
Ode to My Next Life $
I Am the Antichrist to You (solo)
The Ballad of Mr. Steak (featuring Mr. Steak)
Philosophize in It! Chemicalize with It!
It All Began With a Burst (with “Don’t vote for Trump” vocal loop)
encore
Honeybody $
Q&A
Manchester
€ Kantos (2024)
Ø Omoiyari (2019)
$ Sonderlust (2016)
∠ Lighght (2014)
∇ 151a (2012)

[LISTENED TO: January 2024] The House of Silk

I’ve been really enjoying some various Anthony Horowitz adult books.  I particularly enjoyed his Hawthorne and Horowitz books.

I had noticed that House of Silk seemed to be a really Big, Important book for hi, but I didn’t really know why.  When it went on sale at my audiobook supplier, I grabbed it.  That’s when I discovered it was a Sherlock Holmes story.

I went through a brief phase where I was reading as many Holmes stories as a I could.  But it has been a while since I read one.

In no way can I compare this story to an Arthur Conan Doyle story, nor do I think you are supposed to (even though this is an authorized part of the series).  I can’t quite imagine the pressure that one must feel in Horowitz’ situation.  There is no way he was going to please people by doing this.  I also don’t know anything about his fondness for Holmes.  I assume it must be great, but who knows.

The fun setup for this story is that Watson has written this book but has asked that it not be opened for 100 years because the information contained within is quite damaging to some important people in English society.

And so, although this story is set at some time during Holmes’ tenure as a detective, it’s not his “final” case or anything like that.

The story is fairly convoluted (it is a Holmes story, after all), but it actually has two mysteries intertwined.

It opens with Edmund Carstairs coming to Sherlock for help.  He is an art dealer and when a group of valuable paintings were shipped to America, they were robbed/destroyed  in a train robbery.  The culprits were actually after money on the train, but they still cost the art dealer a fortune.  He hired a man in America to round up the thieves who were known as the flat cap gang.  The Gang is headed by two Irishmen, the O’Donoghue twins.  During the investigation, one of the twins is killed.  Carstairs is convinced that the surviving twin, Keelon O’Donoghue has come to kill him. Continue Reading »

[ATTENDED: January 7, 2023] The Musical Box

I’ve said many times that I don’t go to see cover bands.  I don’t really see the point (I realize some people like to go out and have music in the background while they drink and talk–for me, the band is the point.  I can drink and talk at home for free).  But I’ve been seeing ads for The Musical Box for a number of years and I often wondered if I needed to check out this cover band who plays early, prog Genesis.

I have enjoyed so much Nick Mason’s Saucerful of Secrets project which plays the early Pink Floyd, but there’s an actual Floyd dude in the band (even if it is “only” the drummer).  There’s no one from Genesis in this band.  But they recreate the insanity of what Peter Gabriel and company were doing in the early 70s.  Shows that were outrageously theatrical and weird.  High tech for the time, but crazily analog now.  But they recreate it perfectly.

Even Genesis agree:

It’s 1973-PETER GABRIEL’s famous theatrics and GENESIS’ musical apex produce some of the most iconic images and sounds of the 70’s, enjoying to this day a cult following. A TIMELESS CLASSIC. THE MUSICAL BOX, who shared the stage with PHIL COLLINS and STEVE HACKETT as performing guests and acclaimed by more than a million spectators in some of the most prestigious venues in the world such as London’s ROYAL ALBERT HALL and Paris’OLYMPIA, will perform the emblematic 1973 show in painstaking details. TAKE A LITTLE TRIP BACK.

PETER GABRIEL: “TMB recreated, very accurately I must say, what Genesis was doing. I saw them in Bristol with my children so they could see what their father did back then”

PHIL COLLINS: “They’re not a tribute band, they have taken a period and are faithfully reproducing it in the same way that someone would do a theatrical production”

When I saw that an online friend of mine had seen them recently and said that this was his third or fourth time seeing them, I considered going for real.  And THEN there was an article about them in The Walrus, a glossy magazine of Canada (The Musical Box is from Canada).  I haven’t actually been reading my magazines recently (I have a huge box of them to go through) so the coincidence of me happening to look through this one and read this glowing article sealed the deal.  And lo and behold, they were playing in Montclair in a couple of months!

The only problem, (if it was a problem) is that they were touring Selling England By the Pound, an early album that I didn’t know all that well (I’m a Foxtrot guy).  But the setlist included three songs from Foxtrot (including Supper’s Ready), so I could certainly listen to Selling England (it’s quite good), and get prepped for this experience. Continue Reading »

SOUNDTRACK:

[READ: January 4, 2024] “Who Will Fight with Me?”

Rivka Galchen was one of the writers whose essays and stories in the New Yorker I made sure that I read.  This essay is a non-fiction piece about her father.

I enjoyed the very first line:

Recovering from a happy childhood can take a long time.

It made me think about how we seem to glamorize hard upbringing–college essays are based on overcoming hardship.  People love to complain about their parents and how tough they had it as kids.  But isn’t it wonderful to have had a happy childhood?  Isn’t that what parents strive to give their children?

I had a happy childhood and I am nothing but grateful for it. Continue Reading »