Tag Archives: 2016

7/22/16: Savages in Indianapolis

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Jehnny Beth, lead singer of Savages, takes a stroll across the Indianapolis crowd

MY SAVAGES CONCERT EXPERIENCE actually started in May, when I wore my Adore Life t-shirt to the RiverRoots music festival in Madison, IN. I was questioned by more than one person about who/what Savages were. Then a few days ago, at the last day of the Forecastle music festival in Louisville, it happened again when I sported my Savages shirt. Not only did I get questions, I was also stopped by one couple who had seen the quartet in Chicago and were raving about the experience.

And I, lover of all things Savages, have done my part to spread the word. I’ve rattled on about my fondness for them here and here, so I won’t say much beyond this: I just keep listening to this album, over and over and over again. It’s like when I was in high school and could barely wait for Side 1 of a cassette to end so I could flip it over and listen to Side 2 … as quickly as possible, of course, because I wanted to hear Side 1 again. It’s probably been more than a decade since I’ve been as into any album as I am Adore Life.

BUT HOW WAS THE SHOW, you ask? Dearest reader, would I have gone on and on about it if it were anything but awesome? It took a few songs for the crowd to get warmed up, but as you can see from my photo above, singer Jehnny Beth, guitarist Gemma Thompson, bassist Ayse Hassan and drummer Fay Milton soon owned the room, roaring and raging, crooning and crashing, taking everyone prisoner. Savages rocked it like they were playing in front of thousands in a festival crowd, not like they were performing for a few hundred in the smallest room in the house. From T.I.W.Y.G. and Adore off of the new album to the more obscure Fuckers, Savages played every song like it was their last.

I already can’t wait to see them again.

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Favorite albums of 2016, the mid-year review

THE ALBUM I CAN’T STOP LISTENING TO

Adore Life, Savages – It’s like I’m 15 all over again, and I just want to listen to the same album time after time, flipping the cassette over to start it again every time it hits the end. Since Adore Life dropped early this year, it’s been rocking my world. I like Savages’ 2013 full-length debut, Silence Yourself, and thought it showed promise. But I was unprepared for Adore Life, a significant step up in songwriting and intensity. Can’t wait to see them later this month in Indianapolis.

OTHER FAVES OF 2016

Changes, Charles Bradley – Bradley has had his heart broken, and has probably broken a heart or two himself. Changes – with the exception of the bizarre choice of God Bless America to open the album – is Bradley baring his soul for the world, looking for love, sometimes in the wrong places.

Fill In the Blank, Car Seat Head Rest – Beck, Parquet Courts, Weezer, Sebadoh The Strokes … all names of bands that run through my head as I listen to Fill in the Blank. And let’s be clear: I’m in no way calling Car Seat Head Rest derivative. They have their own thing going on, and that thing puts them in some pretty good company.

The Hope Six Demolition Project, PJ Harvey – Probably the most I’ve enjoyed a PJ Harvey album since 2000’s Stories From the City, Stories From the City. It isn’t that Harvey hasn’t done good work since then, but there’s a cohesiveness to Hope Six that her other recent offerings have lacked.

Lightning at the Door, All Them Witches – Grungy stoner rock for anyone who has ever owned 20-sided dice. You can hear touches of Black Sabbath and Queens of the Stone Age on Lightning at the Door, and it’s best to listen with the lights out and some candles burning, preferably in a basement.

A Moon Shaped Pool, Radiohead – As a music fan, I really appreciate a band’s evolution over a period of time. Not everything is going to be a winner. There will always be favorites. While I don’t love A Moon Shaped Pool like I love OK Computer or Amnesiac, the more A Moon Shaped Pool simmers in my ears, the more I could see myself loving it just as I do my other Radiohead favorites.

Post-Pop Depression, Iggy Pop – I think the pairing of Queens of the Stone Age guitarist Josh Homme and Iggy Pop is natural and fluid, and Post-Pop Depression reflects that. Iggy does his thing, and Homme keeps the guitar wankering reeled in, doing more subtle, detailed work over the bulk of this nine-song collection rather than cranking it up to 11.

Puberty 2, Mitski – I’m not sure what I expected when I first listened to Puberty 2, but it wasn’t a pop rock album that would work as a soundtrack to an episode of Twin Peaks. Whether it’s the gloomy vulnerability of Dan the Dancer, the dreamy strings-and-beats-driven Fireworks or the noisy defiance of My Body’s Made of Crushed Little Stars, Mitski drops track after beguiling track.

A Sailor’s Guide to Earth, Sturgill Simpson – Come for the outstanding cover of Nirvana’s In Bloom; stay for more from one of the most interesting voices in American country music right now. Simpson’s less from the line of “cowboys” and “cowgirls” dominating the charts look like they went straight to the stage from the tanning bed, and more from the thoughtful, intelligent, rebellious line of John Prine, Johnny Cash and Loretta Lynn.

We Were Wild, Esme Patterson – Esme Patterson has a wonderful voice, which has served her well. But on We Were Wild, she loosens up a bit, amping up the energy some, and the result is a more engaging collection than either of her two previous albums. This is one that grows on me the more I listen to it.

ON THE BUBBLE

BlackSUMMERS’night, Maxwell – I could see this being in my top albums at the end of the year. I don’t know that I like it as much as 2009’s BLACKsummers’night, but I find it growing more satisfying with each listen.

HONORABLE MENTIONS

Introducing Karl Blau, Karl Blau; Leave Me Alone, Hinds; No Burden, Lucy Dacus; No One Deserves Happiness, The Body; The Suffers, The Suffers; untitled unmastered., Kendrick Lamar; You Will Never Be One of Us, Nails

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Just say no to ‘Independence’

It could have at least been fun, this whole Independence Day reunion tour. Parts were there – the new enormous spaceship, the queen leading the hive, etc.

But instead, flop, fizzle … other f words come to mind. Here’s the main two reasons not to see this room-temperature turd:

  1. Beating the aliens is too easy. While I’d never argue ID4 was any sort of cinematic classic, it does a nice job of building the tension, putting our heroes backs up against the wall and making it hard to see that there’s any way out for the humans fighting the massive alien invasion. Here, the build is awkward and uneven, there’s little to no character development and the resolution both seems easy and somewhat ridiculous. Resurgence isn’t even a shadow of ID4‘s former self.
  2. The goddamn school bus. At one point, Julius (Judd Hirsch) gets entangled with a family of newly minted orphans. Because riding in a late-model station wagon with a group of four kids younger than 16 isn’t cute enough, they then jump on a school bus with a bunch of kids whose driver has abandoned them on the side of the road. Then, because that wasn’t cute enough, they just happen to end up in the middle of the desert where David (Jeff Goldblum) is about to help take down the aliens once and for all. And because that isn’t cute enough, then David drives the school bus as he and his plucky band are chased by the enormous hive mother alien. The only things lacking to make this the schmaltziest film you’ve ever seen are Ewoks and a Randy Newman soundtrack.
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RiverRoots 2016 lineup delivers

RiverRoots 2016 is the fourth straight year I’ve attended the festival, and I expect to be back next year. The music lineup is always solid, and there’s nothing like listening to bluegrass, country, soul, folk and more while drinking Indiana craft beer on the beautiful banks of the Ohio River.

Saturday’s lineup was solid. Asleep at the Wheel and Donna the Buffalo rocked like the vets that they are, and acts such as Parker Millsap, Jake Book, Blair Crimmins and the Hookers and Bridge 19 all put on good shows. Billy Strings stole the show, bringing heavy metal-like intensity and speed to their rootsy set.

But for me, it was a quartet of acts on Friday that brought down the house. Battling wet weather and playing to smaller crowds, these four elevated their games and made a fan out of me.

Darlingside – This quartet out of Boston was moved from the main stage to the second stage because of the rain. It turned out fortune was smiling upon them, because the River Stage gave the set an intimacy that wouldn’t have happened on the main stage. The above performance doesn’t quite do them justice, but it’s a pretty good example of what they have to offer. Think if Simon and Garfunkel fronted the Punch Brothers covering Avett Brothers songs.

Sarah Jarosz – In four years, I’ve never seen the River Stage so crowded. It wasn’t just standing room only; there really wasn’t even room left to stand. Her voice is as amazing live as it is on wax.

Lindi Ortega – Ortega’s old-school country sound, her band’s tight groove and her effortless stage presence are a unique combination. I’d like to see her at a smaller, indoor venue, because I think a crowded room might provide more energy for the band to feed off of, elevating the intensity a bit.

Brothers Comatose – I didn’t know they made bluegrass music in San Francisco, at least not after Jerry Garcia died. These fellas blazed out of the gate and never looked back, effortlessly mixing traditional music with moments like their Cake cover. I will see these West Coasters again, hopefully soon.

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