Tag Archives: Doe Paoro


Cold War Kids Headline Diverse CMJ Lineup at Rough Trade NYC

October 23rd, 2014

Cold War Kids – Rough Trade NYC – October 22, 2014

Cold War Kids – Rough Trade NYC – October 22, 2014
Rough Trade NYC hosted a flock of impressive acts last night, and concertgoers who caught this show on the second night of CMJ 2014 lucked out, as the lineup provided such a satisfying variety befitting the festival’s spirit. Fresh off tours supporting Sylvan Esso and My Brightest Diamond, Brooklyn native Doe Paoro and her band entranced early arrivals with celestial electro soul. Australia’s Little May followed with their subdued rock sensibilities. The band had many an audience member swooning with material from their self-titled debut album. Little May’s gorgeous, resonant sound is full of husky whispers and hook-y choruses, and they played up their songs’ melancholic beauty throughout their set.

Moses Sumney took the stage next and quickly mesmerized the crowd with his velvety voice and artful looping skills. The Los Angeleno stood alone onstage and built vast choral phrases out of lilting, angelic tones and subtle beat-boxing. Sumney could sing every word in the dictionary and make it sound interesting—his voice is just that good.  The 20-year-old electro rocker Elliot Moss and his band continued the night with a dynamic set of songs from Moss’s 2013 album, Highspeeds. His music is mercurial, with elements of Radiohead, James Blake and Bon Iver popping up here and there. Having successfully wooed the audience to move superclose, Moss and Co. graciously left the stage to make way for the night’s headliners.

The much-loved members of Cold War Kids meandered onto the stage as the audience roared with excitement. The band’s career has spanned nearly a decade, and the five-piece has some serious discography to show for it. From their 2006 debut record, Robbers and Cowards, to the just released Hold My Home, the band has made a big impression on their fans. The gentleman barreled through an extensive set featuring songs from all over their repertoire. Nathan Willett’s valiant vocals drove “All This Could Be Yours” and “Miracle Mile” at the top of the set. All-time favorites like “Hang Me Up to Dry” and “Hospital Beds” got the crowd howling. The guys in Cold War Kids have an astounding sense of synchronicity. They’re constantly making contact with one another, whether it’s a hand on a shoulder or an intense glance during a chorus. Their set was a spectacular burst of energy, proving that Cold War Kids aren’t losing steam. Rather, they’re louder than ever. —Schuyler Rooth

Photos courtesy of Pip Cowley | pipcowleyshoots.com

(Cold War Kids play Terminal 5 on 3/20.)

(Elliot Moss plays Music Hall of Williamsburg on Sunday and Terminal 5 on 3/20.)

(Moses Sumney plays Rough Trade NYC tonight.)

(Little May play Mercury Lounge tomorrow and Pianos on Saturday.)


Bewitchy Woman

February 28th, 2013

Doe Paoro – Mercury Lounge – February 27, 2013

Doe Paoro began her Mercury Lounge show last night with a Tibetan “song for peace,” with her voice floating free range and exotic over the early crowd, as if cleansing the space for the music to come. That purification completed, she and her band dove into a batch of new material showcasing her self-described “ghost soul”—a one-of-a-kind indie R&B centered largely on Paoro’s bewitching vocals. In the live setting, that voice does indeed feel like an apparition, each lyric, phrase, syllable taking on a life of its own, lingering in the space surrounding the musicians onstage—keys, bass, drums and cello. In between songs, the band was in a good place, as cohesive as I’ve seen them, the new material appropriately fragile and fresh, the older songs feeling more fleshed out and confident.

“Give, Give, Give” and “Breaking Down” were indicative examples of the new songs: cello and keys interacting while her voice, flouting standard conventions, zigzagged over multiple octaves in nonlinear fashion. “Body Games,” off last year’s debut, Slow to Love, found fresh, different life with a new cosmic bass riff, feeling like the final missing piece fitting into place. From there, Paoro and her band seemed limbered, starting to move freely, literally and musically. The second half of the set was marked less by what she was singing and how, but more by from where the voice and the words were coming. On songs like “Live Again” it was clear that this music was coming from someplace real deep inside, the vocals and the band caught up in the emotive swell. The set finished with one more “old” song, “Born Whole,” a steady groove matching the mood perfectly. Short and sweet, spell broken, ghosts exorcised, for this night, at least. —A. Stein