Tag Archives: Live Music

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Spoon Deliver Career-Spanning Set at Brooklyn Steel on Tuesday Night

November 29th, 2017

Spoon – Brooklyn Steel – November 28, 2017


Few bands have been as consistently great for as long as Spoon have. It was a claim music critics might have made maybe five years ago, and Spoon have since released another classic album and another one after that, too. Last night the Austin, Texas, group sold out Brooklyn Steel for their first New York City show since the release of the much-acclaimed Hot Thoughts. Their set list could have pulled from any Spoon era and the energetic crowd would’ve been satisfied. Instead, fans got a career-spanning set, a welcomed reminder for Spoonheads that this band’s catalog is now a very deep well.

The performance kicked off with the Hot Thoughts banger, “Do I Have to Talk You Into It,” with the bouncy synth and keyboard arpeggios welcoming Spoon to the stage. They were backlit with intensely bright colors reminiscent of the Hot Thoughts album cover, alternating between warm and cool tones to match song spirits. For “The Beast and Dragon, Adored” the stage turned a hellfire crimson red. “I Turn My Camera On” began with an epic jam featuring some wobbly guitar harmonics. It had the song feeling almost like a reimagined early era Modest Mouse number (think “Dramamine”). Frontman Britt Daniel faced some sound issues with his guitar mid-set but they made the best of it. If nothing else, it provided the rest of the band ample time to mutate the typically classic-sounding rock jam “Don’t You Evah” into an all-out noise-rock jam.

“The Underdog,” a clear fan favorite, might be the closest thing we’ll get to a Spoon theme song. For a band cast aside by their major label early on, only to have a long career championed by indie labels, lines like “You got no fear of the underdog/ That’s why you will not survive,” sound like an epic FU to the major labels blindsided by the music era in which Spoon have flourished. Their encore kicked off with Daniel alone on guitar singing “I Summon You” followed by the early career favorite “Metal Detektor” off 1998’s A Series of Sneaks. They ended the night with “Hot Thoughts” and “Rent I Pay.” One more thing worth noting is the greatness of drummer Jim Eno, a man who doesn’t get enough credit. In a live setting, it’s striking how many Spoon songs are carried by an on point Eno rhythm. He’s a drummer in the spirit of Ringo Starr. In a way he’s the band’s ethos personified—nothing too flashy or over the top, just always on point, on rhythm and, well, consistently fucking great. —Dan Rickershauser | @D4nRicks

Photos courtesy of Adela Loconte | adelaloconte.com

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Liam Gallagher – Terminal 5 – November 27, 2017

November 28th, 2017


Photos courtesy of Joe Papeo | www.irocktheshot.com

Contest

Grow a Pair: Win Free Tickets to See Spoon on 11/29

November 28th, 2017

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Beloved Austin, Texas, four-piece Spoon bring their newest album, Hot Thoughts, to Kings County this week to play Brooklyn Steel tonight and tomorrow. Both appearances sold out right away, but The House List is giving away two tickets to tomorrow’s show. Don’t have any and want to go? Try to Grow a Pair. It’s easy. Just fill out the form below, making sure to include your full name, email address, which show you’re trying to win tickets to (Spoon, 11/29) and a brief message explaining your favorite tune on the new LP. Eddie Bruiser, who’s still full from Thanksgiving, will notify the winner by tomorrow afternoon.

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Catch the Suitcase Junket at Wednesday Night at Rough Trade NYC

November 28th, 2017

For singer-songwriter Matt Lorenz just about anything can be musical. As the old school one-man band the Suitcase Junket, Lorenz makes a bluesy joyful noise with a beaten-up guitar rescued from a dumpster and his raspy, lived-in voice, plus just about anything else, including repurposed objects like banged-up pots and empty gas cans. Lorenz performs and records solo, and his fourth LP, Pile Driver (stream it below), came out this past spring. “Lorenz’s musical interests turn out to be as diverse as his instrument collection, and Pile Driver runs a wide gamut of styles over its 12 songs,” said PopMatters. “The variety and songwriting are what make Pile Driver a thoroughly entertaining record. Lorenz manages to do a lot of different things with his set up and he does most of them well.” Catch the Suitcase Junket (above, doing “Earth Apple” for Folk Alley Sessions) live at Rough Trade NYC tomorrow night. New Paltz seven-piece Upstate Rubdown open the show.

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Don’t Miss Angel Olsen Live at Town Hall on Wednesday Night

November 27th, 2017

Angel Olsen (above, performing “Give It Up” live on Conan) is a two-faced musician … in the best way possible. Her music is both emotionally plainspoken and honest, something to listen to and contemplate, and her music is gritty and rocking and groovy, something to move your body to. Appropriately, she now has two relatively new records out, 2016’s proper studio album, the highly acclaimed My Woman (stream it below), and the recently released Phases (stream it below), an assembly of B-sides and demos. While the latter is a stripped-down living-room affair often featuring little more than Olsen’s voice and the former a fully realized, full-band vision, they both manage to show off her two sides. Luckily Olsen’s touring band is adept at both featuring her depth, allowing the singer-songwriter space when needed and then digging in to get the crowd moving. Luckier still, she will be showcasing her two faces in two different boroughs in two different rooms in this city, with two nights—Wednesday and Thursday (which is already sold out)—at Town Hall and then Friday night at Brooklyn Steel (which is also already sold out). While each venue might naturally better lend itself to one side of Olsen’s talents or the other, she’s sure to show off all she’s got each night. San Francisco quartet Heron Oblivion open each night. —A. Stein | @Neddyo

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Twiddle Need No Introduction at the Space at Westbury on Wednesday

November 27th, 2017

Twiddle – the Space at Westbury – November 22, 2017


At some point, up-and-comers on a hot streak don’t just keep coming up—they arrive. And in the past two years, that’s happened to Twiddle, the Vermont quartet that through aggressive touring and a relentless, old-school, word-of-mouth approach to fan-base cultivation, has earned a place in the conversation of groups that define this next generation of jam bands. They may not be for everybody, as someone once said about another Vermont foursome heavy on improvisational chops, left-of-center songwriting and a constellation of influences. But they do what it is they do in earnest, and what they do is take quirky, friendly rock, funk, reggae and boogie tunes—written with both a free-associative innocence and a knowing wryness—and stretch them wide, wringing out their jammy possibilities, whether that takes five minutes or 45.

And man, Twiddle are infectious: Singer-guitarist Mihali Savoulidis, keyboardist Ryan Dempsey, bassist Zdenek Gubb and drummer-percussionist Brook Jordan are obviously having so much fun together that you get the sense they’d be doing this regardless of whether crowds showed up. As it happens, crowds do show up, and the Space at Westbury’s packed assembly was a typically lively one on Wednesday night, the first of three local Thanksgiving shows to close Twiddle’s fall tour. The band was smiley and loose—are they ever not smiley and loose?—and indulged one long, shape-shifting headliner set like they had all the time in the world. Shows like Twiddle’s are defined by ephemera—this moment, these players, played like this, with these progressions, asides and hairpin turns, and all in a way that by definition will never happen the same way again.

Twiddle built their Space at Westbury set around two expansive suites, one involving the exhilarating jam vehicle “Amydst the Myst,” and the other around fan favorite “Doinkinbonk!!!,” allowing all four members ample room to stretch out over Gubb’s roiling bass in a series of chameleonic jam segments. The band customarily threw in some guests too, including guitar prodigy Brandon “Taz” Niederauer, a frequent Twiddle-in–New York sit-in, who stepped out for a shredding “Syncopated Healing,” and keyboardist Josh Dobbs, of local favorites Cats Under the Stars, for the Beatles’ “Rocky Raccoon.” Twiddle have hit a point now where any show they play is a good introduction, and this was a fine specimen. But based on the roars of appreciably larger crowds, we’re past the introduction stage. —Chad Berndtson | @Cberndtson

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The Weather Station Come to Rough Trade NYC Tomorrow Night

November 27th, 2017

For more than a decade, singer-songwriter-actress Tamara Lindeman has led the Toronto folk outfit the Weather Station (above, performing “Thirty” live for eTown), surrounded by a rotating group of band members, now made up of Ben Whiteley (bass), Adrian Cook (pedal steel) and Ian Kehoe (drums). The band’s self-titled rock-leaning album (stream it below) arrived this past September to rave reviews: “The Weather Station is Lindeman’s loosest, most confident album yet, but it may also prove to be her most deeply psychological; she doesn’t hold back,” exclaimed Exclaim. “Toronto songwriter Tamara Lindeman self-produced her bold fourth LP. From front-to-back, this is the first Weather Station album that sounds as fleshed-out and powerful as the world it contains,” said Pitchfork. “I’ve been a fan of the Weather Station for a while now and always quite enjoyed her albums, but this one is on another level,” added NPR’s Bob Boilen. “These songs sit in a place between thought and expression, where the music flows confidently from heart to tongue.” Catch the Weather Station live at Rough Trade NYC tomorrow night. James Elkington and Adeline Hotel open the show.

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Bleachers – Brooklyn Steel – November 21, 2017

November 22nd, 2017


Photos courtesy of DeShaun Craddock | dac.photography

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Pigeons Playing Ping Pong Headline Brooklyn Steel on Friday Night

November 22nd, 2017

Greg Ormont (vocals and guitar), Jeremy Schon (guitar and vocals) and Ben Carrey (bass and vocals) met eight years ago while at the University of Maryland—in 2015 Alex Petropulos replaced original drummer Dan Schwartz—and what began as a dorm project has become a full-time job, Pigeons Playing Ping Pong. Mixing psychedelic funk, fun-loving enthusiastic live performances, a healthy dose of improvisational jamming and a straight-up cool light show has earned the Baltimore band fans across the country, often appearing at bigger venues each time they return to a city. But they’re not only known for playing live. In fact, Pigeons Playing Ping Pong (above, doing “Sunny Day”) put out their fourth LP, Pizazz (stream it below), about a month ago, which has again prompted them to hit the road. Extend your Thanksgiving festivities and see them on Friday night at Brooklyn SteelFlamingosis opens the show with funky hip-hop beats.

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Lukas Nelson Goes Real and Raw at Music Hall of Williamsburg

November 21st, 2017

Lukas Nelson & Promise of the Real – Music Hall of Williamsburg – November 20, 2017

Lukas Nelson, yep, Willie’s son, mmm hmm, sounds remarkably similar in voice, yada yada yada. We get that out of the way because it’s a little cliché by now, although Nelson certainly had to know what he was signing up for in the wake of his dad’s more-than-60 year career as a legend of country and popular music—and sounding a little, or a lot, like dear old dad ain’t exactly something to sweat. But the even better news is that Lukas is doing a damn fine job carving his own path while staying true to his pedigree: His music goes deep, sounds great loud or soft, tugs at downright Willie-like strands of universal truth and heartache, and is a rollicking good time, through and through.

Nelson and his stalwart band, Promise of the Real, closed a slam-bang tour last night at Music Hall of Williamsburg, showing he and they have learned a lot from two musical fathers, Willie, of course, and also Neil Young, whose been backed by Promise of the Real off and on for the last two years. But the takeaway is that Lukas isn’t the second coming of either Willie or Young so much as the first coming of Lukas Nelson. His was a gutsy, emotional, genre-hopping set, heavy with material from Promise of the Real’s outstanding eponymous 2017 album, and full feeling at just over an hour and a half. Behind the throttle of a six-piece band that incorporated soulful keys as often as it did gnarly pedal steel, it was possible to call this good-time rock and roll without further pinning it down, although the show had everything from country and soul to ragged blues and bar-band boogie.

“Set Me Down on a Cloud” soared like a gospel tune, while “Four Letter Word” and “Die Alone” were roughed-up rock, sometimes in an early ’70s Stones vein. “Fool Me Once” was a Lukas tune that seemed to straddle honky-tonk and R&B, shot through with gorgeous organ. “Just Outside of Austin” sounded like Willie, but perhaps even more like Glen Campbell, unpretentious and introspective. Throughout, Nelson and team showed a knack for set-list composition, including a mid-show acoustic set and also throwing in some Tom Petty (an acoustic, slow-swinging “Breakdown” with superb crowd accompaniment and a thrilling “American Girl”), and, in perhaps an early Thanksgiving nod to The Last Waltz, the Band’s “Up On Cripple Creek” and Dylan’s “I Shall Be Released” with opener Nikki Lane and members of her band. If there was a standout, it might have been the stand-back-or-get-bowled-over “Forget About Georgia,” which sounded like what old Willie might if he were in a howling mood and fronting Crazy Horse. It began as a bleary-eyed honky-tonk croon and, over 10-plus minutes, mutated into a wailing guitar squall. It was raw and real, no promises needed. —Chad Berndtson | @Cberndtson

Photos courtesy of Marc Millman Photography | www.marcmillmanphotos.com/music

Contest

Grow a Pair: Win Free Tickets to See Liam Gallagher on 11/27

November 21st, 2017

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Former Oasis frontman Liam Gallagher released his debut solo album, As You Were, last month. Still touring America in support of it this month, he comes to Terminal 5 next Monday night. The show sold out very quickly, but The House List is giving away two tickets. If you want ’em to be yours, try to Grow a Pair. It’s easy: Just fill out the form below, making sure to include your full name, email address, which show you’re trying to win tickets to (Liam Gallagher, 11/27) and a brief explanation of your favorite thing about Thanksgiving. Eddie Bruiser, who’s already eaten stuffing six days in a row just to be prepared, will notify the winner by next Monday. Good luck and happy Thanksgiving.

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Shake Off Thanksgiving with Cut Copy at Terminal 5 on Friday Night

November 21st, 2017

What began as a solo project for DJ-producer Dan Whitford blossomed into a trio with guitarist Tom Hoey and drummer Mitchell Scott onboard for the 2004 release of debut full-length Bright Like Neon Love (stream it below) and then turned into a four-piece with bassist Ben Browning joining Cut Copy (above, performing “Future” live in studio for KCRW FM) for their third LP, 2011’s Zonoscope (stream it below). And by then the band’s deft mix of classic disco and electronic pop had people making comparisons to LCD Soundsystem and Daft Punk. The Melbourne, Australia, dance outfit’s fifth long-player, Haiku from Zero (stream it below), came out two months ago. “Cut Copy always seem to discover new ways to fine-tune their inclusive dance music and keep it sounding fresh and vibrant,” said Exclaim. “Cut Copy are a band that know how to make distinctive, original electronica that—crucially—sounds like them,” added the Line of Best Fit. “It’s pretty and smooth; the shimmers and reverb of their earlier records have been compressed into a concentrated essence of what made them great in the first place.” Dance off any lingering Thanksgiving excess and catch Cut Copy live at Terminal 5 on Friday night.



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Ron Gallo and Naked Giants Blur Lines at Rough Trade NYC

November 20th, 2017

Ron Gallo – Rough Trade NYC – November 19, 2017


Sometimes it’s best to start with the end and work your way back to the beginning. Such is the case with the show at Rough Trade NYC last night, which closed in burn-the-house-down fashion, Ron Gallo and his band joined by opening band Naked Giants, two power trios banging around onstage, at least half of the six musicians having removed their shirts, the sweat a couple of hours of no-garage-can-contain-this rock and rolling. The Naked Giants guys had already been onstage for three songs to close out the set, at one point joined by Dr. Dog’s Eric Slick as well, playing both sides of their split 7″ single and culminating in a frenzied cover of the Beatles’ “Helter Skelter.” Apparently they’ve been performing it together all along their tour, but when they played it in Brooklyn last night, it not only was an appropriate show closer, but also unwittingly, and perhaps unintentionally ironically, marked the passing of Charles Manson.

The packed house had been bouncing and percolating to both bands all night, but by this point, the energy from front to back was combustible, bodies slamming into one another and carelessly bounding up and down. Whatever the opposite of “quiet Sunday evening at home” is, this was it. The preceding set from Gallo and his trio had been an exercise in blurred boundaries, playing songs from their appropriately titled Heavy Meta record. The demarcation between headliner and opener seemed fluid, at one point midway through, after singing a song apparently about two headlining bands, the Naked Giants guys came on and swapped instruments, allowing Gallo and his group to hop into the audience to rock out with the crowd. Indeed the fourth wall between the performers and audience was as equally dynamic throughout, Gallo not only coming down off the stage on multiple occasions, but also chatting and bantering with folks in the audience, and the musicians mimicking the propulsive dancing of the crowd. At one point Gallo was able to merge all of the audience requests into one surreal medley, blowing into his trumpet and then threading together a few seconds of an unintelligible “Free Bird” with “Fight for Your Right to Party” and, of all things, “One of Us.”

The boundary between rock and roll show and performance art also disappeared, stretching back to the opening moments of Gallo’s set, when he played a little trumpet and then read a prepared introduction statement from a piece of paper seemingly channeling Christopher Walken. At other points, Gallo played his guitar with and on a skateboard. But for all the shenanigans, his set was a rage of rock and roll, channeling the great trios like the Jimi Hendrix Experience and Cream along the way. With Joe Bisirri on bass and Dylan Sevey on drums, the three-piece was greater than the sum of their parts, breathing fire into the material from the beginning. And as we continue to work our way backward through the night, we once again find Seattle’s Naked Giants. Seen from the end, their set was a bit of foreshadowing—their intense and thoughtful guitar-bass-drum rock a perfect tee up for the night. Their songs seemed to have a mind of their own, losing themselves in the middle to stray here or there in is-this-another-song fashion before hitting the head and drawing to a close. —A. Stein | @Neddyo

Photos courtesy of Silvia Saponaro | www.saponarophotography.com

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Five Questions with Kamasi Washington

November 17th, 2017

Back in 2015, saxophonist extraordinaire Kamasi Washington (above, performing “Re Run” live in studio for KEXP FM) put out the aptly named triple album The Epic (stream it below) to universal acclaim—becoming one of the hottest jazz musicians on earth in the process. He’s since toured the world and then returned this past September with the impressive EP Harmony of Difference (stream it below). Now out on the road, crisscrossing America’s highways and byways, Washington, with pedal-steel virtuoso Robert Randolph as a special guest, plays Terminal 5 next Wednesday, the night before Thanksgiving. (Local favorites—and feisty live performers—Break Science open the show.) Last weekend, Washington (below, doing “The Next Step” live for Paste Studios) rang up The House List from Cleveland to answer Five Questions.

As a touring musician do you notice if your music is received any differently in New York city than it is elsewhere? I feel like the response has been pretty universal for me, but I’ve always gotten a lot of love in New York, which is a huge honor because you see everything there. And it humbles me every time. New York has an energy that’s unlike any place in the world. There’s just so much going on that you get supercharged.

Once material is recorded, does it stay that way permanently? Or as you play songs live do they continue to stretch and grow? They stretch and grow and change every night, basically. The recording is the version I heard in my head. It’s the definitive version, but live we do it different every time.

As a jazz musician, you appear at nontraditional venues and you’ve played huge festivals like Coachella and Bonnaroo. Was this part of your plan all along to cross over? Or has it just been a natural progression of where your music’s taken you? It’s where my music naturally wants to live. It’s definitely rooted in jazz. It’s my foundation. But there’s lots of other kinds of music in there. And it doesn’t really fit into one box very well. We definitely still play jazz clubs, but it’s natural to jump to different kinds of clubs and audiences—different experiences, sitting down in one place and standing in another. It’s options: Every day do something different.

You’ve appeared on albums by Kendrick Lamar, Run the Jewels and, back in the day, Ryan Adams. Is that something you’re still looking to do? And now that you’ve made such a name for yourself is there any chance you’d look for some of them to appear on your albums? Yeah, man. I’m always open to adding people to my music and I still love working with other artists. But I’m enjoying focusing on my own music and collaborating with my friends. I always leave it up to the music. The music dictates to me what to do with it. If it feels like it needs this or that, I’ll try to get it. But I never try to force it.

For someone who’s never seen you perform before, how would you describe a live Kamasi Washington show? It’s different every time. I try to connect to the room and the vibe, a journey we all go on together. I hope what it feels like is very inclusive. The music connects us and we all push the night in the same direction. And by the end we’re all together in one place. —R. Zizmor | @Hand_Dog

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Slowdive Look Toward Their Past and the Future at Union Transfer

November 16th, 2017

Slowdive – Union Transfer – November 15, 2017

(Photos: Silvia Saponaro)


Perhaps there’s no better description of Slowdive than the one on their Twitter page: “Formed in 1989 in the Depths of Reading, UK. We like noisy guitars and cool pedals.” In two sentences, the band captures their long history and general musical aesthetic. The latter, while evident on their earlier records, is revived on their most recent release, Slowdive. The album is their first in 22 years, and it gives new material to their devoted fan base while making a pitch for another generation of listeners in 2017. Both crowds came out on Tuesday night at Union Transfer for a packed, sold-out performance.

Being there, the most immediate sensory impression was total visual immersion in a carefully planned light show. Lamps, strobes or a background video—and in some cases, all three—accompanied each song. Sometimes it was overtly synched with the music, like the loop of a white pill rotating in space for “Sugar for the Pill.” Other times, it was an all-out assault of brightness and backlighting. This, paired with the band’s all black clothing, made the experience of seeing Slowdive a deeper exploration of their sound and mood.

Looking around at the audience, both young and old stared at the stage, smiling, or taking a break from the visuals, closed their eyes and moved their heads with the music. Plainly, they sounded great. The vocal interplay between Rachel Goswel and Neil Halstead came through clearly and beautifully, the two voices sounding as good as their earlier work. It was a night to both bask in the nostalgia of an earlier sound and celebrate the return of the noisy band from the depths of Reading. —Jared Levy | @Playtonic