Photos courtesy of Adam Macchia | www.adamkanemacchia.com
Posts Tagged ‘Music Hall of Williamsburg’
Broken Bells - Music Hall of Williamsburg - March 10, 2010
Thursday, March 11th, 2010Bid Farewell to Copeland
Friday, March 5th, 2010
Copeland will play The Bowery Ballroom on Sunday (this is sold out) and Music Hall of Williamsburg on Monday as part of the emo indie-pop rockers’ last-ever tour. Just a few months ago, the members of the loosely Christian band announced that they felt Copeland had run its course and were breaking up amicably.
Copeland, above, playing “You Have My Attention,” burst onto the scene in 2003 with its acclaimed debut album, Beneath Medicine Tree, released on the well-regarded independent label the Militia Group. Starting with this album, and continuing up until its most recent, You Are My Sunshine, released on Tooth & Nail, Copeland’s name has been synonymous with sweet, loving and powerfully melodious songs. Recent press has touted the sounds on You Are My Sunshine as the band’s most mature, intricate and darkest to date.
On this last trek, Copeland has brought along genre cohorts I Can Make a Mess Like Nobody’s Business and Person L. Both groups are side projects of former Drive-Thru Records bands that have become each frontman’s main work. The Early November’s Ace Enders is the man behind ICMAMLNB, which hasn’t released an album in six years due to Enders’ involvement in other projects. ICMAMLNB’s The World We Know, out later this month, is 40 minutes of nonstop music, a product of Enders’ desire to create a work in entirety and not just songs strung together. Person L is the current project of former the Starting Line singer Kenny Vasoli. Its current album, The Positives, released in November, has been receiving rave reviews for its mature prog-rock-y and ethereal sounds. —Kirsten Housel
OK Go Is Back
Thursday, March 4th, 2010
You may remember the four-piece OK Go from their stellar “Here It Goes Again” video (think treadmills). And in this day and age, when we’re constantly bombarded with 24-hour news and an array of viral videos, it’s often hard to stay in the public’s conscience for any length of time. But OK Go is back with a new album, Of the Blue Colour of the Sky—their third studio LP—and this very cool video for the catchy “This Too Shall Pass.” And if that weren’t enough, they’ll also be back in New York City, playing Music Hall of Williamsburg on Friday, 4/30. Tickets go on sale tomorrow at noon. Get in there.
It’s a Family Affair
Thursday, March 4th, 2010Akron/Family - Music Hall of Williamsburg - March 3, 2010
(Photo: DL Anderson)
Last night, under the psychedelic swirl and stripes, a nation was formed. Its principles? Set ’em wild, set ’em free. Its declaration? Fuck the weekday. Lead by its founding fathers, Akron/Family, this edict and a number of potent jams were delivered to loyal citizens for a celebration the band actually termed the “fuck the weekday party.” Dancing was done, revelry was made and no one in attendance could deny the forged sense of community. From the opening harmonies to the closing chords, the night was for everyone.
However, before the history of the nation is recounted, credit must be given to the founding mothers. Warpaint, principally composed of bassist-singer Jenny Lee Lindberg and guitarist-singers Emily Kokal and Theresa Wayman, lit into ethereal grooves before the already capacity crowd. Joined by Stella Mozgawa, an incredibly talented Australian drummer, the rhythm section was dynamic, and the interwoven vocals shined. Songs like the “My Guy”-inspired “Billie Holiday” and the dreamlike “Stars” showcased the group’s impressive songwriting abilities. Any preconceived gender norms that could be attached to an all-female band were dismantled during their rock-heavy set.
After a short break, Akron/Family gathered in the middle of the stage, forging together for an opening a cappella harmony. While the group has been reshuffled in recent years, their presence did not give this impression. Their energy was infectious and they, in turn, responded with loose but precise versions of “River” and “Phenomena.” For the encore, Akron/Family played “Woody Guthrie’s America” and crowd-pleaser “Everyone Is Guilty.” And as the nation exited two hours into Thursday, the weekday was officially fucked. —Jared Levy
Rogue Wave Brings New Music to Williamsburg
Wednesday, March 3rd, 2010Rogue Wave - Music Hall of Williamsburg - March 2, 2010
(Photo: Sterling Andrews)
Tuesday night is that nowhere-land part of the week, the point in the sentence where you’re not yet sure what punctuation is coming at the end. Tuesday is also the day when new albums are released, and so it was for Rogue Wave, celebrating the debut of Permalight at Music Hall of Williamsburg. The band hit the stage at precisely 11 p.m. and proceeded to play almost the entire new CD. They opened with “Stars and Stripes,” which was characterized by a heavy, smooth bass sound that seemed to set the bandwidth in which the synthed-up keys and Zach Rogue’s vocals operated. The first few numbers established a comfortable Homer Simpson ass groove in the couch, and the rest of the songs sat there, laid back and comfortable as all heck.
The live Rogue Wave sound is sort of an analog-digital hybrid, with guitars—acoustic and electric, occasionally with capo, slide and even bow—mixing amiably with synthesizer and glossy bass notes. The electronic side was a bit retro, maybe 64-bit, which was amplified by the display on the stage: a decidedly low-def screen, with big, fat, fist-size pixels scrolling indiscernible images in Day-Glo coloring. The change to acoustic guitar brought a songwriter-ly change of pace for “Solitary Gun” and “Sleepwalker,” the latter being particularly charged, with a nice building arc and crushing climax. Rogue had a little excited patter between songs, but would fall into an endearingly sung banter that ebbed right into the next number.
After a short burst of older material, they were right back into Permalight with their dedication to the cruelty of anonymous online critics: “We Will Make a Song Destroy,” which blossomed with angry electricity. And then, before you knew it, Tuesday was practically Wednesday, and an exclamation point was just a short ways away. —A. Stein
Shout Out Louds Return to NYC
Tuesday, March 2nd, 2010Shout Out Louds - Music Hall of Williamsburg - March 1, 2010
It seemed like the stakes were unnaturally high. Shout Out Louds had returned from the brink of dissolution, back in a city they hadn’t seen in nearly three years—with an audience maybe even worse for wear. But lead singer Adam Olenius has always been a dealer in pain. Only now at a sold-out Music Hall of Williamsburg on a Monday night, Olenius seemed aware of himself as fractured and aware of his crowd as broken and in need of pathos. Dressed in black and sporting the type of beard that, if we are to believe The Royal Tenenbaums, says, “I just tanked a tennis tournament, and the woman I love doesn’t love me back,” Olenius emerged in the flesh, entirely prepared to live or die with us.
The material off the band’s latest effort, Work, is darker in nature, driven at the soul of what almost killed this group in 2008. Olenius strolled out to the album opener, “1999,” and as locked into the past as the song’s titled suggested, he got lost somewhere before things went black. But slowly he and his bandmates found their stride, sounding explosive and pitch-perfect on “Tonight I Have to Leave It.” Minutes later, the band hammered through the latest single, “Fall Hard,” an ode to mutualism in the face of fatality. But Olenius was hardly prepared to give in, directing the band through a fuzzy, shabby-in-places rendition of “The Comeback.”
The set closed with “Show Me Something New” and second-album B-side “Hard Rain,” prompting Olenius to say, “This is for our Mercury Lounge days.” As much as the band was tied to its past, Shout Out Louds were still locked into the present. And then the lights went down, Olenius held his hands aloft and the audience was left with nothing but buzz and echo in the darkness. —Geoff Nelson
Photos courtesy of Sean O’Kane | seanokanephoto.com
Grow a Pair: Win Free Tickets to See RJD2 on 3/6
Tuesday, March 2nd, 2010
RJD2—hot on the heels of recently releasing his fourth LP, The Colossus—hits Music Hall of Williamsburg on Saturday. No, there aren’t any tickets left. But, yes, you’ve still got a chance to go because The House List is giving away two of them. Want to Grow a Pair? (You know you do.) Just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (RJD2, 3/6) and now that the Olympics have finished, a brief message explaining who your favorite Olympian was and why. Eddie Bruiser, a Steven Holcomb fan, will notify the winner on Friday.
Grow a Pair: Win Free Tickets to See Wild Beasts on 2/26 or 2/28
Tuesday, February 23rd, 2010
The English rockers Wild Beasts are coming to town this weekend for a sold-out show on Friday at The Bowery Ballroom and a Sunday appearance at Music Hall of Williamsburg (tickets are still available for that one). The House List wants you to see these guys so much that we’re offering two tickets to the show of the winner’s choice. Want to Grow a Pair? It’s easy. Just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Wild Beasts, 2/26 or Wild Beasts, 2/28) and a brief message explaining why you are no longer afraid of wild beasts. Eddie Bruiser, who’s not afraid of dogs but doesn’t care for cats, will notify the winner on Friday.
Crystal Stilts Earn Their Indie Stripes
Monday, February 22nd, 2010Crystal Stilts - Music Hall of Williamsburg - February 20, 2010
(Photo: Jared Levy)
Indie is an expansive term. Originally meant to denote an artist’s or band’s independent status from the major record labels, the word is now a catchall for musical otherness. Alternative rappers, punk rockers and electronic pioneers all receive indie branding at the semantic convenience of music journalists, fans and industry types. While some bemoan the use and abuse of the term, others claim victory for the growth of the genre. However, among the clusters of emerging pop-based acts, some bands deserve proto-indie status, and Crystal Stilts should be considered among them.
The Velvet Underground and Joy Division are godfathers of independent music. The fact that Crystal Stilts draw comparisons to both of them speaks to their authenticity. In 2008 the group released its heralded debut album, Alight of Night. Since then they have toured extensively and released a couple of excellent 7″ records. On Saturday night at Music Hall of Williamsburg, a crowded bill featuring German Measles, Beach Fossils, Christmas Island and the Beets joined Crystal Stilts for an extended night of lo-fi rock.
When Crystal Stilts went on around midnight, a Saturday night of music had already occurred. As the headliner set up, the crowd began to swell and the excitement grew considerably. Harkening to their punk influence, the band stoically performed their short, distortion-heavy tunes. While I overheard one fan remark that “this crowd needs to dance,” he neglected to notice the core of fans front and center grooving from the neck up. The band’s set list, while short, included new songs and closed with the quick, dirty and eminently catchy “Love Is a Wave.” In an era when everyone claims to be indie, it is refreshing to experience a band worthy of the classification. —Jared Levy
Three Chances to See Jonathan Richman
Thursday, February 11th, 2010
Singer-songwriter Jonathan Richman began playing the guitar at the age of 15 and was playing in public just a year later. He relocated from Boston to New York City in 1969, but his music didn’t get a lot of love, so he headed back north and formed the influential protopunk band the Modern Lovers. Wanting a quieter sound, Richman eventually turned the Modern Lovers into an acoustic group, most notable for their doo-wop sound and the funny lyrics that would remain a hallmark of his later solo work. Richman earned the most attention his career would get thanks to the Farrelly brothers featuring him and his music essentially as a comedic Greek chorus in There’s Something About Mary. But, believe it or not, that flick came out nearly 12 years ago, and Richman (above, playing “Everyday Clothes” on Late Night with Conan O’Brien) still has plenty left to say. So come check him out this weekend, when he plays Music Hall of Williamsburg on Friday, Saturday and Sunday.
Grow a Pair: Win Free Tickets to See Hot Chip on 2/6
Tuesday, February 2nd, 2010
Hot Chip has a new album—One Life Stand—out, and they’re celebrating by playing Music Hall of Williamsburg this Saturday. Turns out, lots of people wanted to join the celebration, so the show sold out quickly. (Although tickets are available to see them on 4/23 at Terminal 5.) But you’re in luck because The House List is giving away two tickets. Want to Grow a Pair to this show? Then just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Hot Chip, 2/6) and a brief message telling us your pick to win the Super Bowl and why. Eddie Bruiser, a NOLA lover, will notify the winner on Friday.
Luke Temple Doesn’t Go It Alone
Monday, February 1st, 2010Here We Go Magic - Music Hall of Williamsburg - January 29, 2010
(Photo: Jared Levy)
Advances in music recording have undeniably given musicians greater ability to compose their own projects. Artists like Neon Indian and tUnE yArDs have embraced the DIY spirit, creating their own lo-fi bedroom productions to considerable fanfare. But when it comes to delivering a live performance, these artists have shed their solitary identities and built groups around their sound. Similarly, Luke Temple morphed his self-titled solo record, Here We Go Magic, from an individual endeavor into a budding young band. As Temple notes in interviews: The sonic texture of the album necessitated forming a band. And judging from Friday’s show at Music Hall of Williamsburg, he picked a fantastic group of musicians to complete Here We Go Magic’s sound.
The New York City-based Glass Ghosts and Midnight Masses opened the show. The second band clearly draws its strength from group-oriented music. Midnight Masses is a new side project from …And You Will Know Us by the Trail of Dead multi-instrumentalist Jason Reece and Dragons of Zynth bassist Autry Fulbright. Their band includes two guitarists, a bass player, two drummers and a string section. They frequently featured five-part harmonies that at times were reminiscent of Crosby, Stills and Nash.
Here We Go Magic followed with a smattering of songs from their debut album. As frontman Temple noted during the one-song encore, the band’s oldies only extend to a few months ago. Nevertheless, “Only Pieces” and “Fangela” came to life with fleshed-out vocal arrangements and dynamic instrumental interplay. Bassist Jennifer Turner is truly a talent, providing steady rhythm and excellent harmonizing. The band’s genuine connection and love of playing came through in their music, and I am eager to see how they continue to mature as a group. —Jared Levy
Five Questions with…Tiombe Lockhart
Friday, January 29th, 2010
The self-proclaimed “East Village spaced-out R&B acid-house revivalist outfit Cubic Zirconia” is known for what singer Tiombe Lockhart affectionately calls “soul white-boy nerdy disco dance house fun party-time music.” Nick Hook, who starts their music with a beat, says, “I like to write things that invite maximum participation.” Guitarist Todd Weinstock writes the chord progressions, and Tiombe comes up with lyrics and melodies. Although each person focuses on one aspect of songwriting, they all end up tinkering with each aspect. The next few days are big for Cubic Zirconia because their new single, “Josephine,” comes out on Tuesday on Don’t Cry Records—with remixes by Waajeed, Greenmoney, Egyptrixx and DJ Sega—and they play Music Hall of Williamsburg tomorrow night. In advance of that show, Tiombe took the time to answer five questions for The House List.
Which bands that you listened to growing up do you still listen to?
Sarah Vaughan, Fela Kuti and Earth, Wind & Fire.
What’s the toughest part of playing New York City?
The guest list.
What music or song always makes you dance?
Anything with some heart.
Do you have to be depressed to write a sad song? Do you have to be in love to write a love song? Is a song better when it really happened to you?
You don’t need to be depressed or in love to write about those subjects. It does help to have experienced these things, whether in a mild or extreme capacity.
It’s 4 a.m. and last call has come and gone. What’s your next move?
Not going home probably. —R. Zizmor
An Evolution of Music
Monday, January 18th, 2010Gang Gang Dance - Music Hall of Williamsburg - January 15, 2010
If there were an argument to be made for the disappearing geographic lines in music, Gang Gang Dance would be a prime example. They seem to have an endless array of international influences and rotating styles that makes up their eclectic world dance-music sound. Incorporating everything from the hip-hop vocals of UK grime star Tinchy Stryder on “Princes” to an Argentinian pan flute or a broken Casio keyboard, the group deftly mashes it all together over African-influenced rhythms in an attempt to create something entirely their own.
Gang Gand Dance’s songwriting process is evident in their live performance. They are clearly comfortable with the experimental nature of the material from their 2008 album, Saint Dymphna, released by Brooklyn’s own Social Registry Records. Similar to God’s Money, Gang Gang Dance entered the studio with nothing predetermined, instead creating songs on the spot through a lengthy evolving process. Onstage they have an inherent comfort with one another, built on countless practice sessions of blindly creating and channeling something outside themselves. It’s a stream-of-consciousness approach to music, stepping away from the individual and ego.
Just offstage, friends of the band, decked out in crocheted multicolor Mexican ski masks, danced to Jesse Lee’s pounding tribal rhythms, while Liz Bougatsos completed the siren song with mostly raw emotive vocals manipulated with processors of all kinds at her feet. It’s a deliberate antihierarchical take on sound, and they are all equally relevant in their expression. The group ends up truly unclassifiable, with their all-encompassing style easily crossing the lines between dance, experimental and house music. Hearing the songs taking shape and evolving in front of you is a unique experience: It’s never going to exactly happen this way again, and undeniably it’s the sheer energy of their performance that was the draw for the sold-out show. —Jason Dean
The Hot Rats - Music Hall of Williamsburg - January 12, 2010
Wednesday, January 13th, 2010
Photos courtesy of Ryan Muir
(Click here for more of these cool photos from our friends at Metromix New York.)
Grow a Pair: Win Free Tickets to See Soulive on 12/30
Tuesday, December 29th, 2009
The superb funk-jazz trio Soulive is closing out the year with shows at Music Hall of Williamsburg tomorrow and Thursday. If you’re looking to go on Wednesday but don’t have tickets, you’re in luck ’cause The House List is giving away two of them. Try to Grow a Pair. It’s easier than you think: Fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Soulive, 12/30) and a brief message telling us the New Year’s resolution you’re most likely to keep. Eddie Bruiser, who’s resolving to be on the receiving end of more foot massages next year, will notify the winner by noon mañana. Good luck.
Matisyahu - Music Hall of Williamsburg - December 16, 2009
Thursday, December 17th, 2009
© 2009
