Tag Archives: Terminal 5
Jordan Houston, who writes, raps and produces as Juicy J, is most well known as one of the founding members of the Academy Award–winning hip-hop group Three 6 Mafia. But he’s been increasingly making a name for himself as a solo artist thanks to collaborations with the likes of Katy Perry and Usher and his 2012 strip-club friendly “Bandz a Make Her Dance” with Lil Wayne and 2 Chainz. His third solo album, Stay Trippy (stream it below), arrived last year. AllMusic proclaimed it “a pimp party of the highest order.” But despite being so closely associated with partying—he’s out on the road on his Never Sober tour—and strip clubs, Juicy J (above, doing “Bounce It” live on The Aresenio Hall Show) isn’t just about having a good time: “I’ve got a lot of songs about having fun and partying, but it’s a lot of work. Sometimes, I make 50 songs and pick out the best 10. I’ve been in the studio all day, all night, making the beat, writing the raps. You never know what’s gonna be a hit,” he tells Time Out New York. See him play Terminal 5 tomorrow night. Juicy J’s older brother, Memphis rapper Project Pat, opens the show.
Australian beatmaker Flume kicks off his North American tour this week with three sold-out shows at Terminal 5, and The House List is giving away two tickets to see him perform on Friday night. Don’t have tickets but want to go? Then 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 your trying to win tickets to (Flume, 7/18) and a brief message explaining exactly what it is about Harley Streten’s music that gets you moving. Eddie Bruiser, a big fan of Aussies, will notify the winner by Friday. Good luck, mate.
Little Dragon – Terminal 5 – June 20, 2014
I can remember it like it was yesterday. A magical summer day two years back after a downpour rinsed off Brooklyn and the steamy heat rose to engulf the members of Little Dragon as they stepped onstage at Celebrate Brooklyn at the Prospect Park Bandshell. The Swedish electro group, led by Yukimi Nagano, had been touring in support of their latest, Ritual Union. I had just recently returned from Sweden where I had attended a wedding, and coincidentally the happy couple danced the night away with me that unforgettable evening. Needless to say the quartet had a lot to live up to that summer night.
Playing the first of two sold-out shows at Terminal 5 on Friday night, Nagano and gang slowly marched onstage with drummer Erik Bodin leading the procession dressed in a black unitard replete with sewn-on DayGlo flowers. Fans knew they were in for a treat. Opening with “Mirror,” from their recent release, Nabuma Rubberband, the frontwoman swayed in her knee-high socks and sparkly dress. The crowd erupted for “Please Turn,” from Ritual Union, as a sea of bodies undulated across the dance floor. Nagano got into her groove twirling and shaking her tambourine to “Underbart,” which led into claps from the elated audience for “Crystalfilm.” Expressing their joy to be back in New York City, the lady of the night informed revelers that it was Midsummer’s Eve, a big holiday for Swedes in which “everyone gets crazy and dances around.”
No difference on Friday in New York City. In the meat of the set, “Ritual Union” and the new LP’s lead single, “Klapp Klapp,” climaxed the night with a confetti-cannon explosion. How’s that for a celebration? A short exit barely fooled the audience into thinking that there wouldn’t be an encore, as the Swedes returned promptly with a trio of treats: Nabuma Rubberband’s title track, plus oldies but goodies “Runabout” and “Twice.” As if a confetti cannon weren’t enough, a balloon drop was perfectly triggered when the second-to-last song ended, leaving a cloud of inflated friends looming. Terminal 5 was a flurry of Midsummer converts as they exited the venue against stray balloons following them into the night. —Sharlene Chiu
Little Dragon close out their U.S. tour this weekend with two sold-out shows at Terminal 5 on Friday and Saturday, and The House List is giving away two tickets to Saturday’s show. Want to go? Try to Grow a Pair. 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 (Little Dragon, 6/21) and a brief message explaining exactly what about this Swedish synth-pop five-piece does it for you. Eddie Bruiser, who’s been listening to their most recent album, will notify the winner by Friday. Good luck.
It’s probably safe to say Alain Macklovitch has music in his blood. His older brother, David, handles guitar and lead vocals in Chromeo as Dave 1. And Alain has risen to prominence as a turntablist, producer and label head—he founded Fool’s Gold Records alongside Nick Catchdubs. But if his name doesn’t sound familiar, that’s probably because you know him for his DJ work as A-Trak. He’s won a slew of awards and DJ-battling championships, not to mention his numerous singles, EPs, mixtapes and remixes of big names like Kanye West, whom he’s often performed with, and Yeah Yeah Yeahs. A-Trak (above, performing on Holy Ship!) is equally at home in small clubs, big festival stages and arena and stadium shows. And he’ll have you dancing tomorrow night at Terminal 5. Cam’ron and Salva open the show.
Tags: A-trak, Alain Macklovitch, Cam’ron, Chromeo, Dave-1, David Macklovitch, Fool’s Gold Records, Holy Ship!, Kanye West, Nick Catchdubs, Preview, Salva, Terminal 5, Video, Yeah Yeah Yeahs
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Manchester Orchestra – Terminal 5 – May 22, 2014
In what felt like the loudest show at Terminal 5 in a long time, last night, Georgia quintet Manchester Orchestra spent well over an hour eviscerating the eardrums of their fans from the mosh pit up front to the couches on the third floor. Song after song, the heavy distortion of both Andy Hull’s and Robert McDowell’s guitars was inescapable no matter where you moved throughout the venue, while Andy Prince’s bass and Chris Freeman’s keyboards filled in much of the rest of the sonic space. Tim Very’s drumming, which has become its own spectacle since he joined the band a few years ago, rounded out the band’s massive sound. Few drummers look like they hit cymbals and skins as hard as Very, who seems to use every bit of motion he can muster to crash along the beat with a force that makes you wonder how he doesn’t break his drums, let alone his sticks.
The band, fresh off the April release of their fourth studio album, Cope, skewed older in their set list. While the new album’s thunderous beats and ear-shredding riffs seem primed for exposure on this tour, it’s hard to imagine anyone in the crowd complaining that they got to see the now rarely played “Colly Strings” and “I Can Barely Breathe.” In fact, not even much of Manchester Orchestra’s second-to-last release made it into the set, with just the two fan favorites in “Pensacola” and “Pale Black Eye” being played. No, most of the set list was culled from the band’s debut LP and its follow-up, Mean Everything to Nothing, which ended up being a perfectly heavy complement to the new tracks they performed. Over the years, Manchester Orchestra have played in just about every little venue there is in this city, but their increasingly gigantic sound has finally been putting them in increasingly bigger venues—and boy does it suit them. Just ask one of the thousands of people whose ears will be ringing all holiday weekend. —Sean O’Kane
Mogwai – Terminal 5 – May 9, 2014
Mogwai transcend the traditional model of a band by elevating their playing to fabricate an intensely tangible environment that the listener inhabits. In this way they are more like an orchestra, with their evolving arrangements and sonic projections of the grand dramatic narrative. Mogwai are more gatekeepers to a dark, tempestuous world of their own creation, both menacing and beautiful. Stoic and reserved in typical Scottish manner, they usher in followers with their distinct brand of atmospheric instrumental rock and then pound them into submission
On Friday night, Terminal 5 was the ideal setting for Mogwai to display their experience and depth of catalog, masterfully demonstrating how, over time, an integral commitment to a musical identity can result in a set of carefully selected parts that ultimately stand as a singular, cohesive piece. Right off the bat, the epic “Friend of the Night” ramped up the energy in the room to an aroused pitch, and that gravity was sustained with a tapestry of songs that fed off the moods and contours of one another. New tunes like “Remurdered” built to overwhelming climaxes and were complemented in magnitude by “Auto Rock,” “Rano Pano” and “Batcat,” inducing rousing applause. Other songs like “Deesh” and the awe-inspiring “Mogwai Fear Satan” provided more meditative refrains before blasting back into majestic flourishes. Mogwai even invited additional musicians onstage to catapult certain numbers to greater levels of amplification, a new territory in their alternate world.
In the midst of all of this, Terminal 5 turned into a washing machine of pulsating splashes of light in punctuating unison with earth-shaking sonic movements, pushing beyond the ordinary interaction of listening and watching. It thundered and consumed, in some places abruptly alternating between splintering outbursts and soft undercurrents. The deliberate advance of heavy drums beneath layers of expansive guitars sent impact waves across the room, and from above you could see the crowd swaying like undulating waters, stirred into unified, synchronized movement. By the end, it was like a warm electric current had passed through everyone. There seemed to be an unspoken acknowledgement that a Mogwai show transcends the average concert experience. It’s the difference in reaction between “Oh, that was really good” and “What just happened?” In this way, Mogwai broaden the contemporary music landscape. —Charles Steinberg
The Glasgow post-rockers Mogwai formed in 1995 when three friends, Stuart Braithwaite (vocals and guitar), Dominic Aitchison (guitar) and Martin Bulloch (drums), decided to make music together. With the later addition of Barry Burns (bass, keys and vocals) and John Cummings (guitar), the group became a five-piece trafficking in serious guitar rock, although that guitar rock has also gone through changes. Per Rolling Stone: “Few ’90s rock bands were better prepared than Mogwai for the movie-trilogy blocks of music allowed by the iPod. Over the past 18 years, the Scottish outfit moved from making bombastic explosions in the sky to crafting widescreen soundtracks to goin’ down the road feeling bad.” But on this year’s Rave Tapes (stream it below)—the five-piece’s eighth studio release—things haven’t changed too much. According to Paste, “Mogwai’s nuanced focus is largely dependent upon the illusion of synthetic expansion rather than their trademarked barebones guitar-band meandering on Rave Tapes. Though that electronic dabbling may lurk in and out of the lion’s share of these songs, it’s not as if the band has hung up their spacey, drone-y roots.” Mogwai (above, performing “How to be a Werewolf”) are currently working their way up the East Coast in support of their new album. See them play Terminal 5 on Friday night. The space-rock Majeure opens the show.