Tag Archives: SummerStage

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Lykke Li Dazzles SummerStage

August 2nd, 2011

Lykke Li – SummerStage – August 1, 2011


The smoke machines at SummerStage in Central Park worked overtime last night, creating a sense of intrigue before Lykke Li’s sold-out show. As she emerged through the haze, draped dramatically in a dark veil, Li blended right in with the flowing swatches of dark fabric that sheathed the stage. But shortly after her band began the first few bars of the atmospheric “Jerome,” from Li’s new album, Wounded Ryhmes, off came the veil, on went the strobes and Li began singing with full force.

The Swedish singer-songwriter performed much of the new album’s material, including “I Follow Rivers,” “Youth Knows No Pain” and “Sadness Is a Blessing,” alongside songs off her debut record, Youth Novels, including a captivating version of “Dance, Dance, Dance,” showcasing the impressive skills of Li’s drummer. Li is perhaps often associated with club-ready anthems like the contagious “Little Bit” (which was a huge crowd pleaser last night), but the set also served as a reminder of the singer’s wide range of songs and sounds, including sad and soulful on the piano ballad “Possibility,” to spare, simple and folksy on “I Know Places,” on which Li also played autoharp.

The diversity in her music was matched by Li’s expressive dance moves, singular, genre-spanning gyrations—a mix of mystical Stevie Nicks twirls and Madonna-style voguing with a touch of sleek ’60s girl group, all occasionally punctuated by Li aggressively beating on a cymbal. Although she sang and spun with the assurance of a seasoned pro, toward the end of the show Li blurted out, “I think I’m gonna die. I’m so nervous!” The confession was a tiny peak at the artist underneath the dance moves, whose driving bass and syncopated drums often belie the melancholy lyrics of her songs. After a dazzling show, at the end of the night, Li managed to remain shrouded in a bit of mystery as she disappeared back into the smoke. —Alena Kastin

Photos courtesy of Lauren Glucksman | www.getglucky.com

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You Can’t Keep a Good Man Down

July 19th, 2011

Levon Helm Band – SummerStage – July 18, 2011


In 2007 on Eye to Eye with Katie Couric, Levon Helm made a surprising confession. When asked by interviewer Anthony Mason how throat cancer affected his status as a singer, Helm responded, “I’ve always thought of myself as the drummer and I’d take my turn to sing whenever I’d have to, but my joy is to play the drums.” This sentiment is not a coping strategy, but a humble concession of one talent in the service of another. In fact, Rolling Stone ranked him No. 91 in the list of the 100 Greatest Singers of All Time. Rather, Helm, a drummer for more than 50 years with acts ranging from the Hawks to his career-defining stint with the Band, seems quite pleased to continue drumming into his 70s. And on Monday night at Central Park’s SummerStage, he steadily manned his band’s rhythm section, contented by a workman’s approach and delighted with a broad smile.

Joined by openers Hayes Carll and seminal country musician Emmylou Harris, the Levon Helm Band played from nightfall to rainfall. In the beginning, Helm offered his vocals on the Band classic “Ophelia.” Fans showed great appreciation for the effort, a reminder of Helm’s rare ability to simultaneously sing and drum exceeding well. And despite being able to sustain vocal duties, the rest of his extraordinarily talented band compensated for the loss, singing and harmonizing beautifully throughout the show.

Renditions of country standards “Long Black Veil” and “Deep Elem Blues,” made popular by the Grateful Dead, shared similarities to the original versions but took on a unique, lively character when played by the Levon Helm Band, a reflection of the band’s namesake. So even as rain poured down on the all-ages crowd, Helm and his band’s energy overcame the elements. And when the band closed with “The Weight,” joined by special guests Shawn Colvin, Joan Osborne and David Bromberg, all in attendance forgave the weather and sang along. We’re more than happy to share vocal duties with Helm. —Jared Levy

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com

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Two Legends, One Night

July 15th, 2011


Levon Helm is a member of rock royalty. He grew up in Arkansas but headed to Canada after high school to join rockabilly-star Ronnie Hawkins’ backing band, the Hawks. Eventually he played alongside Rick Danko, Garth Hudson, Richard Manuel and Robbie Robertson before those five struck out on their own. By the mid-’60s, Bob Dylan was looking to go electric and he decided the Hawks were the perfect musicians to accompany him. While Dylan’s plugged-in takes on his folk classics would eventually gain widespread acclaim, it certainly didn’t happen overnight. As the audience’s booing and catcalls intensified, Helm decided to leave the band rather than face that negativity night after night.

In the meantime, Dylan and the Hawks headed to Europe and then to Woodstock after Dylan had a disastrous motorcycle accident there. While they were in upstate New York, they recorded a slew of material—eventually released as The Basement Tapes—at Danko, Hudson and Manuel’s house, affectionately known as Big Pink, in West Saugerties, N.Y. With things going so well musically, Danko invited Helm to rejoin them and write their own music, and somewhere along the way the band became the Band. They toured and released seven studio albums—including their spectacular debut, Music from Big Pink, and their fantastic sophomore effort, The Band—and one of the greatest live albums ever, Rock of Ages.

With their supreme musicianship, vivid storytelling and three of the finest voices (Danko’s, Helm’s and Manuel’s) in the history of recorded music, the Band went on to influence countless musicians and songwriters, and their songs, including “The Weight,” “Ophelia,” “The Night They Drove Old Dixie Down” and “Up on Cripple Creek,” are an enduring part of the rock canon. But, alas, all good things must come to an end. And so the Band closed up shop at the Winterland Ballroom in San Francisco on Thanksgiving Day 1976. It was, quite literally, The Last Waltz. And one of the participants of that epic show was another legend herself, Emmylou Harris, who sat in on a breathtaking version of “Evangeline.” The ageless Ms. Harris, a supremely talented singer-songwriter, has been performing live for more than 40 years. So it’s a real treat to see her playing SummerStage on Monday, 7/20, alongside the Levon Helm Band (above, doing “The Weight” on PBS). And as an added bonus, get there early to see the gifted Hayes Carll open the show.

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Ratatat – SummerStage – July 13, 2011

July 14th, 2011

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

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Big Band, Big Sound, Big Night

September 20th, 2010

Broken Social Scene – SummerStage – September 18, 2010

Broken Social Scene - SummerStage - September 18, 2010
Labor Day has come and gone, but summer technically lives on. The weather cooperated on Saturday, and an outdoor party in Central Park with Broken Social Scene providing the soundtrack was a brilliant idea. Bathed in red light and wasting no time, the Toronto collective launched into “KC Accidental,” the kind of anthem with which normal rock bands close their big-time NYC gigs. Of course, BSS is no normal rock band, and sometime between the blistering three-guitar start and the pogoing, fist-pumping finish, the number of musicians onstage doubled, with horn players and guitars everywhere you looked.

Later on, after an especially powerful “Cause = Time,” frontman Kevin Drew introduced himself to a horn player he said he’d never met. “This type of thing happens all the time in Broken Social Scene,” he exclaimed, and no doubt it does. The music was a magnet for more music and more musicians to make it. And there were enough on hand for a tour de force middle section of “Art House Director,” “Hotel” and “Romance to the Grave.” The latter was perfectly atmospheric and well served by the Sam Prekop’s vocals. In the opening slot, his band, the Sea and Cake, was a perfect foil. Their sound was slim and clean, a late-summer breeze floating on Prekop’s vocals and Archer Prewitt’s drifting guitar. Their bandmate John McEntire was an honorary BSS member for the night, providing double drumming on highlight after highlight.

The sound was big and when coaxed by the soundman to throw caution to the wind and just pay the fine for excessive volume, Drew and Co. didn’t require any arm-twisting, screaming out “Superconnected” with plenty of Andrew Whiteman guitar solos. Pushing up against curfew, even the encore was larger than life: four songs—each of which would have done the trick on its own—anchored by Whiteman’s beautiful “Looks Just Like the Sun.” Summer may have saved its best for last. —A. Stein

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com

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Ween – SummerStage – September 17, 2010

September 20th, 2010

Ween - SummerStage - September 17, 2010

Photos courtesy of Greg Notch | photography.notch.org/music

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Cake – SummerStage – September 16, 2010

September 17th, 2010

Cake - SummerStage - September 16, 2010

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

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The Flaming Lips Light Up SummerStage

July 27th, 2010

The Flaming Lips – SummerStage – July 26, 2010

The Flaming Lips - SummerStage - July 26, 2010
Earlier this year Wayne Coyne, frontman and face of the Flaming Lips, turned 49. For lesser musicians and performers, the late 40s mark artistic decline and looming retirement. However, for Coyne, aging is simply an opportunity to express bold new ideas, bolstered by the credibility of psychedelic rock’s premier band. Last year the Flaming Lips released Embryonic, a double album sprawling with bizarre imagery and extended psychedelic meditations. While the album fit comfortably in the band’s sizable discography, spanning 12 studio albums, it also came as a surprise. Embryonic, ironically, finds the Flaming Lips pushing forward rather than retreating into the comforts of their definitive style. Similarly, on a tepid Monday night at Central Park SummerStage, Coyne and the rest of the band displayed their boundless energy, presenting a live show unlike any other current group.

The entire performance unraveled as a life-affirming experience with “songs about optimistic ways of life.” This mantra began with Coyne descending into the crowd in a giant bubble. OK, maybe that wasn’t original for the Flaming Lips. However, over the course of their two-hour set spanning the group’s choice tracks, Coyne brought out new tricks such as a light-triggered gong, an audience sing-along for Embryonic’s “I Can Be a Frog” and a music visualization that would make iTunes jealous. Additionally, long-time fans gained their rewards from Transmissions from the Satellite Heart’s hit “She Don’t Use Jelly,” while more recent admirers got to sing along with “Do You Realize??” and the politically charged “The Yeah Yeah Yeah Song.” So, though Coyne and the rest of the Flaming Lips are quickly aging toward AARP membership, their penchant for engaging live shows progresses and thrives. —Jared Levy

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com

New Grub at SummerStage

March 26th, 2010
(Photo: Elizabeth Lippman for The New York Times)

(Photo: Elizabeth Lippman for The New York Times)

Seeing a cool show on a beautiful night at Central Park’s SummerStage can be one of the great joys of living in NYC. But the food there? Not so much. Good news, though, because when you head to the park this summer to see bands like John Butler Trio and State Radio (6/15), the Flaming Lips (7/26), the Black Keys (7/27) and Hot Chip (8/4), new culinary treats will await you. According to The New York Times, the Brooklyn Flea will be curating the food this summer. So you can ditch the lame chicken sandwiches and not-so-soft pretzels and embrace the warm offerings of Asia Dog, Pizza Moto and the Red Hook Lobster Pound. A good thing just got better.

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Passion Pit – SummerStage – September 25, 2009

October 1st, 2009

Passion Pit - SummerStage - September 25, 2009

Photos courtesy of Diana Wong | dianawongphoto.blogspot.com

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Phoenix – SummerStage – September 25, 2009

September 28th, 2009

Phoenix - SummerStage - September 25, 2009

Photos courtesy of Diana Wong | dianawongphoto.blogspot.com

Contest

Grow a Pair: Win Free Tickets to See Phoenix on 9/25

September 22nd, 2009

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French synth-rock band Phoenix—along with special guest Passion Pit—is playing two red-hot, sold-out shows at SummerStage this weekend. Tickets were tough to get, but The House List is giving away a set to the show on Friday, September 25th. So try to Grow a Pair by filling out the form below. List your name, e-mail address, which show you’re trying to win tickets to (Phoenix, 9/25) and a brief message telling us why you think France rocks. Eddie Bruiser, a cheese eater from way back, will notify the winner by noon on Friday, September 25th. Good luck.

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A Night of Unique Reggae in Central Park

July 10th, 2009

Matisyahu – SummerStage – July 9, 2009

Matisyahu - SummerStage - July 9, 2009

As summers typically go, this one has been on the weak side so far in New York City. But last night’s show at SummerStage in Central Park was an early highlight in what still remains a long list of outdoor summer concerts in the Big Apple. As the last bit of sunlight pushed its way over the tops of buildings and through the Central Park foliage, opener Umphrey’s McGee finished their set with a long and wonderful cover of the Beatles’ “I Want You (She’s So Heavy).” Their energetic jam-band sound was a perfect warm-up to the laid-back headliner.

The White Plains, N.Y., transport Matisyahu filled what felt like the whole park with his uniquely branded reggae. Spinning in circles and dancing in between verses, his joyous performance carried well into the excited crowd. There was nothing over the top about his set, but there didn’t need to be. His backing band never strayed from their task of chugging out reggae beat after reggae beat, executed well by each member. And Matisyahu never missed a step, perfectly rhyming through a set that included the hits like “Youth,” “Jerusalem,” and “King Without a Crown” that made him a household name in 2006. When the sun was long gone, he wrapped up his set, sending everyone home well aware that summer is here. —Sean O’Kane

Photos courtesy of Sean O’Kane | seanokanephoto.com

See Umphrey’s McGee and Matisyahu on Thursday in Central Park

July 7th, 2009

Some stories seem like you’ve heard them before. But that’s probably not the case with Matisyahu’s. As a teenager on Phish tour, Matthew Miller had an interest in hip-hop and reggae. Later he grew interested in the strict Lubavitch Hasidic sect of Judaism and joined a synagogue where his musical ambition was encouraged. Soon enough Miller had a talented backing band and—under the name Matisyahu—he became an engaging performer of his own mash-up of dancehall, hip-hop, reggae and rock.

Umphrey’s McGee, the progressive-rock group that began at the University of Notre Dame, is part jam (their live shows feature extended onstage improvisation) and part ham (their first studio release was titled Greatest Hits, Vol. III). The band allowed taping of its shows from the very beginning, and as those shows were traded across the country, Umphrey’s earned a following in places the band hadn’t even played yet. They’ve been a national touring band ever since.

What, you ask, does one have to do with the other? They’re both playing SummerStage this Thursday, July 9th. Check out this video of Umphrey’s McGee playing “Made to Measure,” the first song of their most-recent studio album, Mantis. Tickets are still available for Thursday’s show, and if you are, too, get yourself to Central Park.

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An Instrumental Soundtrack to a Movie That Doesn’t Exist

July 1st, 2009

Explosions in the Sky – SummerStage – June 30, 2009

Explosions in the SkyHow do four unassuming guys from Austin, Texas, sell out the Central Park SummerStage? By letting the music speak for itself. This was the perfect venue for Explosions in the Sky’s 10th anniversary—open to the sky, the epic instrumentation echoing the dramatic landscape of towering buildings surrounding the park as the sun went down and the light faded.

This is not a conventional group. They have a deliberate anti-star image. Without a real frontman, you’re left to approach the band as a whole entity. No one is introducing the songs, no one is getting the crowd going. There’s no typical stage show, aside from watching guitarist Munaf Rayani sway, back to the crowd, in his own world. Yet last night the entire audience spontaneously reacted to every rise and fall in rhythm with cheers, even clapping along to the song “Catastrophe and the Cure” as they realized it was all coming to an end.

Since the beginning of their career, Explosions in the Sky have defied the conventions of song structure in a surprisingly accessible way, as the turnout of 5,000 fans attested. The music is all about the timing, allowing for space, letting everything breathe, forgetting about the prescribed standards of pop-music length. As the music is instrumental, it’s not about the individual songs—this is meant to be experienced as an entire movement, not unlike a symphony: all at once, uninterrupted, alternating between delicate melodies and erupting passages. It’s a soundtrack to a movie that doesn’t exist.

Contrary to another live-rock custom, they don’t play an encore at the slightest provocation. Last night was no exception. When they ended the set with “The Only Moment We’re Alone,” they gave it everything, throwing themselves into the massive soaring guitars. There’s nothing left but the ringing in your ears. —Jason Dean