After becoming heavily influenced by Tears for Fears’ “Everybody Wants to Rule the World,” DJ and multi-instrumentalist Kamtin Mohager launched the post-funk electronic-dance project the Chain Gang of 1974 about a decade ago, earning comparisons to Daft Punk, New Order and Passion Pit with the release of Wayward Fire (stream it below) in 2011—“A bright, hook-laden, bouncy affair that takes your face and rubs it in its subwoofer big beats,” according to PopMatters—and Daydream Forever (stream it below), which per AllMusic has “even more attention to hooks and beefed-up production that thickens the pop sheen with a heavy electronic backbone,” in 2014. With new music on the horizon, the Chain Gang of 1974 (above, performing “Sleepwalking”) play Rough Trade NYC on Friday night. Bel Heir, a Philly trio, open the show.
Tag Archives: Daft Punk
Anthony Gonzalez has been deftly mixing shoegaze, ambient music and synth pop into his own unique down-tempo sound as M83 for more than a decade. But it wasn’t until the band’s sixth album, the double LP Hurry Up, We’re Dreaming (stream it below), anchored by megahit “Midnight City,” that M83 (above, doing “Go!” on Later … with Jools Holland) became a worldwide phenomenon. And after extensive touring (and soundtrack scoring) followed by some time off, Gonzalez and M83 returned this year with Junk (stream it below). “Much like Daft Punk’s Random Access Memories, Junk looks back in a way that’s so accomplished that it’s difficult to call it a retreat,” per AllMusic. Instead, it feels like a reminder that Gonzalez is dedicated to making music on his own terms, even if the results are polarizing. While all listeners may not share his fascination with ’80s pop culture detritus, it’s hard not to respect how expertly he transforms it into something genuine. ” And according to Pretty Much Amazing, it “doesn’t profess to be some magnificent statement about the human condition—it ends any such speculation with its title.… And that’s OK. Muppets in Space album cover aside, Gonzalez has still left plenty on Junk for his merry usual band of misfits—the lovers, the dreamers, and him.” Of course, the best way to experience M83 remains live, and to that end, you can see them on Friday and Saturday at Terminal 5. Pop singer-songwriter Shura opens both shows.
Tags: Anthony Gonzalez, Daft Punk, Hurry Up We're Dreaming, Joe Berry, Jordan Lawlor, Junk, Kaela Sinclair, Live Music, Loïc Maurin, M83, Music, New York City, Preview, Random Access Memories, Terminal 5, Video
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Los Angeles electronic producer and singer-songwriter Josh Legg began making music under the name Goldroom (above, his video for “Lying to You”) five years ago, influenced by the likes of Daft Punk, Bob Dylan, LCD Soundsystem and Nirvana. And following the release of three EPs, his acclaimed debut studio album, West of the West (stream it below), came out just a couple of weeks ago, providing “a romantic and ambitious soundtrack to end your summer on a high note,” according to Vanity Fair. “No matter the listener’s age, the world could use a little more magic—and Goldroom just may be the man to bring it.” He’s currently out on the road in support of the new music with Chicago house trio Autograf (below, doing a live remix of Odesza’s “All We Need”)—Jake Carpenter, Louis Kha and Mikul Win—who pair “glitched vocals, lurking bass lines and live instrumentation from custom-built instruments” and put as much emphasis on the visuals as they do on getting people to have a good time. And if you’re one of those people looking for a good time, don’t miss Goldroom and Autograf at Terminal 5 on Friday night.
Tags: Autograf, Bob Dylan, Daft Punk, Dirty Chocolate, Goldroom, Jake Carpenter, Josh Legg, LCD Soundsystem, Live Music, Louis Kha, Mikul Wing, Music, New York City, Nirvana, Odesza, Preview, Terminal 5, Video, West of the West
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Public Service Broadcasting – The Bowery Ballroom – April 10, 2015
With a name like Public Service Broadcasting, it’s easy to get a little dyslexic and mistake them for the Public Broadcasting Service. But this London duo repurposes samples from public information films with stark and catchy instrumentation. J. Willgoose, Esq. adds strings and samplings while Wrigglesworth takes cares of the drums. Both have a hand at the electronic instruments, but they don’t sing. With their latest release, The Race for Space, the lads take on the USSR literally, taking clips from speeches and old public service announcements during the battle to get the first man on the moon.
Three, two, one: Commence liftoff to an intergalactic dance party at The Bowery Ballroom Friday on night. The bookish pair landed onstage with little fanfare as Wrigglesworth tapped the drum pads for the opening of “Sputnik.” Throughout the evening, songs were complemented with old stock footage mostly of the space race, but also other montages ranging from motor transit to the heights of Everest. In addition to not singing, neither band member spoke throughout the set, but rather opted for a speech synthesizer to communicate, although Willgoose, Esq. added emphatic arm gestures to punctuate the robotic vocal greetings and commentary. It was especially executed on “Theme From PSB,” as he cleverly included “Bowery Ballroom” into the song. The dance floor was really pumping for the Daft Punk–like, guitar-driven track “E.V.A.” and the b-boy beat of “Gagarin.” My personal favorite moment of the night came with the more quiet and melodic “Valentina,” which paid homage to the first woman astronaut, Valentina Tereshkova, as footage of her training and return from her launches.
Approaching the end of the set, Public Service Broadcasting offered more tracks from their debut album, Inform-Educate-Entertain, including fan favorites “ROYGBIV” and the song about a plane, “Spitfire.” Not to let the crowd leave feeling unfulfilled, PSB returned to encore with a new tune, “The Other Side,” and an old song, “Everest.” The evening offered not only dance-y tunes, but also visual aids that took concertgoers back in time. The touchdown back to reality might have been abrupt, but the wonders experienced would stay with us. —Sharlene Chiu
Tags: Bowery Ballroom, Daft Punk, Inform-Educate-Entertain, J. Willgoose Esq., Public Service Broadcasting, Review, The Race for Space, Valentina Tereshkova, Wrigglesworth
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Several years ago, while performing with Fischerspooner in Brazil, producers and multi-instrumentalists Le Chev and Ian Pai bonded over their shared love of Daft Punk, electronic music, Prince and R&B. And when the two later met singer TC Milan in New York City a few months later, they knew they were on their way to launching the theatrically vibrant indie dance group Avan Lava. The Brooklyn trio “is a movement without the self- aggrandizing rhetoric, a distillation of what is important, a celebration of everything that has ever happened to you and everything that ever will.” Their brand new EP, Leave It All Behind (stream it below), filled with the kind of music that gets people moving, just came out on Tuesday, and Avan Lava (above, doing “It’s Never Over” live in New York City) celebrate its release by headlining The Bowery Ballroom tomorrow night. Jersey rapper Cakes da Killa opens the show.
Dan Deacon – Rough Trade NYC – February 25, 2015
It was the year 2007 and I had only been living in Brooklyn for a few months. Being a native West Coaster, I was not privy to the genius and fun of Dan Deacon until a coworker (now friend) initiated me to his greatness. She’d recently moved from Baltimore and had regaled me with tales of Deacon’s legendary DIY parties. She described them as “complete madness” and “a mix of spastic dancing, mosh-pitting and communal hugging” in a warehouse space called the Copycat building. She recounted how “the crowd there was so crazy, that I pretty much went to those shows prepared to get pushed so hard that I’d crash into a random drum set or the wall at some point in the night.”
Fast forward to last night, when I finally experienced Mr. Deacon’s musical wizardry. Readied for my own taste of his exuberant live shows, I (and my previously mentioned friend) embarked upon a sold-out Rough Trade NYC, where Deacon celebrated the release of his latest album, Gliss Riffer. The faux-warehouse venue, which captures some of that look and feel of the space where Deacon got his start, felt like a telling metaphor for the trajectory of his career. Although audience participation was high with Deacon calling for a dance circle and opposite-side dance offs, it was by no means the spectacle I’d heard about.
Nevertheless, the master of ceremonies did not disappoint weaving oldies “Paddling Ghost” and “Wham City” against the latest and greatest from the brand new release. Early on, “Sheathed Wings” had fans whipping their heads to the bass, while everyone erupted in euphoria for “Feel the Lightning,” a track that according to the A.V. Club “comes across as the love child of Daft Punk and Todd Rundgren.” The evening culminated with Deacon playing America, leaving no need for an encore. —Sharlene Chiu
Singer Elizabeth Sankey and multi-instrumentalist Jeremy Warmsley, who happen to be married, teamed up to form the pop duo Summer Camp about four-and-a-half years ago. And while they’re influenced by ’60s girl groups and ’80s synth pop, the UK twosome also mine teen heartache, especially in movies, for their songs. (To wit: “Veronica Sawyer” from Heathers and “Jake Ryan” from Sixteen Candles.) They’ve released a couple of EPs and a pair of LPs, including last year’s acclaimed Summer Camp (stream it below), about which NME proclaimed, “Their post-marital bliss is in merging indie pop with the Daft Punk disco resurgence: witness the dizzying Kraftwood Mac of ‘Two Chords’ and the funk gleam of ‘Fresh,’ which is up all night to get dumped. Glorious.” Summer Camp (above, performing “Brian Krakow” for the Amazing Sessions) just kicked off a short American tour on Tuesday, and they’re heading our way to play the early show at Mercury Lounge on Monday. Arrive early to see Brooklyn five-piece My Favourite Things open the show.
Soul Rebels – Brooklyn Bowl – February 14, 2014
While the NBA took over New Orleans this past weekend for its All-Star game, a few NOLA bands sought musical refuge in New York City, beginning with the Soul Rebels, playing the first of two shows at Brooklyn Bowl on Friday night. If you’ve never seen a Soul Rebels show before, there’s a long list of things that you’re missing out on. But in short, their energetic time-traveling mix of cover songs woven around their own music creates one hell of a two-hour dance party.
Blink and you might have missed any number of those excellent covers, which ranged
from Bobby Blue Band’s (and a touch of Jay-Z’s version) “Ain’t No Love in the Heart of the City” and Hova’s own “Hard Knock Life” to Heavy D’s “Now That We Found Love” and “Nuttin’ but Love.” Later on, the encore skewed much newer, with Pharrell’s “Happy” and Daft Punk’s “Get Lucky” getting the New Orleans brass treatment. The energy behind the multihorn take on these songs ran so high throughout the set that it made the idea of a DJ seem boring (although Questlove assumed his post after the show and made a musical counter-argument of his own).
The Soul Rebels’ breathless, nonstop mix of original, traditional and cover songs was backed by a collective energy that each band member helped sustain. With eight of them onstage on Friday, there was never a moment when the crowd wasn’t being prompted by
at least one Rebel, whether it was shouting Valentine’s Day–themed plaudits at them or goading them into letting loose. —Sean O’Kane
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, Flamin’ Groovies, Flaming Lips, 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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With a healthy dose of coed harmonies and funky synth sounds, Body Language—vocalist Angelica Bess, drummer Ian Chang and DJs–vocalists Grant Wheeler and Matthew Young—make R&B-tinged dance pop in the vein of Chromeo and Dirty Projectors. Their first EP, Speaks, came out in 2009, and that same year they opened for Passion Pit at The Bowery Ballroom. Two years later, the Brooklyn quartet released their first LP, Social Studies (stream it below), about which NPR said: “With its diverse mix of up-tempo dance beats, pop hooks and soulfully funky vocals, Social Studies has something for just about everyone, provided they don’t feel like sitting still.” Body Language (above, the video for their new single, “Well Absolutely”) have another full-length, Grammar, due in September.
Five years ago, while performing with Fischerspooner in Brazil, producers-multi-instrumentalists Le Chev and Ian Pai bonded over their shared love of Daft Punk, electronic music, Prince and R&B. And when the two met singer TC Hennes in New York City a few months later, they knew they were on their way to launching the indie dance group AVAN LAVA. The trio recorded a pair of EPs, including last year’s Flex Fantasy (stream it below), but when performing live, they team up with multi-instrumentalists-vocalists-dancers Drew Citron and Lo Lampert and percussionist Andrew Schneider. And for AVAN LAVA (above, doing “It’s Never Over”), when playing live it’s all about getting people moving, which, along with Body Language, they will do tonight at The Bowery Ballroom.
Tags: Andrew Schneider, Angelica Bess, AVAN LAVA, Body Language, Bowery Ballroom, Daft Punk, Drew Citron, Fischerspooner, Flex Fantasy, Grammar, Grant Wheeler, Ian Chang, Ian Pai, Le Chev, Lo Lampert, Matthew Young, Passion Pit, Preview, Prince, Social Studies, TC Hennes, Vapors, Video
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M83 – SummerStage – August 8, 2012
It’s a bold move to name your band after something as grandiose as a spiral galaxy, and it would be presumptuous for any band that isn’t M83. The group’s ability to create songs that are both fun and maximalist yet also rich with meaning and emotional depth means they could name themselves “the Entire Universe” if they so desired. Their live show felt at home at SummerStage in Central Park, where the words and rhythms of their songs could spiral out into the infinity of open space. It’s been quite a year for M83, who, after releasing the fantastic Hurry Up, We’re Dreaming, has been touring the world extensively, including playing some of the planet’s biggest festivals.
But last night, frontman Anthony Gonzalez made sure to let everyone know that the band had been looking forward to the chance to play New York City’s historic park for a long time. And the opportunity was not wasted. The music got an assist from some stunning visuals that included smoke, flashing colored light panels, lasers and a starry glimmering backdrop. It was a stage design that looked half-inspired by the final scenes of 2001: A Space Odyssey. A small string ensemble at the back of the stage made things even more epic by adding some extra orchestral oomph to songs like “Teen Angst” and a cover of “Fall,” originally written by French synth-rockers Daft Punk.
The audience took every opportunity to sing during the show, and some braves souls even attempted to bark along to “Midnight City,” the clear crowd favorite. The place went crazy for the saxophone solo that concludes the song so perfectly it could have dragged on forever without a complaint from anyone. While Morgan Kibby’s beautiful voice made several appearances throughout the night, her ghostly singing on “Skin of the Night” was an absolute showstopper. M83 finished off things with the hard-hitting instrumental “Couleurs” from Saturdays = Youth, giving some band members the chance to jump around the stage flipping out—and those in attendance the final chance to squeeze out whatever energy remained to dance their asses off. —Dan Rickershauser
Photos courtesy of Greg Notch | notch.org