Tag Archives: Cage the Elephant

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It’s the End of the Year as We Know It

December 28th, 2017

With 2018 fast approaching, The House List takes a look back at 2017.

Adela Loconte, Photographer @adelaloconte
Top Five Favorite Shows
1.
At the Drive-In, Terminal 5, March 22
2. Arca & Jesse Kanda Live, Brooklyn Steel, July 6
3. The Flaming Lips, Terminal 5, March 9
4. PJ Harvey, Brooklyn Steel, April 20
5. Yeah Yeah Yeahs, Kings Theatre, November 7

Chad Berndtson, Writer @cberndtson
Top Five Favorite Shows
No music fan sees everything, and so much depends on the time, the night, the conditions—my ephemeral joys might be your disappointments. That’s part of the fun, right? Among scores of shows I saw in 2017, here are five nights that stuck with me.
1. Drive By Truckers, The Space at Westbury, February 10
One of the great live bands of the last 20 years has gotten leaner and meaner, unafraid of political jabs or paint-peeler guitar solos.
2. Explosions in the Sky, Capitol Theatre, April 22
Ominous music, loaded with portent, staring into the abyss or looking with a smile at some triumph high in the sky. Heavy, cinematic and deep.
3. Jerry Joseph & the Jackmormons, Mercury Lounge, April 30
A master class in old-school, highly emotional rock energy. Still don’t understand why more people don’t know him, 30-plus years into a career of rough-scuffed folk rock delivered sometimes with tenderness and sometimes with Crazy Horse–like abandon.
4. The xx, Forest Hills Stadium, May 19
OK, I’m buying: Hipster as hell, but what they did was paint an outdoor venue in darkly beautiful soundscapes. The most fun I’ve had getting lost in a band in some time. They turn large, unforgiving venues into intimate listening rooms—and get you dancing.
5. Lukas Nelson & Promise of the Real, Music Hall of Williamsburg, November 20
Nelson has learned a lot from two musical dads: his actual dad, Willie, and also Neil Young, whom the Promise of the Real have backed on and off for years now. The type of show that defines the word swagger—a generous meal of rock, country, folk, blues and R&B by an old-school showman barely in his prime.

Dan Rickershauser, Writer @d4nricks
Top Five Favorite Albums
1.
Big Thief, Capacity
The one record I found myself returning to again and again. It was a shitty year, but something about this album soothed my sorrows. Adrianne Lenker’s songs feel personal yet completely pull you in. May she never let go.
2. Kendrick Lamar, Damn.
This may be my least favorite Kendrick Lamar record to date and yet it’s still the second best album that came out this year. The man’s a legend and the world seems to know it. It’s a good thing he’s so humble.
3. The War on Drugs, A Deeper Understanding
Adam Granduciel, the obsessive studio wizard, put out another beauty, this record even more gorgeous than the last. It’s the sound of rock perfection from a perfectionist.
4. Waxahatchee, Out in the Storm
Katie Crutchfield’s songwriting just keeps getting better. She comes out of the gates swinging with some dangerously catchy jams.
5. Grizzly Bear, Painted Ruins
Of all the great indie bands of the late Aughts returning with new albums this year, Grizzly Bear’s takes the cake. Way too many critics slept on this one!

Pat King, Writer @mrpatking
Top Five Favorite Albums
1. Jens Lekman, Life Will See You Now
I had never really given Jens Lekman a chance as a songwriter, but this year it finally clicked for me in a big way. I got laid off from a job that I thought I loved early on in 2017 and was feeling pretty lost and listless in life. I was taking the train from the city to upstate New York to help my dad with a few big projects and was feeling incredibly low sitting alone on Metro North. All of the sudden, I heard “To Know Your Mission” and was completely overcome with emotion. It was the perfect tune for me at that time and each song that followed helped me understand my situation a little more clearly. I couldn’t believe how wise and endearing Lekman is as a lyricist.
2. Mark Mulcahy, The Possum in the Driveway
Whenever the discussion veers toward musicians who have not been given their just dues, I always think of Mark Mulcahy. As the frontman of Miracle Legion and the Nickelodeon-sponsored Polaris (“ay-yay-yay-yi, Hey Sandy”), Mulcahy had been known for a certain type of feel-good college jangle pop that was certainly a product of the ’90s. What many people may not realize is that his solo releases have been more emotionally and musically rewarding than either of those old projects, and he’s been one of few artists who each album he releases is better than his last. Over the past couple of decades he has reinvented himself as one of the great American balladeers, with lyrics and a voice that can cut you down to the bone. This year’s the Possum in the Driveway is a brilliant testament to his powers as a songwriter and one that proves he is in a league of his own.
3. Pallbearer, Heartless
Pallbearer have always shown promise of being one the best doom-metal bands around. But with their self-titled third album, they’ve transcended the genre and gelled into one of today’s most exciting rock bands. The songs are slightly shorter (although still around eight minutes) but have somehow intensified their scope in a more epic way. With this LP, Brett Campbell has made his case for being one of the best singers in heavy music. His lines never reach the outrageous heights of some of his peers in metal but bring enough power to stop you in your tracks. The same goes for this record’s instrumentation. The songs never feel like they have too many parts or get played out to the point of metal parody. It’s just a front-to-back banger that finally cemented Pallbearer as one of the best around.
4. Björk, Utopia
There aren’t many artists who you could say are peerless in popular music. Björk is definitely one of those artists. Every time she releases a new album, fans wait with anticipation to see where she if she will be able to clear the bar she set for herself on the one before. Utopia is such a statement as a complete work as she tries to understand and find happiness in her life after exploring decimating heartbreak on her last release, Vulnicura. It’s amazing to hear her reach the same breathtaking heights as a visionary artist this far into her career. Bow down and give respect.
5. Robyn Hitchcock, Robyn Hitchcock
Robyn Hitchcock delivered the back-to-basics Soft Boys–style album that many of his fans had been longing for for years. Teaming up with producer (and ex-Raconteur) Brendan Benson, Hitchcock turned up the amps and delivered 10 near-flawless rock songs that reminded us why he is one of the most inventive songwriters around. His wit as a lyricist is still ever-present, but hearing him deliver guitar parts reminiscent of Underwater Moonlight on songs like “I Want to Tell You What I Want” and “Mad Shelley’s Letterbox” was one of the most welcome surprises of 2017 for me.
Pat King’s Top 20 Best of 2017 Playlist: https://open.spotify.com/user/126049064/playlist/2idgUHVCiGSJqKkwkfex8v?si=wewT–RFRfWWxEVV3rmWsQ.

Sharlene Chiu, Writer
Top Five Favorite Shows with “New” Artists
1. SZA, Brooklyn Steel, December 10

So if you haven’t yet heard of SZA, you won’t be able to escape her name anytime soon. Riding a debut album that has already produced two platinum singles, the singer played a very sold-out Brooklyn Steel the night after performing on SNL. Her vibrant stage presence was supported by the Sing Harlem Choir. Girl’s going places and you’ll see her next year at the Grammy’s, where she’s the most nominated woman with five nods.
2. Maggie Rogers, The Bowery Ballroom, April 11
When a video of Pharrell’s reaction to Ms. Rogers’ demo of “Alaska” went viral, she was on the up-and-up. Her performance at a sold-out Bowery Ballroom was not only a homecoming, but it was also a beginning of bigger stages and larger audiences. She became teary and confessional near the end of the set, reminiscing about the previous times she’d been to the venue as an audience member. After her pair of Bowery shows, she set off on a whirlwind international tour taking her to Europe, Australia and Japan.
3. The Cactus Blossoms, Mercury Lounge, July 12
The first time I caught the Cactus Blossoms’ noir-infused honky-tonk was at the Hardly Strictly Bluegrass Festival in San Francisco last year. When I saw they would be playing a late show at Mercury Lounge, I had to be there. Friends, I do not go out late on school nights, but for brothers Page Burkum and Jack Torrey, I made an exception. Their languid waltzes were the perfect soundtrack for steamy July.
4. Jay Som, Rough Trade NYC, June 6
A triad of Asian-American songwriters, including Mitski, Japanese Breakfast and Jay Som have been self-producing music since last year. The latter rolled into a sold-out Rough Trade NYC to charm the crowd with not only her skilled musicianship, but also with her charming wit. Som was recently shortlisted by NPR’s All Songs Considered in their year-end best of 2017.
5. Violents and Monica Martin, Rough Trade NYC, April 26
OK, this one isn’t technically new, but the pairing was. Monica Martin, best known as the frontwoman for the now-on-hiatus Phox, and producer Jeremy Larson aka Violents teamed up for this rare tour. Larson has collaborated with female vocalists before, but this one was special. Songs were paired with cinematic footage ranging from scenes from House Party to sweeping black-and-white scenery. What still sticks in my memory was a haunting cover of Frank Ocean’s “Self Control.”

 

 

 

 

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Cage the Elephant and Portugal. The Man Provide a Glimpse of Summer

May 17th, 2016

Cage the Elephant/Portugal. The Man – SummerStage – May 16, 2016

Cage the Elephant

Cage the Elephant

Those waking up on Monday morning in the NYC area probably had a tough time believing that summer was almost here. With temperatures in the unseasonably low 40s, seeing music outdoors wasn’t an obvious activity for later that evening. But when showtime rolled around, the wind had died down, and Central Park’s SummerStage was packed with people who were more than comfortable as they kicked off the summer-concert season with plenty of temperature-raising rock and roll from the stage.

As far as double bills go, the pairing of Cage the Elephant and Portugal. The Man was relatively inspired. In fact, at times the two sets seemed to echo each other, as if the bands were two sides of the same sheet of paper, each providing answers to the questions posed by the other. Portugal. The Man got things rolling: In contrast to the last time they performed at SummerStage, with lasers and clouds of smoke, they played mostly in daylight, but their set was anything but sunshine. Delving deep into a set list built largely from their Evil Friends and In the Mountain in the Cloud albums, frontman John Gourley and the band found new life in the tour-tested material, adding pockets of serrated guitar to songs like “Holy Roller (Hallelujah)” and extraterrestrial synth to “Head Is a Flame (Cool with It).” The crowd sang along and everyone found their mid-July dancing form, truly enjoying the band’s first NYC appearance in more than a year and a half. A new song was synth-psych Motown, Gourley singing about “coming in hot like it’s summer in the city we’re living in.” The sound dialed in about halfway through their hour-long set, building to a crescendo that peaked as the sun set with “All Your Light,” a fireworks display that opened into four distinct well-choreographed jams of varying intensity that eventually returned to a completely redesigned final verse leading to a blistering take on the outro riff from the Beatles’ “I Want You (She’s So Heavy).”

With the sun fully set, Cage the Elephant began to build the energy even higher. Their opening number, “Cry Baby,” was like a distorted-guitar so-heavy Beatles, lead singer Matthew Shultz bounding and thrashing across the stage. By the second song, “In One Ear,” the audience was ready to clap, sing and dance along as the this-is-a-rock-show lights were in full bloom of the purple, yellow, reds and blues of Portugal. The Man’s set closer. At some point, someone in the crowd threw a phone onstage and got a unique-vantage photo, the summer’s-almost-here party vibe making its annual pilgrimage into the hearts and minds of young rockers everywhere. From there, the show was a dark and smoky dance party, shades of solstice sunshine in “Trouble” with its central core of “ooowoowoo.” Instead of singing about “evil friends,” Shultz warned that there “Ain’t No Rest for the Wicked.” The sold-out audience basked in the reds and blues and white strobe lights as the band worked through material off Tell Me I’m Pretty and Melophobia, with occasional rock-out explosions to match the mood. When the show finally concluded and the lights came back on, it was merely mid-spring again, but as the intermingling music of Cage. The Man still buzzed in the Central Park air, it was clear that summer is almost here.
—A. Stein | @Neddyo

Photos courtesy of Gregg Greenwood | gregggreenwood.com

(Cage the Elephant and Portugal. The Man play SummerStage again tonight.)

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Summer’s Coming: Four Big Shows Next Week in New York City

May 13th, 2016

Summer doesn’t actually arrive for another five weeks or so, but the summer-music season gets kicked off next week in a very big way.

Bowling Green, Ky., quartet Cage the Elephant’s fourth studio album, Tell Me I’m Pretty (stream it below), produced by Dan Auerbach, came out last December, impressing Exclaim!: “If your sister were Anita Miller from Almost Famous, she might tell you to listen to Tell Me I’m Pretty with a candle burning. Matthew Shultz has hit the mark lyrically and vocally here, inviting listeners into the emotionally charged and honest world that Cage the Elephant inhabit. Although we still hear his lo-fi, distorted vocals throughout the record, many moments are left confidently unadorned and clear.” Known for their fiery live performances, Cage the Elephant play SummerStage, alongside Portugal. The Man and Broncho, on Monday and Tuesday.


From the land of Britpop, in Manchester, England, the 1975 (above, performing “Love Me” earlier this year on Saturday Night Live) have risen up as a band with global appeal. Their second LP, I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It (stream it below), arrived in February, topping the charts here and across the Atlantic. “When a band conquers the charts with a fun but inoffensive debut album, you don’t expect them to return with a 17-track follow-up that tempers pop tunes with swampy post-rock instrumentals and references mental health, religion, addiction, loneliness and fame. But the 1975, whose self-titled debut hit number one in 2013, aren’t concerned with playing it safe,” raves NME. They bring their arena-ready rock to Barclays Center on Tuesday night. Wolf Alice and the Japanese House open the show.


Another English band to hit No. 1, Rudimental, the London four-piece, have been making shake-it-don’t-break-it electronic music for just a few years, but that hasn’t stopped them from becoming wildly popular. Their sophomore studio album, We the Generation (stream it below), recorded in Jamaica, came out last fall. The Evening Standard noted its “positive vibes” and “their sunny reworking of dingy old drum and bass.” And on Wednesday at SummerStage, they kick off a short tour with the like-minded North London electronic duo Gorgon City. Brooklyn duo Walker & Royce open the show.

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Foals/Cage the Elephant – Terminal 5 – May 7, 2014

May 8th, 2014
Foals - Terminal 5 - May 7, 2014

Foals

Photos courtesy of Greg Pallante | gregpallante.com

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Twice the Headliners, Twice the Fun

May 12th, 2011

Manchester Orchestra/Cage the Elephant – Terminal 5 – May 11, 2011

Manchester Orchestra - Terminal 5 - May 11, 2011

Manchester Orchestra - Terminal 5 - May 11, 2011

Some bands are extremely nervous when they play their biggest-to-date headlining shows in this city, something both wholly understandable and often noticeable. If the nerves were there last night when Manchester Orchestra hit the Terminal 5 stage following coheadliner Cage the Elephant’s excellent set, they were certainly well hidden. Instead of loosely tripping over one another and making mistakes, the guys in the band were especially unified. And instead of pandering to the massive crowd, lead singer Andy Hull actually challenged them.

After a heavy start that inspired much fist-pumping (not the ironic kind, either), Hull called an audible with “I Can Barely Breathe,” a fairly deep cut from their first LP, I’m Like a Virgin Losing a Child. The crowd sustained the energy from early in the set and it was noticed. “That was, like, a test … and you guys are fans,” said the taken-aback Hull in praise of the audience. Even though he had the crowd he was looking for, the tests continued: During the cacophonous end of “Now That You’re Home,” he reached for the emergency brake that was the haunting “Sleeper 1972,” bringing the sold-out venue to a quiet standstill.

As the crowd continued to meet (and seemingly exceed) Hull’s expectations, he rewarded them in a few different ways. Manchester Orchestra played “Colly Strings,” another deep cut from their debut album that was screamed for throughout the night. And then the frontman began deferring to the crowd for help in choosing among other songs as the set wound to a close—often it was tracks from the band’s day-old new record, Simple Math, the songs from which sounded remarkable performed live. —Sean O’Kane

Photos courtesy of Gregg Greenwood | www.gregggreenwood.com