Tag Archives: Big Thief

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Conor Oberst Headlines Celebrate Brooklyn in Prospect Park

July 18th, 2017

What a thrilling ride it’s been to watch Conor Oberst (above, performing “Tachycardia” at the Sydney Opera House) grow up. Beginning his insanely prolific singer-songwriter career, as Bright Eyes, at the ripe age of 13, Oberst’s releases have tested the limits of multiple genres (check out his politically charged punk band Desaparecidos if you need proof) all while strengthening his skills as one of the best lyricists of the past 20 years. And while it might be lazy to throw out the Dylan comparisons, hey, they both grew up in the Midwest. There must be something in the water? Oberst has put out records in the past under his own name accompanied by the Mystic Valley Band, but his 2008 eponymous album (stream it below) was truly his first solo venture. Last year’s Ruminations (stream it below) went further down that path as he stripped down his songs to their ribcages with only Oberst playing guitar, piano and the occasional harmonica. He later released a full-band companion version of that album titled Salutations with Catskill Mountains’ favorite sons the Felice Brothers acting as his backing band. Oberst and the Felice Brothers will bring songs from his entire career to the Prospect Park Bandshell on Thursday for an electrifying night of music. Philly rock royalty Hop Along and Brooklyn’s own Big Thief will open. Show up early so you don’t miss these two great bands for what will be one of the most stacked bills of the summer. —Pat King | @MrPatKing

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Big Thief Celebrate New Album’s Release at Rough Trade NYC

June 12th, 2017

Big Thief – Rough Trade NYC – June 9, 2017


Rough Trade NYC filled up quickly on Friday night, and the expectations were high for the headliners, Big Thief, as well as the opening acts, Mega Bog and Really Big Pinecone. The latter—a trio with disarming charm—took the stage first. Their smart lyrics and self-deprecating humor were an intoxicating little combination. The band’s acclaimed sophomore album, What I Said About the Pinecone, came out last fall. Mega Bog, a jaunty rock act fronted by multi-instrumentalist Erin Birgy, followed with signature spacey sounds. Their songs sent an eerie yet cheery chill down my back, her bright voice mingling with the group’s shape-shifting psychedelic guitar riffs and kicky drums from their 2017 album, Happy Together. Adrianne Lenker of Big Thief joined them for a song mid-set to add yet another layer to the band’s freewheeling sound.

Big Thief came onstage to the tune of some particularly uproarious applause, undoubtedly because some of us had already listened to their brand-new second album, Capacity (which had come out earlier that day)—and it’s incredible. The band’s sensitive, poignant sound brings life to stories of love, death and the family history in a devastatingly real way. What’s more, singer-guitarist Lenker, guitarist Buck Meek, drummer James Krivchenia and bassist Max Oleartchik put such care and compassion into being onstage together. It’s heartening to see such a thing these days.

Big Thief played their new album almost all the way through—“Pretty Things,” “Masterpiece” and “Mythological Beauty” rang out, and Lenker paused in the middle, joking, “We’d need this time to flip the record.” Capacity’s intimacy was really magnified live. Its quiet yet ecstatic energy delivered a punch to the stomach that hurt so good. The band is just beginning a summer tour of the world, and future Big Thief concertgoers beware: You’re in for an unbelievably ride that will take you deep into the crevasses of love, pain, light and dark. —Schulyer Rooth | @SchuylerSpeak

Photos courtesy of Charles Steinberg | charlesosteinberg.com

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Grow a Pair: Win Free Tickets to See Big Thief on 6/9

June 6th, 2017

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Big Thief’s highly anticipated second album, Capacity, comes out on Friday. And as part of this week’s Northside Festival, the Brooklyn four-piece celebrates its arrival that night at Rough Trade NYC. They’re also doing an Evening with Big Thief and Friends on Saturday at Park Church Co-op, but if you want to catch them at Friday’s sold-out show, you just might have to try to Grow a Pair of tickets from The House List. It’s easy. Just fill out the form below, making sure to include your full name, e-mail address, which show you’re trying to win tickets to (Big Thief, 6/9) and a brief message explaining what you love so much about music festivals. Eddie Bruiser, who’s been streaming the long-player, will notify the winner by Friday afternoon. Good luck.

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Don’t Miss These Northside Festival Shows This Week in Brooklyn

June 5th, 2017

Beginning on Wednesday, the ninth annual Northside Festival will bring thousands of people to Brooklyn—specifically Williamsburg and Greenpoint—“to uncover the future of music, innovation and content.” And with music as part of the equation, you just know that The Bowery Presents is gonna be involved. Although Mary Timony playing Helium at Rough Trade NYC on Thursday and Big Thief (above, performing “Paul” for NPR Music at this year’s SXSW) at Rough Trade NYC on Friday are already sold out, fortunately some tickets still remain for these other stellar shows:

Thursday
Mild High Club (with Cut Worms and Aerial East) at Music Hall of Williamsburg

Friday
The Pains of Being Pure at Heart with Beverly and Ablebody at Music Hall of Williamsburg on Friday

Saturday
An Evening with Big Thief and Friends (Friends = Twain, Relatives and the Brother Brothers) at Park Church Co-op

Timber Timbre and Ohtis at Music Hall of Williamsburg

Lower Dens performing songs from ABBA’s Gold: Greatest Hits, Tony Molina performing songs from Dinosaur Jr.’s You’re Living All Over Me and Tredici Bacci String Quartet performing songs from Koji Kondo’s Super Mario Bros. soundtrack

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Big Thief Play Sold-Out Hometown Show at The Bowery Ballroom

January 9th, 2017

Big Thief – The Bowery Ballroom – January 7, 2017

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With the release of their well-received first album, Masterpiece, last year, Brooklyn’s Big Thief had a big 2016. On Saturday night, the band played a hometown show at The Bowery Ballroom, treating the sold-out crowd to well-loved songs from their debut as well as new material from a second record that Big Thief frontwoman Adrianne Lenker said is “close.” In a word, Big Thief’s music might best be described as emotional—Lenker channels a great deal of feeling through her evocative voice, ranging from sweet and delicate to plaintive to a near-shout or wail. Songs like Masterpiece’s “Real Love” and “Parallels” each illustrated this emotional landscape, with moments of sadness, anger and yearning simmering beneath Lenker’s voice and lyrics. The new material lingered in the same satisfying emotional sweet spots.

Big Thief also treated the crowd to a performance from special guest Sharon Van Etten, who knows a thing or two about emotional melodies herself, and who joined to sing on some of the new material, beautifully weaving her voice around Lenker’s. At various moments throughout the show, Lenker poked fun at her own guitar-tuning perfectionism, taking short pauses between some songs to ensure she had it just right. But despite her self-awareness, this attention to detail served Big Thief well: Their warm, spare instrumentation, the vivid lyrics and the conviction behind each verse and chorus are what have drawn admirers to them, and why the new album on the horizon stands to resonate with fans once again. —Alena Kastin | @AlenaK

 

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Five Questions with Holly Laessig of Lucius

September 21st, 2016

Lucius return to New York City to play SummerStage in Central Park on Friday night, and Holly Laessig, one half of the band’s lead-vocals tandem, rang up The House List, from Oklahoma where she and Jess Wolfe were rehearsing for singing background for Roger Waters at Desert Trip, to answer Five Questions.

Plenty of musicians change their sound from album to album. Was that a clear intention in moving from the folkier Wildewoman to the poppier Good Grief? Or was that just how your sound evolved? It’s funny. People comment on how different the two are. But Wildewoman was recorded over a few years, and we were in no rush at the beginning because we didn’t have anything to be rushing for—we were just starting out. And we took our time and made it right. We came out with Wildewoman and we had kind of put the band together throughout and after making that record. So when we toured on it, things started to change, and the sound started to change. And the show got a lot more energetic, and the audience was reacting a lot more to the show than the record. People commented a lot how the live show and the record sounded so different, and that the live shows were so much more energetic. I think by the time we got to the end of that cycle, it was where Good Grief was picking up naturally, but from just listening from a record standpoint, there does seem to be a bigger difference than it felt like.

How was recording Good Grief different than recording Wildewoman? We took a different approach to it. We got off the road—we had been touring for, like, a year-and-a-half straight. And we were exhausted, and we decided to go to L.A. to kind of decompress and start writing. So Jess and I took a few months to write, just the two of us. And we would send the guys rough demos and then they would do their own versions of the same song—and kind of build arrangements around them. So when we went into the studio, we had at least two versions of everything. And we worked with Shawn Everett—he did the Alabama Shakes record with Blake Mills—he’s like this crazy alien angel person [laughing]. He’s one of our really closest friends, and he’s always got these wild ideas. So we were really excited to get into the studio with him. He had an idea to make communication easier with five very strong personalities in the studio. To kind of smooth things over and to get everyone’s voice heard, he thought it would be helpful to come up with a bunch of reference tracks: “For each track that we’re gonna work on, think of a song that you think could influence this.” So it could be “I like the sound of the tone on this Rolling Stones track.” Or “I like the way these vocals were recorded on this West African tune.” And we would all pick one or two songs and put ’em in a box, and he would pick them out one by one—it was all anonymous. And we would listen to everything, like 10 to 15 songs, and write down on a dry erase board everything we like about each one. It could be very specific, as far as a recording technique, or it could be more vague, like a feeling. And once we had this dry erase board of notes, we would then start working on the song. So it was a really interesting way of going about it, and I think we got a lot of good stuff we would’ve normally not even considered.

How did your appearance on Roadies come about? And any chance you’ll be adding “Willin’” to your set list? I mean, I don’t think we could top singing that with Jackson Browne, so probably not. Fair. Rafe Spall, who is one of the actors on Roadies—so the story goes: Rafe’s friend Rafe, which is hilarious to me. The first Rafe I ever met, and I met two of them in one day. His friend recommended our music to him, and he was playing it one day on set. And Cameron was like, “Who’s this?” And Rafe said, “This band Lucius.” And he said, “Well, let’s get ’em in here. See if they want to do an episode.” So we met him, and he’s the nicest guy ever. And we said, “Yeah, absolutely, we’d love to do this.” It was a really cool experience. It was really inspiring to see Cameron Crowe as a director and a leader. Everybody who was there, from the actors to the makeup people to the crew people to catering—everybody—was like, “Yeah, we work really hard, sometimes we work late hours, but we’re happy to do it because Cameron’s the man.” And he really was. We had some lines, and I was incredibly nervous about it because it’s not what we do normally. So there was this one line, and I was like, “This isn’t how I’d normally phrase this.” And I was trying to get my head inside it so I could say it the right way. And I asked him, and he said, “Let’s go over it.” And he dropped everything and took me aside, and he would’ve gone over this, like, one line with me for as long as I wanted—very, very patient. It was great, and we got to sing with Jackson Browne, and Jim James was on the set. It was cool.

For some bands, live shows are like a theater piece in that the set doesn’t change much, but the performers are aware of the subtle nuances each night. And for others, every night’s show is different than the one before. Where do you land on that spectrum? Like as far as each night being different? Yeah, I mean, a band like U2, they play pretty much the same set most nights, but it’s not the same show obviously. But someone like Bruce Springsteen or Pearl Jam, they change their set every night. I guess for each leg of a tour, we tend to stick generally to the same set. Some songs we change a little bit, but it’s nice once you get into a groove to stick with it, the transitions go more easily. But every show’s different regardless, especially because of the audience—not to put it all on the audience—but the vibe and the venue and the city, everything can really make a break a show for the performer. If your audience is really giving back to you, and you’re bouncing off of that, sometimes we have funny banter or things can change, or we’ll decide let’s do this song instead because they’re liking the up-tempo ones. So occasionally, it’s just, like, fly by the seat of your pants. But it’s definitely nice to get into a groove.

What new music have you been listening to? We’ve been listening to the new Angel Olsen record a lot. It only came out a couple weeks ago, I think. We’re excited to be playing with Big Thief in Central Park. And I’m stoked to see them ’cause I love that record. I love Alabama Shakes. We went to see that show at the Greek, and it was so good. That’s a good one to groove to, for sure. Was that with Kurt Vile? Yeah, and I love that record too. And Kurt Vile’s on the bill for One Big Holiday in February. Oh, yeah. That’s gonna be so fun! —R. Zizmor | @Hand_Dog

 

 

 

 

 

 

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Big Thief Celebrate Debut Album’s Release at Mercury Lounge

June 6th, 2016

Big Thief – Mercury Lounge – June 5, 2016

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Big Thief, the formidable foursome helmed by Adrianne Lenker, celebrated the release of their cleverly titled debut album, Masterpiece, with a sold-out show at Mercury Lounge last night. After welcoming the crowd and expressing genuine gratitude, Lenker announced, “This is a great moment to be in,” and then the band proceeded to perform the new LP in its entirety, from start to finish. Album-opener “Little Arrow,” an intimate, lo-fi number on the record, focused the audience’s attention, drawing everyone closer as Lenker’s emotive voice lingered in the song’s confessional, stark delivery. The palpable energy that was conjured helped to prime the crowd for release as Big Thief switched gears for the title track, the drums and bass kicking in, and the band settling into a catchy, upbeat groove.

Big Thief performed fiercely, most notably on songs like “Real Love,” featuring Lenker’s screeching guitar solo, and “Interstate,” which she peppered with delicate shrieks during the chorus. The band’s decision to perform their album from start to finish worked exceptionally well, for Masterpiece is a well-paced, cohesive vision—the kind of album that doesn’t warrant skipping from song to song. The material feels both personal and universal in tales of love and memories and dotted with details and evocative images that range from everyday to fantastical. “If you liked what you heard tonight, the record is exactly this,” laughingly commented Lenker at the conclusion of “Parallels,” the final song on the record. “Play the album again!” shouted someone. It might’ve been a joke, but no one in attendance would have objected to another spin of Big Thief’s Masterpiece. —Alena Kastin | @AlenaK

(Big Thief open for Lucius at SummerStage on 9/23.)