Tag Archives: SummerStage

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The Head and the Heart – SummerStage – September 21, 2017

September 22nd, 2017


Photos courtesy of Joe Papeo | www.irocktheshot.com

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The War on Drugs – Terminal 5 – September 19, 2017

September 20th, 2017


(Try to Grow a Pair of tickets to Friday’s sold-out War on Drugs show at SummerStage.)

Photos courtesy of Gregg Greenwood | gregggreenwood.com

Contest

Grow a Pair: Win Free Tickets to See the War on Drugs on 9/22

September 19th, 2017

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Touring behind their standout fourth studio album, A Deeper Understanding, the War on Drugs land in New York City this week for two shows. A few tickets still remain to see them tonight at Terminal 5, but their show on Friday at SummerStage is already sold out. But the good news is that The House List is giving away two tickets to see them in Central Park. Want to go? Try to Grow a Pair. It’s easy. Just fill out the form below, making sure to include your full name, e-mail address, which show you’re trying to win tickets to (War on Drugs, 9/22) and a brief message explaining your favorite tune on the new LP. Eddie Bruiser, who’s been listening to it on a loop, will notify the winner by Friday. Good luck.

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A Double Dose of the War on Drugs in New York City Next Week

September 15th, 2017

Philadelphia’s the War on Drugs craft songs with momentum. The synths underlying “Holding On” (above, performed live on The Late Show with Stephen Colbert), off their latest release, A Deeper Understanding (stream it below), chug along like a runaway train. Over the band’s four full-length albums, songwriter Adam Granduciel and Co. have fine-tuned what was already a well-oiled machine right out of the gates. They enlisted the production help of L.A. engineer Shawn Everett, known for his work on the Alabama Shakes’ masterful Sound & Color, for their first major-label record. A Deeper Understanding takes the War on Drugs’ signature expansive sound and pushes it, well, deeper into new terrains. On “Nothing to Find,” the beats plow through gorgeous swirling soundscapes of analog synths, and Granduciel’s vocals at the end sound like he’s howling into a massive canyon the song’s just blown into the earth. The War on Drugs’ music feels both large and personal, with softer numbers still showcasing a tenderness that sounds just as grandiose. The album’s gorgeously produced, and any little snippet of its soundscapes risks working its way into your head and never leaving. As their sound has grown bigger, so too has the group’s following, snowballing off the success of 2014’s much-acclaimed Lost in the Dream (stream it below). One album later and the New Yorker is ready to propose that they’re rock’s next torchbearers. The War on Drugs will make their case and then some when they return to New York City next week to play Terminal 5 on Tuesday and SummerStage on Friday. —Dan Rickershauser | @D4nRicks

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Phil Lesh – SummerStage – August 30, 2017

August 31st, 2017


Photos courtesy of Jeremy Ross | jeremypross.com

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The Revivalists – SummerStage – August 10, 2017

August 11th, 2017


Photos courtesy of Joe Papeo | www.irocktheshot.com

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All Time Low – SummerStage – July 31, 2017

August 1st, 2017


Photos courtesy of Brian C. Reilly | www.briancreilly.com

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Dashboard Confessional Play SummerStage on Thursday Night

August 1st, 2017

Led by singer-songwriter-guitarist Chris Carrabba, Dashboard Confessional—rounded out by bassist Scott Schoenbeck, guitarist Armon Jay and drummer Ben Homola—began making emotionally raw acoustic music out of South Florida at the turn of the century. The band released six full-lengths between 2000 and 2009—bursting into the mainstream with 2003’s A Mark, a Mission, a Brand, a Scar (stream it below) and 2006’s Dusk and Summer (stream it below)—before going on hiatus from 2011 to 2015. Dashboard Confessional (above, performing “Hands Down” for Paste Studios) put out a new EP, Covered and Taped (stream it below), earlier this year, covering Justin Bieber, the 1975, Julien Baker and Sorority Noise. Currently out on the road, they play SummerStage in Central Park on Thursday night. And as an added bonus, the All-American Rejects open the show.

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Regina Spektor – SummerStage – July 27, 2017

July 28th, 2017


Photos courtesy of Gregg Greenwood | gregggreenwood.com

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PJ Harvey – SummerStage – July 19, 2017

July 20th, 2017


Photos courtesy of Joe Papeo | www.irocktheshot.com

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Umphrey’s McGee to Light Up SummerStage on Friday Night

July 5th, 2017

“Leave it to an act who named their 1998 debut Greatest Hits, Vol. 3 to create this crazy quilt, innovative and unique mash-up of disparate songs, played live,” said American Songwriter of last year’s Zonkey (stream it below). “Taking a concept initially conceived during Umphrey’s McGee’s Halloween shows to the studio, the sextet displays their wildly diverse influences and inspirations by grabbing parts of two, three and sometimes four tunes, cutting and pasting them together, and performing the result with no overdubs, without a net, in the studio.” Summer’s here and the time is right for dancing in the park. The stalwart jamband plays a scintillating music that seeks out wide-open spaces and fills them with long-form improvisation. They’ll find plenty of room to jam in the middle of Central Park when they play SummerStage on Friday night. For the diehards there will sure to be set-list surprises and look-ma-no-hands acrobatics for next-day social media deconstructing. For the curious and uninitiated, Umphrey’s will be sure to impress with their two-guitar, part-heavy-metal/part jazz-prog-rock fusion. Up-and-comer jammers Aqueous will be grooving the park early, so bring your dancing shoes and be ready to rock. —A. Stein | @Neddyo

 

 

 

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Gov’t Mule and Chris Robinson Brotherhood Come to SummerStage

May 16th, 2017

Local guitar hero Warren Haynes (vocals and guitar) doesn’t know how to sit still. He’s seemingly always performing, recording, touring or sitting in with someone else. And with a new Gov’t Mule album, the politically charged Revolution Come … Revolution Go, recorded last year on Election Day, due to arrive in just a few weeks, one of the hardest working men in show business is back out on the road with comrades in bluesy Southern-rock jam-band arms Matt Abts (drums and vocals), Danny Louis (keys and vocals) and Jorgen Carlsson (bass). Tomorrow night at SummerStage in Central Park, Gov’t Mule (above, performing “Blind Man in the Dark” at Lockn’) arrive with the like-minded Chris Robinson Brotherhood—the former Black Crowes frontman (vocals and guitar) alongside Neal Casal (guitar and vocals), Adam MacDougall (keys and vocals), Tony Leone (drums) and Jeff Hill (bass). The CRB’s most recent release, Betty’s Self-Rising Southern Blends, Vol. 3 (stream it below), out in March, is filled with live soundboard mixes by famed Grateful Dead audio engineer Betty Cantor-Jackson, terrifically capturing the band live, which just so happens to be the best way to experience Gov’t Mule and the Chris Robinson Brotherhood. So don’t miss them live tomorrow night at SummerStage.

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Cold War Kids – Rough Trade NYC – April 10, 2017

April 11th, 2017

Cold War Kids - Rough Trade NYC - April 10, 2017
(Cold War Kids open for Young the Giant at SummerStage on 9/13.)

Photos courtesy of Annie Kane | anniekane.work

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Lucius – SummerStage – September 23, 2016

September 26th, 2016

Lucius - SummerStage - September 23, 2016

Photos courtesy of Nick Delisi | www.nickdelisi.com

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Five Questions with Holly Laessig of Lucius

September 21st, 2016

Lucius return to New York City to play SummerStage in Central Park on Friday night, and Holly Laessig, one half of the band’s lead-vocals tandem, rang up The House List, from Oklahoma where she and Jess Wolfe were rehearsing for singing background for Roger Waters at Desert Trip, to answer Five Questions.

Plenty of musicians change their sound from album to album. Was that a clear intention in moving from the folkier Wildewoman to the poppier Good Grief? Or was that just how your sound evolved? It’s funny. People comment on how different the two are. But Wildewoman was recorded over a few years, and we were in no rush at the beginning because we didn’t have anything to be rushing for—we were just starting out. And we took our time and made it right. We came out with Wildewoman and we had kind of put the band together throughout and after making that record. So when we toured on it, things started to change, and the sound started to change. And the show got a lot more energetic, and the audience was reacting a lot more to the show than the record. People commented a lot how the live show and the record sounded so different, and that the live shows were so much more energetic. I think by the time we got to the end of that cycle, it was where Good Grief was picking up naturally, but from just listening from a record standpoint, there does seem to be a bigger difference than it felt like.

How was recording Good Grief different than recording Wildewoman? We took a different approach to it. We got off the road—we had been touring for, like, a year-and-a-half straight. And we were exhausted, and we decided to go to L.A. to kind of decompress and start writing. So Jess and I took a few months to write, just the two of us. And we would send the guys rough demos and then they would do their own versions of the same song—and kind of build arrangements around them. So when we went into the studio, we had at least two versions of everything. And we worked with Shawn Everett—he did the Alabama Shakes record with Blake Mills—he’s like this crazy alien angel person [laughing]. He’s one of our really closest friends, and he’s always got these wild ideas. So we were really excited to get into the studio with him. He had an idea to make communication easier with five very strong personalities in the studio. To kind of smooth things over and to get everyone’s voice heard, he thought it would be helpful to come up with a bunch of reference tracks: “For each track that we’re gonna work on, think of a song that you think could influence this.” So it could be “I like the sound of the tone on this Rolling Stones track.” Or “I like the way these vocals were recorded on this West African tune.” And we would all pick one or two songs and put ’em in a box, and he would pick them out one by one—it was all anonymous. And we would listen to everything, like 10 to 15 songs, and write down on a dry erase board everything we like about each one. It could be very specific, as far as a recording technique, or it could be more vague, like a feeling. And once we had this dry erase board of notes, we would then start working on the song. So it was a really interesting way of going about it, and I think we got a lot of good stuff we would’ve normally not even considered.

How did your appearance on Roadies come about? And any chance you’ll be adding “Willin’” to your set list? I mean, I don’t think we could top singing that with Jackson Browne, so probably not. Fair. Rafe Spall, who is one of the actors on Roadies—so the story goes: Rafe’s friend Rafe, which is hilarious to me. The first Rafe I ever met, and I met two of them in one day. His friend recommended our music to him, and he was playing it one day on set. And Cameron was like, “Who’s this?” And Rafe said, “This band Lucius.” And he said, “Well, let’s get ’em in here. See if they want to do an episode.” So we met him, and he’s the nicest guy ever. And we said, “Yeah, absolutely, we’d love to do this.” It was a really cool experience. It was really inspiring to see Cameron Crowe as a director and a leader. Everybody who was there, from the actors to the makeup people to the crew people to catering—everybody—was like, “Yeah, we work really hard, sometimes we work late hours, but we’re happy to do it because Cameron’s the man.” And he really was. We had some lines, and I was incredibly nervous about it because it’s not what we do normally. So there was this one line, and I was like, “This isn’t how I’d normally phrase this.” And I was trying to get my head inside it so I could say it the right way. And I asked him, and he said, “Let’s go over it.” And he dropped everything and took me aside, and he would’ve gone over this, like, one line with me for as long as I wanted—very, very patient. It was great, and we got to sing with Jackson Browne, and Jim James was on the set. It was cool.

For some bands, live shows are like a theater piece in that the set doesn’t change much, but the performers are aware of the subtle nuances each night. And for others, every night’s show is different than the one before. Where do you land on that spectrum? Like as far as each night being different? Yeah, I mean, a band like U2, they play pretty much the same set most nights, but it’s not the same show obviously. But someone like Bruce Springsteen or Pearl Jam, they change their set every night. I guess for each leg of a tour, we tend to stick generally to the same set. Some songs we change a little bit, but it’s nice once you get into a groove to stick with it, the transitions go more easily. But every show’s different regardless, especially because of the audience—not to put it all on the audience—but the vibe and the venue and the city, everything can really make a break a show for the performer. If your audience is really giving back to you, and you’re bouncing off of that, sometimes we have funny banter or things can change, or we’ll decide let’s do this song instead because they’re liking the up-tempo ones. So occasionally, it’s just, like, fly by the seat of your pants. But it’s definitely nice to get into a groove.

What new music have you been listening to? We’ve been listening to the new Angel Olsen record a lot. It only came out a couple weeks ago, I think. We’re excited to be playing with Big Thief in Central Park. And I’m stoked to see them ’cause I love that record. I love Alabama Shakes. We went to see that show at the Greek, and it was so good. That’s a good one to groove to, for sure. Was that with Kurt Vile? Yeah, and I love that record too. And Kurt Vile’s on the bill for One Big Holiday in February. Oh, yeah. That’s gonna be so fun! —R. Zizmor | @Hand_Dog