Tag Archives: Woodstock
Tags: Eric Howk, Gregg Greenwood, Jason Sechrist, John Gourley, Kyle O’Quin, Live Music, Music, New York City, Photos, Portugal. The Man, Terminal 5, Woodstock, Zachary Scott Carothers
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Next week, Portugal. The Man—John Gourley (guitar and vocals), Zachary Carothers (bass and vocals), Kyle O’Quin (guitar, keys and vocals), Eric Howk (guitar) and Jason Sechrist (drums)—will release their newest album, Woodstock, which features, among others, Richie Havens, Son Little and Fargo’s Mary Elizabeth Winstead. It’s the band’s eighth long-player, but their first in more than four years. And while four years might not feel like too long, in Portugal. The Man years, it’s close to a geological epoch. With the lead single, “Feel It Still” (above, performed live on KEXP FM), already making waves—its soulful psych-pop working it to the top of the alt-rock charts and its politically charged video drawing the ire of certain media types—the anticipation for Woodstock is high. New York City will get an extra-special preview of songs new and old when Portugal. The Man stop by for two appearances at Terminal 5 this week, tomorrow and Wednesday. (L.A. duo Electric Guest and the Bronx’s own Kemba open each night.) PTM shows are always don’t-miss affairs, combining sing-along hooks, dense, Pink Floyd-ian space-outs and usually a surprise or two. So do yourself a favor: Don’t miss. —A. Stein | @Neddyo
Tags: Aaron Stein, Electric Guest, Eric Howk, Fargo, Jason Sechrist, John Gourley, Kemba, Kyle O’Quin, Live Music, Mary Elizabeth Winstead, Music, New York City, Pink Floyd, Portugal. The Man, Preview, Richie Havens, Son Little, Terminal 5, Woodstock, Zachary Scott Carothers
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Cut Copy – Terminal 5 – March 22, 2014
Terminal 5 might damn well be the perfect venue for a Cut Copy show. The band had two sold-out weekend appearances there to make this point. The finer moments of their second night—“Take Me Over,” “Where I’m Going,” “Saturday” and “Lights & Music”—spurred three different levels of bodies moving more or less in unison. It was a sight to see, and if you were there and hearing Cut Copy’s music live, it was an experience impossible to deny.
Every little corner of the place was filled with dancing concertgoers: people trying to order drinks, the bartenders, people in line for the bathroom, security guards, you get the idea. Dancing down on the main floor and looking up made one feel like part of a larger, spectacular movement, while looking down on all of this from the third floor inspired feeling like the king (or queen) of the world. I’d imagine it was even more fun to witness this from the stage, watching this giant feedback loop of energy blasted out from the band to the dancing audience, and seeing that energy boomerang back to the stage and those conducting the experience. The breakdown of “So Haunted” had Cut Copy’s guitarist climbing on top of the drummer’s kit, smashing down on the cymbals with a tambourine. This wasn’t an act of free will, he had no choice: The energy in the venue demanded it.
Cut Copy’s music has always felt nostalgic in a way, like they’ve taken the electronic music of other eras and perfected it. Watching them tear down Terminal 5 reminded me of documentary footage from the early days of rave culture, with drugged-out electronic- music fans trying to explain rave culture as if it were some significant cultural phenomenon on par with Woodstock. Having not taken part in that era, it always sounded naive and silly. But find a good show with dance music powerful enough that it has everyone dancing on the same wavelength, and you can see their point. —Dan Rickershauser