Tag Archives: Radio City Music Hall

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TV on the Radio, Back in Brooklyn

April 13th, 2011

TV on the Radio – Music Hall of Williamsburg – April 12, 2011

TV on the Radio - Music Hall of Williamsburg - April 12, 2011
Just after 10 last night, as TV on the Radio took the stage at a sold-out Music Hall of Williamsburg, the pouring rain on North 6th Street began to dissipate. And bathed in dim blue light, Tunde Adebimpe sang the opening line of “Killer Crane”: “After the rain, a killer crane, after the rainbow….” With the crowd beginning to dry off, it was a weather-appropriate choice of song to segue into the band’s hotly anticipated performance in support of their new record, Nine Types of Light, released the same day.

Large photographic lighting umbrellas and lights adorned the stage, and TV on the Radio experimented with more than nine types of light as they played. The upbeat “Young Liars” punctuated with a bright, almost sunny yellow, deep reds during the catchy new song “Keep Your Heart” and complete darkness broken up by flashes of strobe light during the aggressive moments in “Dancing Choose.” TV on the Radio seemed happy to be celebrating their album’s release (and warming up for their show at Radio City Music Hall tonight) with a hometown performance, and they whipped the crowd into a frenzy with the energy of old favorites like “Wolf Like Me,” “Blues from Down Here” and “Staring at the Sun,” and alternately, set a more subdued tone during downtempo new numbers “Will Do” and “You.”

Throughout the show, the complementary interplay between singers Adebimpe’s and Kyp Malone’s distinctive voices, flourishes from trombone and the subtle addition of a small set of wind chimes dangling from the neck of Dave Sitek’s guitar added to the complexity of the band’s sound. The set seemed to effortlessly emphasize TV on the Radio’s uncanny ability to touch upon various genres and influences in their music and yet come across sounding like nothing else out there. And almost as an unplanned encore to the group’s live exploration of Nine Types of Light, shortly after the show, the rain came back, and some of the first lighting of the season flashed across the Brooklyn sky. —Alena Kastin

Photos courtesy of Greg Notch | notch.org

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Lush Soundscapes in a Plush Room

April 7th, 2011

Explosions in the Sky – Radio City Music Hall – April 6, 2011

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From moody and meditative to lush and orchestral, Explosions in the Sky aptly convey emotions without saying a word. The Austin, Texas, band sold out Radio City Music Hall last night, no mean feat for an instrumental-rock group, even one with a new album, Take Care, Take Care, Take Care, out in a few weeks. Wordless music often leads to chatty audiences, but the seated crowd was attentive and responsive, growing loudest for bits of unrestrained guitar fury.

The cinematic music—slow-burning songs that swell into grand crescendos before gently concluding—sounded pristine and at home inside the famed venue. Each of the band’s tunes covers a fair amount of terrain, ultimately coming off as the soundtrack to whatever you’re thinking or feeling while you hear them (especially if you close your eyes). They played for about 75 minutes, essentially straight through, pausing very briefly, if at all, between songs.

This was Explosions in the Sky’s biggest show to date, in stature and in size, and it seemed totally appropriate of its sumptuous surroundings. Although the band appeared small on the massive Radio City stage, their giant, swirling soundscapes easily filled the room. And despite several songs hovering around the 10-minute mark, the music never lingered and there were no indulgent solos. It’s a simple equation: No frontman. No vocals. No problem. —R. Zizmor

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Bright Eyes Look Back, Gaze Forward

March 10th, 2011

Bright Eyes – Radio City Music Hall – March 9, 2011

Bright Eyes - Radio City Music Hall - March 9, 2011
Bright Eyes performed the second of their two sold-out shows at Radio City Music Hall last night in support of their new record, The People’s Key. The evening was bookended with the album’s opening and closing tracks, the grunge-inspired “Firewall,” setting things off, and the uplifting “One for You, One for Me,” sending us on our way at the end of the night. As for the space in between, frontman Conor Oberst took the crowd on a nostalgic trip through some of the band’s extensive back catalog, reaching as deep as 1998’s “Padraic My Prince,” and also treating the crowd to versions of “The Calendar Hung Itself” and “An Attempt to Tip the Scales” from Fevers and Mirrors, released more than 10 years ago.

Although the music of Bright Eyes was originally associated with emotive, often glum, and at times uncomfortably honest songwriting, over the past few albums, Oberst’s songwriting has gradually shifted in focus, growing to favor the metaphysical over the personal. Yet last night, he seemed to relish the opportunity to revisit lyrics and themes from his most introspective days, including “The Trees Got Wheeled Away,” “Take It Easy (Love Nothing),” “Lover I Don’t Have to Love” and a poignant version of “Poison Oak.”

As the band performed older songs side by side with new numbers such as “Jejune Stars” and “Shell Games,” the night served as an impressive chronology of Oberst’s journey as a songwriter and musician, his fascinations and hang-ups, his political inclinations and protests, and his explorations of different sounds and musical styles. Whether he was pacing the stage while shouting out the lyrics to songs off I’m Wide Awake It’s Morning or seated at his keyboard slowly plucking out The People’s Key’s pensive “Ladder Song,” Oberst seemed comfortable and content with revising where Bright Eyes’ music has been and where it’s going. —Alena Kastin

Photos courtesy of Andy Keilen | spartanmarchingband.smugmug.com/Music

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A Double Dose of Bright Eyes

March 4th, 2011


Bright Eyes began in mid-’90s Omaha, Nebraska, when Conor Oberst sought out a new band for his songwriting to be featured, ultimately, on Saddle Creek Records, the label he founded with his brother. Oberst was eventually joined by a rotating group of musicians before he finally settled in with Mike Mogis and Nate Walcott as permanent members. Many years and acclaimed EPs and LPs later, Bright Eyes (above, playing “Jejune Stars” on Late Show with David Letterman) are still going strong, having just released their seventh studio album, The People’s Key, just a few weeks ago. And with that in mind, the band—and Superchunk and Wild Flag—heads our way for two shows at Radio City Music Hall next week. Wednesday’s is sold out, but you can still get tickets to see them on Tuesday. And let’s face it, you really should!

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Interpol Plays Radio City on Thursday Night

February 15th, 2011


They got started in the late ’90s and earned plenty of local love for their shows at Mercury Lounge, but it wasn’t until several years later that Interpol really gained a following elsewhere. First a trip to England in 2001 brought them European exposure, and the next year they put out their first LP, the critically acclaimed Turn On the Bright Lights, known for its atmospherics and echo-drenched guitars. Their next two discs garnered some commercial claim as well. After a label change and some side projects, Interpol (above, doing “Lights” for the Pitchfork P.O.V. Concert Series) put out a fourth album, Interpol, in 2010. And now you can see a local band make good when they play Radio City Music Hall on Thursday night.

Watch SPIN’s 25th-Anniversary Concert Series Again

November 30th, 2010

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It was such a great week, you get to relive it again! This past July SPIN magazine celebrated its 25th anniversary with amazing shows—the Smashing Pumpkins, the Flaming Lips, the Black Keys and the National at Terminal 5 and Spiritualized at Radio City Music Hall. Each show was streamed live, so if you couldn’t be there in person, you could still get a taste. And now you can have the whole meal because Fuse presents the concert series this Friday, 12/3, at 9 p.m. Don’t know what channel Fuse is? No problem, just go here.

(Encore presentations will follow at 3 a.m. and 11 a.m. on 12/4, 5 p.m. on 12/7, 4 p.m. on 12/9 and 2 a.m. on 12/10.)

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The Avett Brothers – Radio City Music Hall – October 13, 2010

October 14th, 2010

The Avett Brothers - Radio City Music Hall - October 13, 2010

Photos courtesy of Dino Perrucci | dinoperrucciphotography.com

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The Gaslight Anthem Closes September in Style

October 1st, 2010

The Gaslight Anthem – Radio City Music Hall – September 30, 2010

The Gaslight Anthem - Radio City Music Hall - September 30, 2010

The Gaslight Anthem, behind its debut full-length and breakthrough record, The ’59 Sound, has performed at a number of Bowery Presents venues over the past two years. Last night, the band played its largest Bowery Presents show to date at the famed, and full, Radio City Music Hall, in support of its newest release, American Slang.

The band took the stage just after 9 p.m. and dove right into “High Lonesome,” “Boxer,” “We Came to Dance” and “Diamond Church Street Choir”—a perfect opening of new, old and older songs. Each one ran into the next, with no verbiage from frontman Brian Fallon and very little fanfare from the audience, until “Diamond Church Street Choir,” which had the crowd yelling, clapping and whistling throughout and Fallon finally breaking his silence afterward. Then the group played “The ’59 Sound,” and the rest of the set pretty much followed the same loud-song-quiet-song format with very few breaks before closing with “The Backseat.”

Despite the size of the venues it’s playing these days, the Gaslight Anthem’s stage show was once again very minimal with nothing more than a few flashy white lights. The band prides itself on being regular guys, so it was refreshing to see that the New Brunswick, N.J., quartet can still play a set that allows the music to speak for itself. And a few hours afterward, the group tweeted its UK publicist: “best show [of] my life.” Congrats, guys. —Kirsten Housel

Photos courtesy of Andy Keilen | spartanmarchingband.smugmug.com/Music

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Vampire Weekend – Radio City Music Hall – September 16, 2010

September 17th, 2010

Vampire Weekend - Radio City Music Hall - September 16, 2010

Photos courtesy of Diana Wong | dianawongphoto.blogspot.com

(Vampire Weekend plays Radio City Music Hall tonight.)


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Not Even Nerves Can Stop MGMT

August 18th, 2010

MGMT – Radio City Music Hall – August 17, 2010

MGMT - Radio City Music Hall - August 17, 2010
MGMT performed the majority of their first of two sold-out Radio City Music Hall shows covered in shadows. The focal point of the venue’s cavernous stage instead fell upon an onslaught of colorful psychedelic images and lights projected onto a backdrop of large abstract shapes. The eager crowd danced and waved glow sticks as the band played material from their most recent album, Congratulations, with the trippy visuals complementing the eclectic-retro sound on songs like “Brian Eno,” “Flash Delirium,” “It’s Working” and “Siberian Breaks.”

In addition to newer material, MGMT also played a sizable portion of their 2008 breakthrough album, Oracular Spectacular. Though two years have passed since its heyday, one of the loudest cheers of the night erupted with the opening notes of “Time to Pretend,” the group’s tongue-in-cheek tale of rock-star excess, which unwittingly became the soundtrack to every hipster BBQ and house party from Brooklyn to Brisbane that summer. Despite the fact that in the years since the song was written, MGMT founding members Andrew VanWyngarden and Ben Goldwasser have actually become what most would consider bona fide rock stars, with fancy magazine-cover stories and headlining slots at festivals around the world, their understated performance further cemented the fact that they have certainly not become the rock-star clichés they once wrote about.

As the show began to wind down, the modest rockers finally let the lights come up a bit during the undeniably catchy “Kids,” with Goldwasser and VanWyngarden stepping away from their instruments and awkwardly, endearingly attempting to dance with the crowd—but mostly just looking down, nodding their heads to the beat and wandering around the stage as they sang. When the song finished and the crowd erupted with approval, VanWyngarden seemed relieved, admitting in utter un-rock-star fashion that when faced with the task of playing Radio City Music Hall, “I think we were a little bit nervous.” —Alena Kastin

Photos courtesy of Greg Aiello | www.ga-photos.com

SPIN25: One More Time with Feeling

August 3rd, 2010

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Last week SPIN magazine celebrated its 25th anniversary with an epic five-night run of shows: the Smashing Pumpkins, the Flaming Lips, the Black Keys and the National at Terminal 5 and then Spiritualized closed out the week with a choir and an orchestra at Radio City Music Hall. If you weren’t there in person you still had the opportunity to check out what went down because each show streamed live on SPIN.com. But that is so last week. And since the music was extra stellar—thanks to ZYNC from American Express—you’ve got another chance to see these shows: The headlining act from each date will be rebroadcast at 9 p.m. ET every night this week here.

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Spiritualized – Radio City Music Hall – July 30, 2010

August 2nd, 2010

Spiritualized - Radio City Music Hall - July 30, 2010

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com

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Ladies and Gentlemen We Are Floating in Space

July 28th, 2010


The English space-rock band Spiritualized has been making lush, atmospheric music since its debut, Lazer Guided Melodies, came out in 1992. Despite several personnel changes over the years, the group—guided by frontman Jason Pierce (J. Spaceman)—has continued to produce quality albums, including the much acclaimed Ladies and Gentlemen We Are Floating in Space, which features a gospel choir plus Dr. John on one track. Why bring up a disc that came out in 1997? Great question: Because as part of SPIN25, Spiritualized (above, playing the dreamy “Ladies and Gentlemen We Are Floating in Space”) will perform the LP in its entirety with a choir and orchestra on Friday at Radio City Music Hall. And how can you top that?

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SPIN Turns 25

July 23rd, 2010

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Next week SPIN magazine celebrates its 25th anniversary with five great shows: the Smashing Pumpkins at Terminal 5 on Monday, the Flaming Lips at Terminal 5 on Tuesday, the Black Keys at Terminal 5 on Wednesday, the National at Terminal 5 on Thursday and Spiritualized at Radio City Music Hall on Friday. And the even better news is that if you don’t have tickets to these shows, you’ll still be able to see them because Spin.com will be streaming them live. So let the SPIN25 celebration begin.

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Move on Up

June 17th, 2010

The National – Radio City Music Hall – June 16, 2010

The National - Radio City Music Hall - June 16, 2010
Just three songs into the National’s sold-out show at Radio City Music Hall last night, lead singer Matt Berninger jumped off the stage and into the crowd. After a strong opening set by the Antlers, the National started with “Mistaken for Strangers,” followed by “Anyone’s Ghost,” from recent release High Violet. As he sang, Berninger displayed his distinctive stage behavior, pacing, wringing his hands and clapping to himself along with drummer Bryan Devendorf’s frantic beats—a controlled mass of pent-up energy. It was halfway through “Bloodbuzz Ohio” when Berninger, no longer able to hold it in, jumped down to be alongside his hyper fans as he sang angst-ridden lyrics touching upon love, debt and failure.

The National easily filled the cavernous venue with their dynamic orchestral arrangements of songs like “Squalor Victoria,” “England,” “Runaway” and “Little Faith,” but were quick to acknowledge their more humble beginnings, dedicating “Secret Meeting” from their 2005 album, Alligator, to The Bowery Presents’ own Johnny Beach, who they note got them their very first show. The National seemed to want to remind hometown fans that while they may be playing bigger and bigger venues these days, we need not fret because this is weird for them, too.

For his part, Berninger continued to breach the stage/audience boundaries, and during the climatic “Mr. November,” made his way all the way up to the mezzanine, his microphone cord trailing behind him, as audience members helped pass it over their heads to follow the singer. Since the National’s emotive, lush music is no longer a wonderful shared secret among a select group of savvy listeners, it is likely that the venues they play in will continue to grow in size. But luckily, at last night’s show, Berninger seemed to prove that as the band’s popularity rises, he, too, will rise up to the highest balcony and sing beside more and more members of the crowd, the place where he is perhaps most comfortable. —Alena Kastin

Photos courtesy of Mina K