Tag Archives: Monica Martin


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
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
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.”






Violents and Monica Martin Bring Their Dream Pop to Brooklyn

April 27th, 2017

Violents and Monica Martin – Rough Trade NYC – April 26, 2017

Collaboration (noun): the action of working with someone to produce or create something. Jeremy Larson is a master collaborator and the man behind the indie collective Violents. The multi-instrumentalist not only plays all the music he has composed, but he also writes all of the lyrics. The hitch is that he partners with a female vocalist to bring each of these pieces to fruition. Previous collaborators have included Stacy King (Eisley, Sucre), Olga Yagolnikov (Kye Kye) and Nashville, Tenn., singer Annie Williams. For the first full-length record, Awake and Pretty Much Sober, Larson enlisted Phox frontwoman Monica Martin to flesh out his compositions with her sultry vocals.

Two days before the release of the album, Violents and Monica Martin played their first performance during an afternoon session at the Paste Studios before gracing the stage of Rough Trade NYC last night for their debut concert. Accompanied by the string quartet Rootstock Republic and a drummer (Joe), the duo opened with the glittering “Equal Power,” the first of four tracks released prior to the album. The performance would debut six additional songs, from the come-hither lullaby “Line Lie” to the trip-hop groove of “It Won’t Stop.” Throughout the set, clips of cinematic scenes played, including the iconic dance sequence from House Party providing the backdrop for “Hue.”

Midway through the show, Larson told the story of how the partnership formed after being a long admirer of Martin’s. He confessed he was a little cocky writing songs especially meant for her to sing before ever meeting the vocalist. Luckily a mutual friend got them connected and the rest is history. Martin added that a “shared insecurity” manifested with her singing lyrics she hadn’t written and Larson relinquishing vocal duties. As if new songs weren’t enough to satisfy the crowd, Martin proceeded to cover Frank Ocean’s “Self Control.” The evening was a reverie of dream pop that concluded with the title track and the apt closer “How It Left.” —Sharlene Chiu



Phox Say Goodbye (For Now) at Music Hall of Williamsburg

January 30th, 2017

Phox – Music Hall of Williamsburg – January 28, 2017

(Photo: Sharon Vanorny)

(Photo: Sharon Vanorny)

Amidst an indie-pop music landscape saturated with bands, the Wisconsin-based Phox spent half of a decade delighting fans with their whimsical melodies. Ascending a stage at a local festival, Boo Bash, the members played for the first time in May 2011 for what they thought would be a one-off performance. From there they became the darlings of Baraboo, Wisc., releasing the Confetti EP in 2013 and then their self-titled full-length, recorded in Justin Vernon’s studio the following year. Last fall the band announced that members had agreed to take a “hiatus” to allow for other creative pursuits, from film to graphic novels. For the occasion, the quintet embarked on their Goodbye (For Now) tour, which rolled into a sold-out Music Hall of Williamsburg on Saturday night.

Taking the stage to an opening composed by guitarist Matthew Holmen, the five-piece filed in with their phoxy lead singer, Monica Martin, clad in a shoulder-baring black top and high-waisted acid-washed jeans. She quickly began with the breezy “Leisure,” and keyboardist Matteo Roberts offered his vocals on the opening of “1936” before Martin took back the reins. The crowd participated in a chorus of “Wah oh oh” on “Evil,” which wouldn’t be the only time audience erupted. A cadence of claps was inevitable during fan-favorite “Slow Motion,” and many joined in, singing, “Everything I do, I do in slow motion.” The evening spotlighted Martin, who recently recorded the hypnotic “Equal Powers” with Jeremy Larson’s Violents.

A solo section showcased new material, including a ballad entitled “Make Believe,” and another song served as a cautionary tale about road trips with strangers. The little-sung “Laura” was hard to perform in the past Martin confessed because it was about the relationship with her mother. Saving the best for last, Phox covered the rhythmic chords of Fleetwood Mac’s “Dreams,” and Holman offered a blistering guitar solo on “Noble Heart” to punctuate the set’s end. The band would return to encore with another cover. This time it was Aaliyah’s “Are You That Somebody.” The bittersweet farewell ended with “Espeon” dedicated to Martin’s younger sister in the audience. And as it neared midnight, fans left dreaming of Phox’s swift return in the (hopefully) near future. Sharlene Chiu


Grow a Pair: Win Free Tickets to See Phox on 1/28

January 24th, 2017


The pride of Barboo, Wisc., Phox return to New York City this weekend for a sold-out appearance at Music Hall of Williamsburg on Saturday night as part of their Goodbye (For Now) tour. Don’t have tickets but still want to go? No worries. The House List is giving away two of them. 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 you’re trying to win tickets to (Phox, 1/28) and a brief message explaining why you don’t want to see the band go. Eddie Bruiser, who eagerly awaits your reply, will notify the winner by Friday. Good luck.

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Phox Gain the Friday Audience’s Trust at Union Transfer

February 16th, 2015

Phox – Union Transfer – February 13, 2015

It should be difficult for an audience to trust a band. There are reasons to be skeptical. Despite the usual assurances that band X is happy to be performing at venue Y and loves city Z, audience members ought to understand that touring is a grind. It can’t be the case that every show is the best show or that every city is the best city. Still, it’s an act of faith that keeps concertgoers going to shows, to see bands they love or those that intrigue them.

On Friday night at Union Transfer, Phox proved to be truly genuine. The six-member band from Baraboo, Wisc., walked onstage, illuminated by four marquee letters spelling their name. Lead singer Monica Martin stood in the center, surround by the band’s five male members. She nervously cracked her knuckles and fidgeted before diving into the first song, singing with natural confidence. Maudlin and mid-tempo, at first it seemed out of place, as the guitarist in a pink blazer failed his arms, imploring the drummer to play more aggressively, but it was also quintessential Phox: outwardly confident yet inwardly insecure. The songs ache.

Martin gestured to the significance of the night, Valentine’s Day eve. In her typical humorous yet painfully self-aware stage banter, she mentioned how the third song was about “homeboy walking away,” but circled back, saying, “Happy Valentine’s Day is what I’m trying to say.” And then, midway through the set, Phox made an unexpected decision. They stripped away the electric instruments, grabbed their acoustics, huddled around Martin and played songs just like they “did in the living room.” It was an intimate moment and hard to believe it was unscripted. Still, that was Phox. At another point in the show, they called up multiple friends and the opener, Field Report, to sing “You Are My Sunshine.” It was achingly cute and reminiscent of a Gap ad, but it would be wrong to think poorly of such a sincere moment. They earned the audience’s trust and, in doing so, gained their admiration and respect. —Jared Levy | @Playtonic


A Top Five Look Back at 2014

December 31st, 2014

Colourful 2014 in fiery sparklers

Top Five Albums
1. The War on Drugs, Lost in the Dream
2. Total Control, Typical System
3. Run the Jewels, Run the Jewels 2
4. Coldplay, Ghost Stories
5. Parquet Courts, Sunbathing Animal —Charles Steinberg

Top Five Memorable Shows
1. Feist, Tarrytown Music Hall, 4/10
When I heard Feist was doing a tiny solo acoustic tour, I forked over ducats for this one. There were bits of stand-up-like banter with the audience as she stripped down the material. But what really made the night was a mini-reunion with former bandmate (and ex) Kevin Drew as they dueted on the Broken Social Scene classic “Lover’s Spit.”
2. (tie) Rhye, Webster Hall, 2/21
This performance was a bit misleading because although singer Milosh and producer Robin Hannibal are the members in Rhye, the latter member doesn’t tour. But Milosh’s ethereal voice really is the heart and soul of the pair, and it shone greatest for the hit “Open.” His deceptively androgynous voice sounds at times like Sade or even Antony Hegarty.
(tie) Max Richter, The Bowery Ballroom, 12/7
When I saw that the German-British composer was playing Bowery, I had to hop to it. As Richter usually plays symphony concert halls, it was an interesting choice to play such a smaller venue. The Ballroom felt like a recital hall with the audience entranced. What can I say: I’m a sucker for artists playing unorthodox venues.
3. Glass Animals, The Bowery Ballroom, 7/7
I was recently reminded of this concert when my yoga instructor played “Gooey” in class. Pretty fitting, right? In addition to infectious dance melodies, frontman Dave Bayley’s gangly limbs flayed erratically that evening, bringing to mind another dude named Thom Yorke. The two lads have great music and dance moves to boot. Coincidence? I think not.
4. Phox, Knitting Factory, 7/22
The buzz swirling around this Wisconsin band post-SXSW had me tuned into their album all spring and into the summer. Frontwoman Monica Martin was definitely a bit tipsy, but that didn’t detract from her lush vocals or onstage camaraderie. (Check out Schuyler Rooth’s review of their Mercury Lounge gig.)
5. (tie) Mr. Little Jeans, Rough Trade NYC, 5/10
Opening for Sohn, Norwegian singer Monica Birkenes, aka Mr. Little Jeans, overshadowed the headliner for me. It’s rare when that happens, but this lady has a knack for übercatchy dance-pop songs that streamed through my head all summer. She mentioned how she often came here as a child and was really craving a good slice of pizza. What’s not to love?
(tie) Alvvays, Rough Trade NYC, 7/28
New York City summers are packed with free outdoor gigs throughout the boroughs, but this in-store performance with Alvvays stood out amongst the rest. Their infectiously happy songs illuminated the dark back room of Rough Trade but had folks departing into the night with an extra bounce in their step. —Sharlene Chiu

Top Five Just a Man and His Guitar Solo Sets (chronological order)
Dustin Wong (opening set), The Bowery Ballroom, 4/21
2. Plankton Wat, Trans Pecos, 5/8
3. Steve Gunn, Mercury Lounge, 5/18
4. Willie Watson, Mercury Lounge, 5/21
5. Leif Vollebekk (opening set) The Bowery Ballroom, 11/21 —A. Stein | @Neddyo

Top Five Memorable Shows
1. Sylvan Esso, Rough Trade NYC, 9/11
Both my favorite album and my most memorable live show of 2014 came from Sylvan Esso. Amelia Meath and Nick Sanborn possess unwavering emotive energy, and every single lyric and beat has sunk into my psyche . I saw the duo perform live twice this year, most recently at their headlining show at Rough Trade NYC. The duo’s erudite electronica boosted the audience as they performed the entirety of their self-titled debut album plus and few clever covers.
2. Broods, Mercury Lounge, 3/3
Comprised of New Zealander siblings Caleb and Georgia Nott, Broods blend melodic melancholia with sparkling synths and glitchy beats. After getting wrapped up in their self-titled debut EP, I simply had to see them live. Broods played their first NYC show to an incredibly enthusiastic sold-out crowd at Mercury Lounge.
3. Hozier, The Bowery Ballroom, 5/13
Hozier’s rich voice and ardent lyrics sit front and center in his compositions. When he headlined The Bowery Ballroom back in May, he was flanked by equally talented musicians who created dazzling harmonies with choral echoes and rock hooks. Hozier and his bandmates mesmerized the audience, including me.
4. Dan Croll, The Bowery Ballroom, 4/17
Dan Croll’s brand of pop is highly addictive, and his live show is equally intoxicating. He fuses lilting pop, wonky electronica and tribal beats and tops it all off with clever lyrics and airy vocals.
5. Kishi Bashi, The Bowery Ballroom, 6/4
Kishi Bashi has what so many musicians seek, and that is an astounding live presence. It’s as if this guy belongs onstage. Kishi Bashi played back-to-back sold-out New York City shows this past June and stunned audiences with his whimsical finesse and astute lyrics. This picture and my review prove that Kishi Bashi’s live performance is one big euphoric dream sequence. —Schuyler Rooth | @Schuylerspeak

Top Five Albums
1. Under the Pressure, the War on Drugs
Channeling Dylan and Springsteen beneath Adam Granduciel’s vocals and personal struggles to stunning effect, this Philly six-piece put out, for me, far and away the top album of the year.
2. Benjamin Booker, Benjamin Booker
From the very first listen, Benjamin Booker’s self-titled debut sounds familiar, not like you’d previously heard its influences, but rather you’d actually already heard this album. The music is lived in and alive and a joy to listen to again and again.
3. 77, Nude Beach
Eighteen songs that sound like the love children of late-’70s Tom Petty and Elvis Costello. You’ll smile the whole time you listen to it.
4. Dancin’ with Wolves, Natural Child
Recording for the first time as a five-piece, and moving away from gritty garage rock to
a more full-band bluesy country sound (with a side of boogie), these Nashville boys took a huge step forward.
5. Morning Phase, Beck
Six years removed from his previous offering, Beck’s slow-building emotional relative of Sea Change captures you from the very first note. —R. Zizmor | @Hand_Dog

Top Five Memorable Shows
1. Pearl Jam, I Wireless Center (Moline, Ill.), 10/17
Playing a small (for them) venue (for the first time) on a Friday night in the middle of nowhere, Pearl Jam put on the best show by any band I’ve seen in the past four years. They performed No Code in its entirety and covered Pink Floyd, John Lennon, Van Halen and Neil Young. Frontman Eddie Vedder put it best, comparing the appearance to a blind date: “You get there and she opens the door, and it’s like, she’s hot!”
2. My Morning Jacket, One Big Holiday (Riviera Maya, Mexico), 1/29
I could’ve chosen any of MMJ’s performances from this run, but the last night was the longest show and it particularly stood out thanks to the perfect weather, the we’re-on-vacation-in-the-middle-of-winter party vibe and carefully chosen covers (including Jim James singing, “Something, something, something” in “Rock the Casbah.”)
3. the War on Drugs, The Bowery Ballroom, 3/20
I absolutely loved, loved, loved Under the Pressure and was extremely excited to hear it live. The War on Drugs did not disappoint, plus they even threw in a stellar rendition of “Mind Games” to boot. (As an added bonus, the night began with Drive-By Truckers at Terminal 5 and closed with green sauce and salt-baked goodness at New York Noodletown.
4. Jonathan Wilson, Music Hall of Williamsburg, 2/14
It was a Friday night and Valentine’s Day. But if you were expecting something quiet and romantic, you’d have been way off. Jonathan Wilson and Co. delivered 16 jammed-out (but not self-indulgently) songs over the course of two-and-a-half hours.
5. Deer Tick, Allen Room, 3/6
As part of the American Songbook series, Deer Tick played an incredibly intimate, seated show in front of a wall of windows revealing Columbus Circle below. It was one of those moments that makes you grateful to live in New York City. —R.Z.





A Late Night with Phox at Mercury Lounge

July 24th, 2014

Phox – Mercury Lounge – July 23, 2014

Phox – Mercury Lounge – July 23, 2014
Mercury Lounge filled up quickly last night for electric rockers Trails and Ways, out of Oakland, Calif., and the Wisconsin folk-pop outfit Phox. Trails and Ways, up first, are four friends who self-identify as a bossa nova dream-pop act. They played from their debut EP, Trilingual, including the effervescent tune “Nunca,” and shared a few new songs.

Clearly giddy to be playing in New York City, Phox’s six members took their posts on the tiny stage and launched right into a material from their self-titled debut album. The band’s size doesn’t faze them one bit. Their onstage chemistry is due in part to the fact that they grew up together, attending the same high school in a very small town. So what could easily be a tumble of clumsy fingers on instruments is instead a web of warm harmonies, clever strings, quiet keys, bold beats and even the occasional trumpet. Suffice it to say, there is an undeniable kinship here. Singer Monica Martin’s airy, lilting vocals were front and center, and her fellow bandmates took turns playing sparkling solos.

“Noble Heart,” “Kingfisher” and “Slow Motion” showcased Phox’s flare for sneakily swelling harmonies. Anecdotes from Martin—whose idiosyncrasies are downright charming—peppered the set. The band brought up a friend, John Cameron Mitchell, who sang a gorgeous rendition of “Why Try to Change Me Now” (made popular by Frank Sinatra) with Martin as the two sipped martinis. Although the show ran late and the crowd trickled out around 1 a.m., it was well worth burning the midnight oil to see two truly talented teams of musicians work their magic. As far as live performances go, Phox and Trails & Ways are the cream of the crop. —Schuyler Rooth

Photos courtesy of Adam Macchia | www.adamkanemacchia.com