Tag Archives: Bon Iver

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James Vincent McMorrow Closes East Coast Swing in Williamsburg

April 14th, 2014

James Vincent McMorrow – Music Hall of Williamsburg – April 11, 2014

James Vincent McMorrow – Music Hall of Williamsburg – April 11, 2014
There is something about Ireland that breeds singer-songwriters, like Damien Rice, Villagers and the recent buzz-worthy Hozier. Enter James Vincent McMorrow. Having only picked up a guitar at the age of 19, the late boomer quickly tried to master other instruments in order to create richer layers of composition. Like a Celtic Bon Iver, McMorrow trapped himself in a house on an Irish coast to produce his 2010 debut, Early in the Morning. He recently returned to the limelight with his follow-up, Post Tropical, which dropped earlier this year. Although he’s categorized as a folk singer, McMorrow’s sophomore effort definitely shines more on the R&B and soul influences in his music.

On Friday, playing the second of two sold-out New York City shows (the first at The Bowery Ballroom on Wednesday), the Irishman descended onstage at Music Hall of Williamsburg to riotous cheers that never really let up all night. Between “Hear the Noise That Moves So Soft and Low” and “Glacier,” the crowd chatter came to a fever pitch before hushing sounds echoed throughout the venue for McMorrow’s distinct high-pitched falsetto to ring clear. Conversation ebbed and flowed between songs, which continued with the singer-songwriter appropriately bathed in red lights for “Red Dust.” He didn’t address fans until halfway into his set, expressing his thankfulness to close out his amazing American tour in Brooklyn.

The fans couldn’t hold in their appreciation, shouting out, ”Sing it” and “Come on, Ireland” during songs. Concertgoers clapped along to “We Don’t Eat” and joined in to sing the chorus, “That we don’t eat until your father’s at the table/ We don’t drink until the devil’s turned to dust.” At times the outbursts interfered with the performance, like when McMorrow performed the D’Angelo-inspired “Cavalier.” It could have been a special moment when silence would have elevated the song, but the spell was broken time and again. Nevertheless, McMorrow performed a rare solo cover of Steve Winwood’s “Higher Love.” And following a brief exit, he returned for a two-song encore: “And If My Heart Should Somehow Stop” and “If I Had a Boat.” —Sharlene Chiu

Photos courtesy of Gregg Greenwood | gregggreenwood.com

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Yellow Ostrich Close Out Tour Tomorrow at The Bowery Ballroom

April 3rd, 2014

Just as Bon Iver’s Justin Vernon once recorded lo-fi four-track songs in Wisconsin, Yellow Ostrich’s Alex Schaaf (vocals and guitar) did just the same while in college there. Upon relocating to New York City he made even more music, self-releasing much of it for free. But once he began recording experimental rock with the like-minded Michael Tapper (drums), they needed other musicians to flesh out their sound for live performances. Now joined by multi-instrumetnalists Jared van Fleet and Zach Rose, Yellow Ostrich (above, doing “Shades”) have sharpened their sound, and they just put out their third full-length, Cosmos (stream it below), last month. PopMatters says it’s “a well-crafted and well-produced album. It can seamlessly shift from soft floating segments to sections of sudden weight. Opening track ‘Terrors,’ along with the outro to ‘Neon Fists,’ exemplify this perfectly. With the combination of youth, great work ethic and a thirst for experimentation, future releases from Yellow Ostrich might be some of the most exciting stuff in the indie-rock world.” The band has been out on the road following the album’s release, but they return home to close their tour tomorrow night at The Bowery Ballroom.

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A Top Five Look Back at 2013

January 10th, 2014


Ten days into the New Year, The House List looks back at 2013 with some Top Five lists.

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.

2. Föllakzoid/Holydrug Couple, Mercury Lounge, March 21
What better way to enjoy some old school psychedelic music than with some old school liquid projections courtesy of Drippy Eye.

3. Plaza: Portugal. The Man, Irving Plaza, May 20
Freakin’ lasers!

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.

5. Phish, Atlantic City Boardwalk, October 31, November 2
Phish’s fall tour found lighting director Chris Kuroda playing the Willy Wonka of eye candy all over the East Coast. —A. Stein

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

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Good Times on a Friday Night

November 11th, 2013

Poliça – Webster Hall – November 8, 2013


With the release of their debut album, Give You the Ghost, last year, Minnesota electro-pop outfit Poliça quickly gained success, leading to opening slots for Bon Iver and the xx. The quartet, helmed by frontwoman Channy Leaneagh, manipulates vocals through loops and Auto-Tune to create a whirlpool of sound that sucks you in. At a nearly sold-out Webster Hall on Friday night, Poliça played before a backdrop depicting the cover of their latest full-length, Shulamith, and its material served as the meat of the evening’s set. With drummers Drew Christopherson and Ben Ivascu (yes, there were two drummers with full kits) getting it started, Leaneagh’s gloved hands gesticulated for the opening song, “Spilling Lines.” The gloves were promptly removed for “Lay Your Cards Out,” off their previous album, Give You the Ghost.

Bassist Chris Bierden revved his strings on “Very Cruel” as Leaneagh slithered across the stage. Although there was little banter throughout the night, the singer simply offered, “I hope you all have a good time” to a roared response. As the house lights came on to the crash of cymbals during “Vegas,” it was clear that the fine folks at Webster Hall were having a ball. Before she introduced “Chain My Name,” Leaneagh disclosed that her mother gave her such a unique name in the hopes that she’d become a country singer. The first single from Shulamith would be the pixie songstress’s “country song.” Although the set closed, appropriately, with “So Leave,” the band came back onstage for a three-song encore. Bierden was the first to return, followed shortly thereafter by Leaneagh, who sang a slowed-down, yet shortened version of “Wandering Star.” With the pair of drummers joining them, the full band treated the crowd to a cover of Lesley Gore’s “You Don’t Own Me” before finishing the night with “Matty.”Sharlene Chiu

Photos courtesy of Gregg Greenwood | gregggreenwood.com

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Catch Poliça Tomorrow Night at Webster Hall

November 7th, 2013

Minneapolis’s Poliça, a psychedelic R&B offshoot of Gayngs, began when singer Channy Leanagh and producer Ryan Olson started collaborating together in the summer of 2011. Things clicked, and within a month, the two already had enough material to begin recording. So they recruited bassist Chris Bierdan and drummers Drew Christopherson and Ben Ivascu, and cut Give You the Ghost, which came out early last year. How well was the album received? Well, Bon Iver’s Justin Vernon said, “They’re the best band I’ve ever heard.” Their follow-up, also well-received, Shulamith (stream it below), arrived a few weeks ago. Consequence of Sound says Poliça (above, doing “Dark Star”) “push beyond their previous record through the maturity of their sexy, electronic R&B sounds united with darker lyrics and political connotations.” See them, with Marijuana Deathsquads opening, tomorrow night at Webster Hall.

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Volcano Choir Deliver an Expansive, Emotive Set at Webster Hall

September 16th, 2013

Volcano Choir – Webster Hall – September 14, 2013


Pitchfork’s Ian Cohen claimed Repave was Volcano Choir’s “fun album” mere weeks before the band, a retrofitted or hard-to-distinguish analog for Bon Iver, played to a packed Webster Hall on Saturday night. Appropriately, for the alleged acoustic post-rock good times, the crowd didn’t bleed the bucolic melodies of Justin Vernon, looking more like a young professional frat party than fans of any rural music collective. Even Bon Iver and Volcano Choir, despite their humble origins, are barely recognizable as pastoral, crafting the slow jams and emotive geography of coastal elites. But if the plaid was ironic even for an unseasonably cool night in September, Vernon’s melodies never were, an expansive and emotive set that managed to deliver the pathos even for a crowd that didn’t expressly need it, but knew it would be coming.

Volcano Choir opened with the droning keyboard progression of “Tiderays.” Vernon emerged and took his place behind what looked like a pulpit, where he proceeded to preach heavily echoed vocals over the next 90 minutes. It was all something of a refraction, hard to distinguish what made this Volcano Choir and not Bon Iver as the band moved through first-album single “Island, IS” and the explosive “Comrade,” during which Vernon raised a single fist in the chorus, a trope of rebellion and underdog triumph distorted by the sold-out crowd, the excellent second album, the adoring privilege of privileged fans. The band told the audience they’d be playing almost every song they knew, including some new material that “hasn’t found a home yet.” In one case, the band agreed on the fly to call a yet-untitled song “The Agreement” after the yelling exhortations of the first few rows.

Vernon, from his perch, interstitial to the songs, explained some of the broad purpose: “It never gets old to make a record that you worked on for a really fucking long time,” finishing with “it never gets old, people giving a shit what you did.” Volcano Choir then played the night’s slowest song, “Keel.” The show was all about texture and magnification. The cloth backdrop behind Vernon and crew looked like one of those microscope pictures of the human skin that look like the moon. Volcano Choir “covered” the Bon Iver cut “Woods,” easily one of the night’s high points. The ability to make the smallest of moments important, the patience to find a slow build and a big payoff, in a small acoustic-guitar loop, all granted Volcano Choir the power to distort and make real in the same instant. “I won’t beg for you on acetate,” sang Vernon in aching echo, the best sense of making what was flat fully rendered. —Geoff Nelson

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Diamond Doves Lead Packed Bill Tonight at Mercury Lounge

July 18th, 2013

Chances are you’ve already seen Diamond Doves before and didn’t even know it. Maybe it was when they were Elvis Perkins’ bitchin’, bendable backing band, In Dearland. Or maybe it was as the special-guest horn section for My Morning Jacket or Bon Iver (amongst others) … or opening for Marco Benevento or the Felice Brothers. Not an accident that these guys are called upon to play with the best, but they’re much more than just someone else’s horn section. On their own, they’re a fully hyphenated folk-psych-rock multi-instrumentalist trio, equal parts the Beatles and the Band. They top a jam-packed bill, including Brooklyn’s Caged Animals, tonight at Mercury Lounge. —A. Stein

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A Cathartic Night with Daughter at The Bowery Ballroom

May 1st, 2013

Daughter – The Bowery Ballroom – April 30, 2013


When Katy Perry name-drops one of your tracks in a tweet about her recent breakup with serial dater John Mayer, people will take notice. The British trio Daughter emerged with lead singer Elena Tonra’s delicately acoustic songs and bloomed with the addition of guitarist Igor Haefeli and drummer Remi Aguilella. Playing the first of two sold-out shows at The Bowery Ballroom last night, Tonra remarked, “I’m going to make sure I’m in tune.” The three began the evening with “In the Shallows” and followed with the appropriately celebratory “Candles,” on the day their debut album, If You Leave, was released.

The group’s music melds heart-aching lyrics with a slow build of discontent into a crescendo of fury and hate. On “Still,” Tonra chanted: “Two feet standing on a principle/ Two hands longing for each others warmth/ Cold smoke seeping out of colder throats/ Darkness falling, leaves nowhere to go,” while Aguilella thumped on the kick drum and Haefeli created a chamber of reverb from his electric guitar. The crowd erupted for the aforementioned celebrity breakup song, “Landfill.” And in between thanking the audience, Tonra confessed that on her trip over to the States she came close to popping her eardrum. She hadn’t, thankfully, and was supplied with some medication that left her in a euphoric mood, which was quite the antithesis of the songs “Run” and “Smother.”

As the show neared its end, the best was saved for last as fan-favorite “Youth” drew in the onlookers to sing along to a chorus of “You caused it.” Closing the set with “Home,” the choral echoes of “Take me, take me, home” reminded me of the Welsh artist “Jem’s Save Me,” with its similar repetitive phrasing delivered in an almost yodel. The threesome returned for a special encore—a mash-up of Bon Iver’s “Perth and Hot Chip’s “Ready for the Floor,” which beautifully reimagined the two tracks as a slow dance party in a log cabin. Although the night was a downtempo breakup extravaganza, no one left with a broken heart as couples exited hand in hand from the instant catharsis. —Sharlene Chiu

(Watch Daughter do a stripped-down version of “Youth” and an interview with The Bowery Presents Live.)

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Brooklyn Country Music Hits The Bowery Ballroom

February 6th, 2013

The Lone Bellow – The Bowery Ballroom – February 5, 2013


Remember how Bon Iver’s heartbreak record, For Emma, Forever Ago, became part of indie-rock lore, straight from a Wisconsin cabin into an awkward Grammy speech? Zach Williams, lead singer of the Lone Bellow, may give Justin Vernon a run for his money with his own self-titled album. Williams was encouraged by a friend to write when his wife suffered a near-paralyzing fall from a horse. And early journal entries became the foundation for songs that grace his album. Williams has said of his work, “We write songs from personal experiences in our lives. Tragedy, hope, betrayal and redemption ebb and flow throughout this record.” He and his band even went up to a cabin in upstate New York to film a video for “Two Sides of Lonely.”

With mandolinist Kanene Pipkin and guitarist Brian Elmquist, the Lone Bellow created a robust hug of harmonies around the audience of The Bowery Ballroom on a chilly Tuesday evening. The band sauntered onstage to the Everly Brothers’ “Wake Up Little Suzy,” and the audience joined in with uproarious cheers and applause as they began their set with “You Can Be All Kinds of Emotional.” Williams offered “another sad country” as an introduction to “Two Sides of Lonely,” in which one onlooker yelled, “Make me cry!” A cadence of hand claps erupted for the rollicking favorite, “Green Eyes and a Heart of Gold.” In a playful interlude, Williams and Co. covered Mariah Carey’s “Always Be My Baby” and bits of Brian McKnight’s “Back to One.” Returning to a country croon, the Bellows continued with “Bleeding Out” and a steel-pedal accompanied “Looking for You.” Williams proposed a new song, with opening chords similar to Blackstreet’s “No Diggity,” which (you guessed it) they played. It seems as though the Lone Bellow has quite the repertoire of ’90s R&B tunes.

As the end of the night neared, “Teach Me to Know” closed the set with the group’s fans singing along. For an encore, the Lone Bellows covered John Prine’s “Angel from Montgomery” before finishing with “The One You Should’ve Let Go,” and The Bowery Ballroom was transformed into the set of Nashville, with feet stomping and the crowd chanting: “Come on, my love / I’m not the one that you were looking for / I’m not the shoulder you should cry on / I am the one you should’ve let go.” But despite those lyrics, the Lone Bellow won’t be let go anytime soon. —Sharlene Chiu

(The Lone Bellow play the Beacon Theatre with Brandi Carlile on 3/22 and 3/23.)

 

Exclusive Video: Trey Anastasio Plays New Album’s Opening Track

October 17th, 2012

While guitar god Trey Anastasio is best known as the frontman and guitarist of Vermont quartet Phish, he’s put out a number of solo albums, including Traveler, which just came out yesterday. Above, at The Wellmont Theatre, the Trey Anastasio Band play the LP’s opening track, “Corona,” which Rolling Stone calls a “shimmering, love-versus-the-apocalypse ode.”

In making Traveler, Anastasio got to play with musicians from some of his favorite current bands, including members of the National, Bon Iver and Mates of State. While rehearsing at The Wellmont, he discusses the new material, playing some orchestra shows and working with Broadway musicians. Watch the interview: http://tbp.im/Wn0YpV.

Don’t miss anything. Subscribe to The Bowery Presents Live to watch more performances and interviews like these, and the latest info on our upcoming live-streaming shows.

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Poliça Play Webster Hall Tomorrow Night

October 5th, 2012

Minneapolis’s Poliça, a psychedelic R&B offshoot of Gayngs, began when singer Channy Leanagh and producer Ryan Olson began collaborating together in the summer of 2011. Things clicked, and within a month the two already had enough material to begin recording. So they recruited bassist Chris Bierdan and drummers Drew Christopherson and Ben Ivascu, and cut Give You the Ghost, which came out this past Valentine’s Day. How was the album received? Well, Bon Iver’s Justin Vernon says, “They’re the best band I’ve ever heard.” And you can hear them in person when Poliça (above, doing “Dark Star” on Jimmy Kimmel Live!) play Webster Hall tomorrow night.

Selections from Bon Iver Live from Radio City Music Hall

October 1st, 2012

Bon Iver’s fantastic performance at Radio City Music Hall on 9/21, the third of the band’s four-night run at the legendary venue, was broadcast worldwide, live in HD, on The Bowery Presents Live channel on YouTube: http://www.youtube.com/thebowerypresents. Relive the great show by watching “Woods,” above, and checking out seven other great songs from this playlist: http://tbp.im/SUE3vo.

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Bon Iver – Radio City Music Hall – September 19, 2012

September 20th, 2012


(Bon Iver stream live from Radio City Music Hall, in full HD, at 9:15 p.m. EDT tomorrow night on The Bowery Presents Live.)

Photos courtesy of JC McIlwaine | jcmcilwaine.com

(See Bon Iver live! They play Radio City Music Hall tonight, tomorrow and Saturday.)

Exclusive Video: Another Unplugged Gem from Metric

September 11th, 2012

Metric’s newest album, Synthetica, deftly blends New Wave with synth pop, and it’s comprised of songs that would be at home in any size venue, from Radio City Music Hall, where you can see them on 9/23, to a room at the Bowery Hotel, where, using just a guitar and a great voice, Emily Haines and Jimmy Shaw did this elegant, stripped-down version of “Synthetica,” exclusively for The Bowery Presents Live channel on YouTube.

Subscribe to The Bowery Presents Live for more Track + Field performances like this one, and all the latest info on our upcoming live-streaming concerts, including Bon Iver live from Radio City Music Hall on 9/21.

 

 

Exclusive Video: Hollerado Rocks in a Moving Van

August 27th, 2012

They may have grown up in a tiny rural Canadian town, but playing what Spinner calls “beer-drenched power-pop indie ditties you’ll love singing along to,” has taken the four guys in Hollerado across the world, touring with the likes of Jack White’s the Dead Weather, Girl Talk and Andrew W.K. They make the kind of music that marries the upbeat energy of Weezer with the wit of Stephen Malkmus, a combo that comes across in this cool rendition of “On My Own,” performed on the move, in a van, exclusively for The Bowery Presents Live channel on YouTube.

While driving around Brooklyn the guys talk about being lucky to make another album, getting to see movies their girlfriends won’t let them and cheese being a reason to live. Watch the interview.

Subscribe to The Bowery Presents Live for more performances and interviews like these, and all the latest info on our upcoming live-streaming concerts with Bon Iver and Two Door Cinema Club.