Tag Archives: Beacon Theatre
Damien Rice – Beacon Theatre – April 4, 2015
It’s been a very long eight years without Damien Rice’s moody, heart-aching ballads. And there’s something to be said about stretches of absence that perpetrate a yearning desire for an artist’s new material. Rice isn’t the kind of guy who’s rolling in the green, but rather he’s the type of guy who moves from his native Ireland to Iceland to renew his love for making music. Finally, back with his long-anticipated third studio album, My Favourite Faded Fantasy, he’s embarked on a tour minus his longtime collaborator, Lisa Hannigan, who’s set off on her own solo effort. And for this longstanding fan, it was hard news to take as the two truly complemented each other, but Rice’s headlining set at a sold-out Beacon Theatre on Saturday night provided a bittersweet reprieve.
Beginning the show literally on his knees, Rice opened with an acoustic rendition of “My Favourite Faded Fantasy” before taking his place behind the microphone for “9 Crimes.” The set interweaved his last album with treasured fan favorites. And thanks to his Irish brogue, women in the balcony requested he take of his shirt, but Rice playfully responded by serenading them with “It Takes a Lot to Know a Man” instead. I’m sure another gent in the audience, Mr. Jon Bon Jovi, appreciated the ploy. As if that weren’t cheeky enough, Rice requested some wine only to raise his glass while commencing with an old favorite, “Cheers.” From lyrics to personal reflections, he philosophized throughout the night about the driving theme in his songs—love. It takes a lot for a solo artist to command a stage like the Beacon, but Rice made it seem effortless as he rode old tunes to new and imaginative heights. That was especially true for “I Remember,” when he had to make up for the missing duality of Hannigan’s chilly work, which was acknowledged by an outspoken fan who yelled, “Where’s Lisa?”
With the performance drawing to a close, Rice returned for an encore with a harmonium-accompanied version of “Long Long Way,” a rollicking “Volcano” and “The Greatest Bastard.” Introducing his fellow countryman with sentimental stories about seeing him as a teenager, Glen Hansard took the stage unprepared but still managed a flawless take of “High Hope.” To cap off the night, the two covered Leonard Cohen’s “Chelsea Hotel #2,” a location-appropriate nod to the Big Apple and its history of folk singer-songwriters. —Sharlene Chiu
Lucinda Williams – Beacon Theatre – November 17, 2014
Lucinda Williams celebrated her new LP, Where the Spirit Meets the Bone, with a spirited performance at the Beacon Theatre last night. For many artists, creating a double album of almost completely new and original music might be a bit daunting, but Williams’ musical output in recent years has been ambitious and inspired, and perhaps this is the new normal for her—the fans would certainly not complain.
With her leather jacket and confident, wide-legged stance, Williams commanded the stage, as usual, combining new songs—like “Protection,” the moody “Burning Bridges” and the bluesy “Something Wicked This Way Comes”—with material from back in the ’80s (“Side of the Road”), the ’90s (“Pineola,” “Lake Charles,”) and of course, a great deal from her prolific songwriting period during the Aughts. With a natural ability to give a strong sense of atmosphere with just a few well-chosen details, she’s always been an excellent storyteller. But during last night’s show, Williams prefaced another new song, “Compassion,” by saying it was especially challenging to write. It was the first time she attempted to put one of the poems by Miller Williams, her father, to music. She spoke about his insistence that songs and poems are “two different animals.”
Yet Williams rose to the challenge, and the resulting song was something of a departure from much of her lively, roots-y material, a stark, melancholic piece of music that seemed to wrap itself around the lines of the poem, allowing the rhythm of the words to inform the melody. The result was both arresting and refreshing, an interesting look at an artist seeking to keep exploring and challenging herself, while continuing to make and perform the music that has always spoken to her. —Alena Kastin | twitter.com/alenak
Tame Impala – Beacon Theatre – November 10, 2014
What is it they say about Broadway, something about how there’s always magic in the air? Australian rockers Tame Impala made the move uptown this week to the Beacon Theatre, playing the second of two-sold out shows last night and there was plenty of magic in the air as the five-piece proved that they’re a perfect fit for a show right there on Broadway. After a mesmerizing set of instrumental guitar music from Delicate Steve, the Perth quintet took the stage as the electronic drums of “Be Above It” set the tone, green oscilloscope lights on the backdrop twinkling in time to the beat. As Kevin Parker’s zone-out vocals echoed, the sights and sounds grew more chaotic, the band arching orbital sounds through the venue.
The tone firmly set, the rest of the show was a majestic 80-minute psychedelic rock–and-lights masterpiece: immersive and transforming. On a day when many in the music world were discussing a new Pink Floyd release, on songs like “Solitude Is Bliss,” Tame Impala felt like the real thing at their peak, mixing prog and psych, groove and full-throated rock outs while every color of the rainbow zapped through the room in time to the music. In working through most of their 2012 LP, Lonerism, they showed there’s plenty of life in slow, otherworldly groovers like “Why Won’t They Talk to Me?” and big time arena-rock bliss in “Elephant.” There was one moment during “Endors Toi” when the group seemed to make science, ’70s prog rock and the slow clap seem cool again in one single passage, the crowd holding the beat, the band tripping hallucinogenic in synth and guitars and the backdrop going full on mathematical. Keeping with the theme, in the intro to “Mind Mischief,” Parker turned to face the screen behind him as it buzzed into shapes following his distorted guitar solo, like he was painting psychedelic patterns with his music, science meets art in Technicolor.
Of course, there were plenty of bits of esoteric instrumentals and extended jams throughout the performance, but they felt earned, part of the journey and not the destination itself. The growing entropy of the show met its end with the set-closing “Apocalypse Dreams,” the oscilloscope imagery a Crayola box of squiggles seeming to rush out at the geeked audience while the band built to a final climax. With a crowd-pleasing, sing-along encore of “Feels Like We Only Go Backwards,” it appeared that what they say about Broadway, at least as far as Tame Impala are concerned, is true after all. —A. Stein
Drive-By Truckers – Beacon Theatre – October 17, 2014
In all its majestic glory, the Beacon Theatre has a way of making rock shows feel special. As the go-to venue for any local Allman Brothers Band show (and reportedly their final one), this may hold especially true for Southern rock. It was certainly the case on Friday. Following a fantastic opening set from the Alabama soul outfit St. Paul and the Broken Bones, there wasn’t a single butt sitting in one of the venue’s seats. And it was pretty much that way for the next several hours as Drive-By Truckers performed. “Today’s one of those days where your real life exceeds the life you dreamed of,” said Patterson Hood.
Drive-By Truckers are a band that never seems to stop gaining momentum. And if these aren’t the group’s golden years, there still hasn’t been a time when they’ve had more loyal fans. Led by Hood and Mike Cooley, two songwriters who seem to keep getting better, DBT brought out everything you’d expect, leaving no stone unturned: Great songs about Southern tragedies, “Puttin’ People on the Moon” from Hood and “Uncle Frank” from Cooley, to fan favorites like “Women Without Whiskey” to deep cuts like “Runaway Train,” from Cooley and Hood’s first band, Adam’s House Cat.
Of course, there were also the rousing sing-alongs, like the one that accompanied “Hell No, I Ain’t Happy.” Hood added in an epilogue of “I’m fuckin’ happy” at the end, as if to let everyone know that the song wasn’t a real-time account. There were some epic tales of Hood family history leading into “Box of Spiders,” a song about Hood’s great grandmother, who loved going to strangers’ funerals. The night closed with “Grand Canyon,” off their latest album, English Oceans, and then one by one everyone in the band waved goodnight and exited the stage. —Dan Rickershauser
Tags: Adam’s House Cat, Beacon Theatre, Brad Morgan, Drive-By Truckers, English Oceans, Jay Gonzalez, Matt Patton, Mike Cooley, Patterson Hood, Review, St. Paul and the Broken Bones
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Patterson Hood and Mike Cooley founded Drive-By Truckers in Athens, Ga., in 1996. Over the years the two musicians—plus nuanced lyrics and plenty of guitar—have been the constant while the lineup around them has changed. An early Internet presence allowed the band to gain new fans before they’d ever seen the Truckers live. But following several years of steadily touring, the group released the double album Southern Rock Opera (stream it below) and things really took off from there. Since gaining wider acclaim the Truckers (above, playing “Shit Shots Count”) have served as the backing band on albums by Bettye LaVette and Booker T. Jones in addition to putting out fine discs of their own, including 2011’s Go-Go Boots (stream it below) and this year’s English Oceans (stream it below). The Guardian, in a rave review, says it’s “full of their familiar Southern rock: soul and brass occasionally adorn storytelling songs, which attempt to right wrongs and champion the worker against the Man. However, sharing singer-songwriting duties equally between founders Patterson Hood and Mike Cooley for the first time has brought out the best in both.” Drive-By Truckers are now out on the road in support of their tenth album and, alongside the terrific Birmingham, Ala., seven-piece soul outfit St. Paul and the Broken Bones, they play the Beacon Theatre on Friday night.
Tags: Beacon Theatre, Bettye LaVette, Booker T. Jones, Drive-By Truckers, English Oceans, Go-Go Boots, Mike Cooley, Patterson Hood, Preview, Southern Rock Opera, St. Paul and the Broken Bones, Video
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Individually, Late Show with David Letterman bassist Will Lee (vocals and bass), Conan house-band leader and guitarist Jimmy Vivino (vocals, guitar and keys), in-demand Rich Pagano (vocals and drums), accomplished songwriter Frank Agnello (vocals and guitars) and multi-instrumentalist Jack Petruzzelli (vocals, keys and guitars) are each incredibly hard working and fantastically talented. And together, they combine to join forces as the Fab Faux, which Rolling Stone’s David Fricke calls “the greatest Beatles cover band— without the wigs.” Of course, the Fab Faux (above, performing “Tomorrow Never Knows”) are much more than a cover band. No, they don’t look like the Beatles, but thanks to their love of the Fab Four and their attention to every little detail, they sound remarkably like them. And not only are they playing “raw and stripped down in Brooklyn,” tomorrow night at Music Hall of Williamsburg, but the Fab Faux return with horns, strings and special guests on 10/18 at the Beacon Theatre.
Tags: Beacon Theatre, Beatles, Conan, David Fricke, Fab Faux, Frank Agnello, Jack Petruzzelli, Jimmy Vivino, Late Show with David Letterman, Music Hall of Williamsburg, Rich Pagano, Rolling Stone, Will Lee
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When Rodrigo Sanchez (lead guitar) and Gabriela Quintero (rhythm guitar) met as teenagers in Mexico City, they discovered a mutual musical taste and formed the thrash-metal band Tierra Acida. When that ultimately didn’t pan out (they recorded music that was never released), the duo began to learn different guitar styles, taking a liking to fast, rhythmic acoustic guitars. Finding the Americas stifling, they set out for Europe, landing in Dublin, where Rodrigo y Gabriela honed their fast and lively acoustic sound (incorporating some Zeppelin and Metallica along the way) in pubs and on streets. Then one-time busker Damien Rice asked them to tour with him and things eventually took off. Ever since, Rodrigo y Gabriela (above, performing “Somnium” and “Torito”) have been mashing up rock, classical, Latin, world music and heavy metal into their own unique sound over the course of several acclaimed live albums and studio full-lengths. The most recent of which, 9 Dead Alive (stream it below), just came out today. The new tunes eschew some of the pair’s Latin influences in favor of straight-ahead (acoustic) rock. According to AllMusic, “There isn’t a dull moment in these 41 minutes.” And furthermore, “This album evidences an expanded creative reach for the pair, even as it reengages the sharp edges they displayed on earlier recordings.” Rodrigo y Gabriela celebrate the new release with three nights at the Beacon Theatre, Thursday, Friday (sold out) and Saturday.
Tags: 9 Dead Alive, Beacon Theatre, Damien Rice, Gabriela Quintero, Led Zeppelin, Metallica, Preview, Rodrigo Sanchez, Rodrigo y Gabriela, Tierra Acida, Video
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My Top Five Favorite Shows
1. The Postal Service, Barclay Center, June 14
My decade-belated live date with the Postal Service finally culminated at Barclays Center, where rabid fans, like myself, roared as Ben Gibbard and Jimmy Tamborello hit the stage. As if acting out lyrics from “Nothing Better,” Gibbard and Jenny Lewis shimmied close for the duet. Old friends reunited onstage never felt so good.
2. Haim, Webster Hall, September 3
I was late to this bandwagon, as fellow House List contributor Alex Kapelman shortlisted Haim last year for his Top Five Bowery Presents Shows of the Year. I knew I was in for a good one when I could barely find a spot in the rafters to catch the three sisters, who charmed with their onstage banter and wicked musicianship
3. Jessie Ware, The Bowery Ballroom, January 17
Straight off her Jimmy Fallon taping backed by the Roots, the British songstress elated the crowd with her effortless, down-to-earth stage demeanor. Her star quickly rose with American audiences, as she sold out shows at Webster Hall, Music Hall of Williamsburg and Irving Plaza throughout the year. I was glad to have caught her earlier in the more intimate venue.
4. Basia Bulat, Bowery Ballroom, November 23
I’ve been a fan of Basia Bulat since I heard her cover Sam Cooke’s “Touch the Hem of His Garment.” This show on a cold night wasn’t sold out, which made me a little sad since she’s quite the talent. But those who were there were enraptured by her prowess on autoharp to the point that you could hear a pin drop during her solos.
5. Daughter, Bowery Ballroom, April 30
Somehow Elena Tonra manages to disguise heartbreak behind soulful lyrics and melody. She has a knack for turning happy dance songs into somber endeavors. The band mashed-up Bon Iver and Hot Chip’s “Perth/Ready for the Floor” that evening. Check out Tonra’s somber retake of Daft Punk’s hit “Get Lucky” for further proof. —Sharlene Chiu
My Top Five Shows I Never Thought I Would See
1. Desaparecidos, Webster Hall, February 26
Desaparecidos (and really any Conor Oberst project) were my bread and butter back in the early aughts, and for a while they seemed to be a one-off, a politically minded side project firmly planted in the past. Fortunately (and unfortunately) the global state of affairs remains messed up enough for the band to regroup to write protest songs for a new decade. It was a nostalgic, sweaty and inspired performance.
2. Shuggie Otis, Music Hall of Williamsburg, April 19
Shuggie Otis began putting out music in the mid-’70s, followed by a long period of laying low. Content to groove along to songs like “Ice Cold Daydream” at home, I never really thought about the possibility of a Shuggie Otis tour in 2013. But when I found out, I was there. And “Ice Cold Daydream” is even better in person.
3. The Flamin’ Groovies, The Bowery Ballroom, July 6
Instead of discovering the Flamin’ Groovies in a smoky San Fran club in the ’60s, I was introduced to their catchy psychedelia on a Nuggets compilation more than 30 years later. Who’d have thought they’d still be going strong in 2013 and that I’d be dancing right alongside some old school fans at this fun summer show.
4. John Prine, Beacon Theatre, September 26
John Prine has been active since the early ’70s, but unlike Shuggie Otis, he never really went away, writing and recording songs at a steady pace throughout the years. But I still always thought of him as an artist too legendary for me to see in person—or that tickets would be too out of reach. But John Prine put on an amazing show, highlighting his singular skills as a songwriter and storyteller.
5. The Julie Ruin, Music Hall of Williamsburg, October 25
I was late to the party for the original riot-grrl movement, but I became an admirer of Bikini Kill frontwoman Kathleen Hanna during her time in Le Tigre. She’s dealt with some debilitating health issues in the past few years, but I had no doubt she’d continue to make art and music. So I was happy to learn of her latest project, the Julie Ruin, and her energetic show did not disappoint. —Alena Kastin
My Top Five Shows
1. Yo La Tengo, Town Hall, February 16
I don’t like to pick a favorite, but my last.fm account tells me I’ve listened to Yo La Tengo more than any other band since 2007. At Town Hall, they performed an acoustic set and an electronic one, doing two versions of “Ohm,” my favorite song of the year. And then I ran into Tim Heidecker from Tim & Eric’s Awesome Show, Great Job! Had the Red Sox not won the World Series, this would’ve been my favorite night of the year.
2. Killer Mike/El-P, Webster Hall, August 14
I don’t care what anyone says: The best two rap albums of 2012 came from Killer Mike and El-P. And in 2013 they topped them, coming together as one entity, Run the Jewels. The night included a set from El-P, a set from Killer Mike and a combined set with both. El-P’s ingenious production plus Killer “I bleed charisma” Mike equals one concert I will never forget.
3. Foxygen, The Bowery Ballroom, October 21
With Foxygen it occasionally feels like shit could fall apart at any moment. And sometimes it does. But when their shows don’t come unhinged they deliver that sweet thrill of relief, like narrowly avoiding a car crash. And on this Halloween-themed night, the band made a weird show even weirder with homemade costumes and pseudo spooky vibes.
4. Steve Earle, Music Hall of Williamsburg, May 8
You can just tell some people are genuine, and Steve Earle is certainly one of them. Forever wearing his heart on his sleeve, that same energy bleeds right into his music, which he played alongside what he’s calling “the best band he’s ever had.”
5. Meat Puppets, Mercury Lounge, April 4
Not only are the Meat Puppets still kicking (after living through some serious shit), but also they’re thriving. And as much as I respect their legacy, seeing them play for more than two hours with the intensity you’d expect of a band 20 years their junior makes me respect them that much more. Long live the puppets of meat! —Dan Rickershauser
My Top Five Shows
1. Dessa, Union Hall, May 5
There are few performers I feel can move mountains with their vocal chords, and Dessa is one of them. This performance was an eruption of defiant lyrics and bold beats. A sizable crowd of young girls knew all of her lyrics, giving the show a chant-like feel. The only female member of Minnesota’s Doomtree collective practically vibrates with energy, and it’s completely contagious.
2. Kishi Bashi, Irving Plaza, September 12
Kishi Bashi sounds even better live than he does recorded. And he delivered a dazzling set with profuse vocal looping and an excellent backing band. Kauro Ishibashi has a supercharged, effusive aura, and his music embodies that persona. This set took a rowdy turn that involved crowd surfing, strobe lights and an outright jam session.
3. Panama Wedding, CMJ Music Marathon
I happened upon newcomers Panama Wedding three different times during CMJ: Initially, opening for NONONO at Mercury Lounge on the first night. Since the band had only released one song, “All of the People,” I was eager to see what would unfold onstage. Their set was so tight that I caught the fantastical pop group the following night at Pianos and then again at a showcase at Santos Party House.
4. You Won’t, Rockwood Music Hall, October 30
The live iteration of You Won’t is a spectacle to behold. I watched eagerly as Josh Arnoudse and Raky Sastri wielded a slew of instruments with ease, quickly fascinating the audience. The duo took their jaunty music into the audience a couple of times to break the barrier and enlisted some extra vocal support by encouraging us to all to sing along.
5. James Blake, Terminal 5, November 6
In this spellbinding live performance, complete with plenty of vocal looping and haunting electronica, James Blake made a cavernous room filled with people feel intimate. And that he’s such a dapper-looking fellow only helps boost his appeal. I’m still transfixed by this performance nearly two months later. James Blake’s music has some serious lasting effects. —Schuyler Rooth
My Top Five Shows with Regard to Lights, Visuals and Production
1. Umphrey’s McGee, Brooklyn Bowl, January 20
Kick-ass creative lighting and Brooklyn Bowl don’t usually go hand in hand, but Umphrey’s McGee lighting guru Jefferson Waful turned the room into a thing of beauty.
3. Plaza: Portugal. The Man, Irving Plaza, May 20
4. The Flaming Lips/Tame Impala, Terminal 5, October 1
It was almost as fascinating to watch the Lips’ spectacle getting set up as it was to see it in action—confetti, strobes, LEDs and, well, pretty much everything. And Tame Impala’s projections were no slouch either.
My Top Five Albums
1. Phosphorescent, Muchacho
I’d only seen Phosphorescent once before listening to Muchacho for the first time. And while much of Matthew Houck’s previous work is country-tinged (not that there’s anything wrong with that), this album, ostensibly about a breakup, covers more territory, from the meditative sounds of “Sun, Arise (An Invocation, an Introduction)” and “Sun’s Arising (A Koan, an Exit)” to the jammy, driving “Ride On/Right On” to softer fare, like “Muchacho’s Tune,” all centered on Houck’s evocative voice. I still can’t stop listening to it.
2. Foxygen, We Are the 21st Century Ambassadors of Peace & Magic
Foxygen’s third full-length, We Are the 21st Century Ambassadors of Peace & Magic, comes off as a loving mash note to ’70s rock. You’ll hear bits of the Rolling Stones, Velvet Underground and David Bowie, but the album expertly manages to sound like something whole and new rather than something derivative.
3. White Denim, Corsicana Lemonade
Upon the first couple of listens, I found White Denim’s latest, Corsicana Lemonade, to be too singer-songwriter-y, but I continued to give it a chance, and it opened up to something much bigger, with genre-hopping songs like “Let It Feel Good (My Eagles)” and “Pretty Green”—not to mention some searing guitar parts—grabbing me by the throat.
4. Futurebirds, Baba Yaga
Admittedly, I didn’t know anything about Futurebirds, out of Athens, Ga., before writing a preview of their late-May show at The Bowery Ballroom. But while listening to their second LP, Baba Yaga, as I wrote, I became totally enamored of the album—half twangy Southern rock and half spacey reverb.
5. Kurt Vile, Wakin on a Pretty Daze
I love Kurt Vile’s Wakin on a Pretty Daze so much, that I can’t believe it’s only No. 5. Labeling it stoner rock, as many have done, is lazy. Although I supposed me calling it laid-back rock isn’t any better. But the fact of the matter is there might not ever be a better album to listen to while walking the streets of New York City with headphones in your ears. —R. Zizmor
Tags: Barclays Center, Basia Bulat, Beacon Theatre, Ben Gibbard, Bikini Kill, Bon Iver, Bowery Ballroom, Brooklyn Bowl, Chris Kuroda, CMJ, Conor Oberst, Daft Punk, Daughter, David Bowie, Desaparecidos, Dessa, Doomtree, Drippy Eye, EL-P, Elena Tonra, End-of-Year Recap, Flaming Lips, Flamin’ Groovies, Föllakzoid, Foxygen, Haim, Hot Chip, James Blake, Jefferson Waful, Jenny Lewis, Jessie Ware, Jimmy Fallon, Jimmy Tamborello, John Prine, Josh Arnoudse, Kathleen Hanna, Kauro Ishibashi, Killer Mike, Kishi Bashi, Le Tigre, Matthew Hock, Meat Puppets, Mercury Lounge, Muchacho, Music Hall of Williamsburg, NONONO, Panama Wedding, Phish, Phosphorescent, Portugal. The Man, Postal Service, Raky Sastri, Review, Rolling Stones, Run the Jewels, Sam Cooke, Shuggie Otis, Steve Earle, Tame Impala, Terminal 5, the Holydrug Couple, the Julie Ruin, the Roots, Tim & Eric’s Awesome Show: Great Job!, Tim Heidecker, Town Hall, Umphrey's McGee, Velvet Underground, Webster Hall, Yo La Tengo, You Won’t
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