So lucky to have caught Luke Sital-Singh after his beautiful, non-“depressing” set opening for Angus and Julia Stone at The Fillmore last night. I remember first discovering him at Communion Music events back in 2013. Was a pleasure I was to hear his lovely tracks (especially ‘21st century heartbeat‘!) and to chat with him about touring with one of my other favorite London artists, The Staves. So glad that learn about his music journey since then and recent tour of the states. What a nice guy!
“I’ve got a 21st century heartbeat It’s a dying voice, it still haunts me 21st century heartbeat holding on”
Luke said this song as being inspired but all of the “f*cked up things happening in the world.” Such a beaut. Probably my favorite of his set. ❤
I have seen a least a thousand shows and NEVER BEFORE have seen this unique, over-the-shoulder piano duet that hugs your heart just as much as it drops your jaw. Cheers to this talented orchestral pop piano-violin duo (Gracie and Rachel) who were born and bred in Berkeley but have since moved to Brooklyn to spread love (it’s the Brooklyn way) with their beautiful baroque-pop music. Very impressed by their headliner show with Henry Jamison at Cafe Du Nord. The song ‘(un)comfortable‘ was one of the my favorites, and the lyrics certainly resonated with me.
So lucky to have caught Kelcey Ayer (nicest guy!) after the debut show of his new solo project, Jaws of Love. As one of the primary songwriters of Local Natives for roughly a decade, Kelcey has decided to step out on his own to produce a slew of brooding piano ballads laced with a fierce falsetto. “I have dark piano music in my heart and soul, and Jaws of Love is me at my truest self,” Kelcey said in a recent interview. He also said tonight that he never fit the SoCal lifestyle of wanting to be surfing outside in the sun, but instead would rather “be inside playing piano in a dark room watching a dark movie like Black Swan and shit, not very Orange County.” He said that’s why he then felt really at home and at peace when he moved to SF for a year for school. Welp, we are sure glad he brought that dark room and peaceful vibe to Cafe Du Nord , for it was easy to be swallowed by his “Jaws of Love,” one of the standout tracks on his debut album, Tash Sits Close to the Piano. We hope him and Tash (his cute husky dog) continue to sit close to the piano. 🙂
I couldn’t believe when Nick Mulvey said “I’ve seen you before!” after his Swedish American Hallshow on Nov 17. He musta remembered the puppet face! I was hooked ever since that first night at Barfly and just kept showing up everywhere he played, from Green Man Festival to Shepards Bush empire (opening for Laura Marling) to O2 Brixton Academy (opening for London Grammar) to XOYO (where he played with the talented Fiona Bevan). His song ‘Fever to the Form‘ was legitimately my LIFE ANTHEM for most of 2013-2014, and that first verse “So whether music or madness, We live by one of the two… So Go on an fill your heart with gladness, not a moment too soon” will forever be my GUIDING LIGHT. It is a TIMELESS TRACK that I know will still bring me the same peace of mind and clarity (“cause the very thing you’re afraid, afraid of, It keeps you clean but unclear”) 20 years from now as it did back in 2013. ‘Fever to the Form’ was released alongside other tops tracks (First Mind, I Don’t Want to Go Home, Meet Me There, Juramidam, Cucurucu) on his debut album, First Mind, which was nominated for a Mercury Prize (well deserved!) in 2014. Nick has become a dad since the release of that album, and he considers this step to have had a positive influence on his music writing: “Putting music as a secondary priority to that (the challenge of making new music) was a really healthy thing for me.” Well, we are glad to reap the benefits of that positive influence, for his newest (sophomore) album, Wake Up Now, is freaking AWESOME. Standout tracks for me are: Mountain to Move, Remembering, In Your Hands, Transform Your Game, and Unconditional. In fact, Nick has a really cool story to go along with ‘Mountain to Move’ and I hope he continues to share it during his live performances. Cheers to the super talented British musician who studied music in Cuba and who continues to weave styles from all over the world into his musical quilt. ❤
This talented New England troubadour (Henry Jamison) wears his heart out on his sleeve with this “ode to delirium” about a girl he was after but who still had feeling for someone else (gets real good at 1:50 in!). He is quite the visual lyricist, and his witty, melancholy style reminds me of a hybrid between Gregory Alan Isakov, Nathaniel Rateliff, and Scott Hutchinson (of Frightened Rabbit). I was mad impressed to find out that he writes, records, and arranges everything himself, including all of the album’s gorgeous string arrangements (which Rachel of Gracie and Rachel performed with him in SF). I have a feeling he will blow up within the next year.
“God-God-God damn that girl was fine and I was glad to call her mine She weren’t mine and I weren’t hers I lost her at the five and dime She was talking to a six-five-x marine He was living out his truck She said he was very fragile I said I don’t give a fuck.” YAAAAAAAS.
Henry Jamison dedicated this song to a fan in the audience (Andrea) whose husband came up to him beforehand with this request. Very cute. Cheers to some charmers that are still out there. Icelandic buddy Ari Hlynur Guðmundsson Yates first introduced me to Henry’s music back in June and I was immediately captivated by ‘Real Peach’ and the vivid lyrics on the woman he is pining for. I am so glad I got to see this performed live from the talented troubadour himself.
“Well if all is fair in love and war then I don’t know what we are fighting for So if we don’t care to fight no more let’s go upstairs and let’s shut the door … Cuz my baby she’s a real peach.. .. yeah GOD DAMN.” ❤
SUCH A TREAT to have discovered the sweet, sassy, SUPER-TALENTED Southern singer/songwriter from NC (Emily Scott Robinson) who now lives on the road with her husband in their RV, writing and performing across the country and touring with bluegrass/grassroots powerhouses like Ben Sollee and the Kentucky Natives (Swedish American Hall). Equipped with an angelic voice and natural knack for storytelling, Emily gives us a glimpse into her wanderlust window, exposing us to the “traveling mercies” of life on the road and missing community and a home base. One of my favorite tracks from her set was ‘Better with Time,’ inspired by “the first place you live with someone you love” (which for her was a tiny one bedroom house in Colorado with a beautiful view). Another track that had my was a brand new one (finished only a few days ago) called ‘Ghost in Every Town.’ It was inspired by the monotony, desperation, and loneliness that she witnessed living for a short while in a small RV park in Oregon. The lyrics SLAY, and I could not help but get chills when she sang “The kinda desperate that forces you to kneel… The kinda howling you can only do alone.” WOW. But overall, it had to be ‘Overalls’ (her inaugural Patreon song) that stole the show. Written about her dear friend’s father who served in WWII and passed away this year, ‘Overalls‘ will touch your ❤️ and leave you in a puddle of tears/joy. It’s just so refreshing to hear stories veterans who were so grateful to be alive when they returned from war and who measured their wealth by their experiences and family/community (“I know I don’t have much to show, but I’m the richest man that I know”). I can’t help but smile to imagine this grateful fella who grasped every day as a gift and now looks back on his good long life with pride and appreciation: “So raise a glass to my good long life, don’t dress in black, don’t let me see you cry, I’m not afraid, I’m just headed home. It’s time to let me go.” Having released her debut album, “Magnolia Queen” just last year, Emily has started a Patreon page and will be releasing songs periodically while on the road. I sure hope her RV makes a very long pit stop in NorCal so I can see her again soon!
Meet Allan Rayman , a multi-talented MYSTERIOUS MUSE (recently dubbed “the most mysterious man in music”) who DOES it all (writer/producer/singer/after/filmmaker) without needing to ADVERTISE it all. An R&B soul singer with raspy, soul-spearing vocals that singer child down the spine, Allan proves that you don’t need marketing or active social media accounts reel in fans. Without interviews or videos online, he has already rallied 500,000 monthly listeners on Spotify. For fans of Alex Vargas, Jack Garratt , SOHN , RY X , Caught A Ghost , Chet Faker, let this RAYman shine his ray down on you. The emotionally-charged, elusive storyteller that is Mr. Roadhouse himself was extra animated at The Rickshaw Stop last night. A much more uninhibited, intimate experience on the tiny stage of the Rickshaw Stop compared to his earlier appearance at The UC Theater when opening forJames Vincent McMorrow. I will definitely be keeping Allan on my radar.
A bit numb standing next to one of the most INCREDIBLE CELLISTS and singer/songwriters (his vocals have the warmth of James Taylor and Paul Simoncombined) that I’ve EVER SEEN. Even though Ben Sollee is classically trained, he plays the cello in a very eccentric, electrifying way that carves a niche of his own. He ambitiously strings together elements of Celtic, folk, Americana, gypsy jazz, and African percussion to create a grassroots medley that is nothing but generic. This most recent reflection of this has been in his badass “bluegrass without borders” (what I like to call it) project with 4 friends on banjo, violin, bass, and drums that he calls “Ben Sollee and the Kentucky Natives.” Last night at the Swedish American Hall Ben and his buddies broke all boundaries of what is possible and had everyone’s jaws on the floor for most of the set. The coy call-and-response banter back and forth between the different strings had me laughing and howling all at once. You could get a sense of everyone’s personality just by watching them play, and it was obvious that this quintet is bound by more than just strings. I am just so amazed to watch friends doing watch they love and making the world a happier, more patient, more conscientious place because of it. The epic encore of Ben and the Kentucky Natives singing ‘Traveling Mercies‘ with Emily Scott Robinsonsure did leave me wanting more. Ben will cease to amaze me with his continued efforts to use music as a weapon against hate and injustice. It’s therefore not a surprise that he’s written songs called “It’s not impossible” and “A change is gonna come.” To Ben, anything can be done, even a tour across the states with a cello strapped to the back of a bicycle (yes, he did that back in 2012). You do not want to miss the chance to see him next time he rolls through town!
It’s too hard to truly convey how much love and admiration I have for Merrill Garbus, creator and curator of tune-yards. Her live performances evoke a visceral vortex of mixed emotions (aggression, desire, laughter, pain) that words can simply not describe. I still recall how feverishly my body was overcome with curiosity and vitality the first time I saw her perform at Outside Lands Music Festival in 2011. Since then, I had seen her a total of 5 or 6 more times (SASQUATCH! Music Festival, The Regency Ballroom, Fox Theater – Oakland, Electric Brixton, Live for Contemporary Colors), and I am STILL electrified by her power, a “powa” that “gives me thrills I can’t describe.” Yes, ‘Powa‘ (in addition to favorites like ‘Bizness,’ ‘Water Fountain,’ and ‘Gangsta‘), were some of the old gems that Merrill, Nate (bassist), and her new badass drummer (forgot his name!) treated us to last night at Mystic Theatre in Petaluma. I of course got a bit OUT OF CONTROL for ‘Bizness‘ and nearly lost my voice trying to shout along. That song gave the world a serious taste of such MUSICAL MASTERPIECES that can manifest from creative, clever experimentation with loops pedals, saxophones, and an untamed vocal chords (the way Merrill distorts her vocals to create a variety of sounds is simply something else). Merrill is simply MESMERIZING to watch, and last night was no exception. We were all glad to watch her perform new songs from her highly anticipated new album, ‘I can feel you creep into my private life‘ (thank gosh she has), scheduled to be released on Jan 19. Standout tracks for me were ‘Heart Attack,’ ‘Honesty,’ and ‘Colonizer,’ (although all were pretty freaking awesome), and most of these showcased Merrill on synths and drum kit, in addition to her notable ukulele. Merrill is a FEMALE FE-LION, and and I cannot be more inspired/empowered by the femininity, strength, and intolerance that she radiates out to her fans. I’m grateful for artists like her that are not afraid to share their passion with the world and believe they deserve a chance of changing it. She could not be more SPOT ONT when describing the vision of her music: “altering the way the music industry functions to positively and responsibly impact our communities and our people, to act not only as soothing pacifiers with music but also activators, inspiring innovators, and revolutionary booty-shakers.” I have so much love for this woman and cannot WAIT to see her again at Noise Pop in February.
Videos of entire set on my YouTube page (see below):
My heart begins to race as I recall the night that Tash Sultana put San Francisco’s legendary Fillmore under a spell. This gorgeous, gifted goddess — standing just 5 feet tall (my size!) — had everyone’s jaw on the floor as she flawlessly looped her hauntingly beautiful vocals with a menagerie of instruments (guitar, mandolin, keys, percussion, trumpet, pan flute, etc.) with swift execution. I caught myself grabbing my head several times (hoping it wouldn’t explode), asking myself, “HOW IN THE HELL?…” Tash first wrapped her hands around a guitar at the age of 3 years old, and I can only imagine that she clung to it for safety as others would their blankie. It’s apparent from her live performances that she plays music not just out of love, but out of necessity. She grips her guitar like she is gripping for dear life, and watching her slay her inner demons (she mentioned struggling with mental illness) one instrument at a time (I counted at least 10) was one of the most touching, euphoric musical experiences… Pure joy for one of the most pure, self taught music makers of our generation. She’s a comet of positivity that’s set on a trajectory to change the world for the better. 😀
I first stumbled upon Tash on my Facebook feed about a year ago, only to find out later she used busk on Bourke Street in Melbourne around the same time(Winter/Spring 2015) that I lived there. In fact, my friend Megan said that she was lured out of H&M by Tash’s spine-tingling vocals, and was in a deadlock watching her magic manifest on the streets. The song that reeled her in was ‘Harvest Love,’ a track that Tash described as one “for anyone who’s having a hard time at the moment… keep on rolling.” It was therefore pretty heart-wrenching to learn later, when Megan and I saw Tash together at the Swedish American Hall back in February, that it was written about a good friend who she had recently lost: “We came to the states a while back, but I had to turn around and come back home because we lost someone very important to us a couple days later, and it kind just taught me this thing about impermanence, and how everything in your life is actually impermanent; and it’s kinda like, you know, there are two things in your like that are inevitable: you are born, and then you die… In between that gap of life and death, wherever it’s gonna take you, it’s gonna take you, and at the end of the day at some point, there is a space that you get to fill with the best vibes that you possibly can feel… We come in peace. We just ask everybody to love the FUCK out of everybody… This song goes out to anyone that has lost anyone recently. It’s called Harvest Love.” Megan and I looked at each other with tears welling up in our eyes, and we knew this one would never leave our hearts. You could tell that the intense reach of this song comes from a place of intense pain, and Tash does not hold back as she wails the first verse:
“Harvest your love, harvest your love, for me I’ll lay it down, I’ll lay it down, slowly Put your love in the sand As it makes no demands I believe But you keep on rolling Like a rolling stone And you fight until the finish line Carries you home”
(I want to purchase ‘Harvest Love‘ but can’t find it anywhere online!)
What impresses me most is Tash’s ability to turn pain into beauty, and I was shocked to learn that both chart-topping hits ‘Jungle‘ and ‘Notion‘ were a “product of heartbreak.” ‘Jungle‘ is the song that moved her bedroom recordings into SOLD OUT VENUES ALL ACROSS THE GLOBE – a true masterpiece from start to finish. It’s as if Tash uses music as a shield again negative thoughts (depression) and negative influences (drug addiction), and is excited for others to embrace this same musical armour. In fact, she gave a nod to her US audiences who are used to “growing up in such an awesome music culture that you go because you LOVE IT, whereas back at home in Australia, everyone just wants to get fucked up all the time.” I was really touched to learn that Tash has became a mental health ambassador for Australia’s BeyondBlue, an organization that provides information and support on mental health.
I still recall being lathered in chills when I read this post on her wall back in January: “Social reminder to anyone who is feeling the heat or wants to give up. DON’T. Every time you take a step up within yourself, you take a step up within the world. In the music world or any creative path is a sensitive path to tread. Some people are going to fall in love with what you do, some people aren’t going to get it and other people are just going to be literally complete ASSHOLES. So when you come across those assholes, which you will there is a new emoji that you can use which is thisand just remind yourself that you were in a perfectly happy mood before you knew they existed, so forget they do because they’re just a bunch of cunts. Put your head on your shoulders and kick some absolute fucking ass. Tune it up to 11, shove it in their face and down their throats And DO NOT stop creating. Oh and also don’t forget to tell them to get fucked. Keep on going. The ones the matter are the ones who show love.” That last line hit me like a brick wall, and it’s simple but profound message will remain with me forever.
Tash kicked off her set at the Fillmore with some serious smoke (‘Big Smoke‘) and has some house rules to lay down before SETTING US ALL ABLAZE:
“This is to be followed or you can please GET THE F*CK OUT OF HERE…< span style=”color: #3366ff”>1) If you are racist, get the fuck out 2) If you are homophobic, get the fuck out3) If you are transphobic, GET THE FUCK OUT. < span style=”color: #3366ff”>Cause the world can be a bit of a harsh place but I’m trying to leave it in a nice scenario… Sweeet, just don’t be a dickhead and we’re all in sweet.” ❤
HELL YES. I’m glad there were no dickheads that night. I wish more musicians were as outspoken as she is.
After ‘Big Smoke‘ came ‘Gemini‘ (sick percussion), ‘Notion‘ (SLAYED), ‘Murder to the Mind‘ (during which she whips out the trumpet and tantalizes us with tender toots!), ‘Synergy‘ (after she jams out furiously on mandolin and BEAT-BOXES A PAN FLUTE), a song (untitled video below) with a hauntingly beautiful keyboard intro that sounds like a symphony of strings (really wish I knew the name of it!), and ‘Jungle‘ (MASSIVE DANCE PARTY – duh!). THEN, as if Tash could not freaking BLOW MINDS EVEN MORE, she TAKES A SEAT for an experience that I simply cannot put into words. It just won’t do justice. Tash first graces the strings with one hand, getting us in the groove with melodic medleys that remind me of a cross between flamenco and post-rock. But just as we start getting in the groove, Tash switches it up and starts attacking the strings with the ferocity of a lion, smiling as she does so. It’s as if she enjoys the thrill of getting us going one way and then redirecting us to see if we are still on our toes (like what I used enjoy doing with my opponents in soccer, haha). She’s got extraordinary ease with her audience that can be attributed to years of hailing crowds on a busy streets and winning the hearts of strangers. This wicked 14 min guitar solo (titled ‘Blackbird‘) exemplifies the extensive breadth of her musical abilities and the eclectic influences that shape her unique, one-in-a-million kind of sound. Tash Sultana is not only a make of music, she is a maker of magic. I don’t know anyone who is not put under her spell. I’m just so glad the world has recognized this too; Not only has she racked up SOLD OUT TOURS in US, Europe, and Australian (and soon South America), but she has recieved multiple music nominations, including Triple J’s hottest artist of the year and ARIA’s (1) Best Independent Release (Notion), (2) Breakthrough Artist, (3) Best Blues & Roots Album (Notion), and (4) Best Australian Live Act. I’ve “GOT THIS NOTION” that Tash Sultana is going to change the world with her music. Well, let’s face it – she pretty much already has. ❤
*Check out my review for her opener, The Pierce Brothers. Glad to have discovered them!
(In order to access the playlist, you have to press the 3 vertical dots in the upper right hand corner and select download. You can then cancel the download immediately and still have access to the playlist. If you are still having uses, let me know and I can send you a link to download the tracks!)
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On + Off- Maggie Rogers
Truth Is Heavy- Benjamin Booker
Surrender- Walk the Moon
Gimmie- She Keeps Bees
Up All Night- The War On Drugs
Main Girl- Charlotte Cardin
The Wild Kind- Silversun Pickups
Keep In Mind- Pierce Brothers
Protest Song- Broken Social Scene
Continental Breakfast- Courtney Barnett And Kurt Vile
High On Humans- Oh Wonder
Believe- Benjamin Booker
Friendly Fires- Silversun Pickups
Spirit- The Belle Game
Murder to the Mind- Tash Sultana
Untogether- Courtney Barnett And Kurt Vile
Split Stones- Maggie Rogers
Invisible- Minus The Bear
Breezy- She Keeps Bees
Latchkey Kids- Silversun Pickups
Up Again- The Belle Game
The Slow Drag Under- Benjamin Booker
Towers And Masons- Broken Social Scene
Fear Is Like A Forest- Courtney Barnett And Kurt Vile
Such a treat to have Minus the Bear and SilverSun Pickups share the same stage last Saturday at the Fox Theater Oakland. Two INCREDIBLE BANDS with two very different sound/style, and I’m glad to have been following them both since 2009. I love that Minus the bear played all of my favorites (especially the first!): Absinthe Party at the Fly Honey Warehouse, My Time, Into the Mirror, and Last Kiss. Absinthe Party at the Fly Honey Warehouse is one of my ABSOLUTE FAVORITES! It’s a perfect anthem for the wondrous wanderlust, and it always makes my heart flutter as it jogs my memories of past adventures. Dave Knudson (lead guitar) was sitting in a chair for most of the set because he recently broke his leg, and Alex Rose (keys, backing vocals) laughed and said they — Jake Snider (vocals, guitar), Cory Murchy (bass guitar), and Joshua Sparks (drums) — prefer it this way because it it reminds them of a casual jam session in someone’s living room. A short but tasty set by these highly seasoned musicians!
Silversun Pickups PICKED ALL OF US UP at the Fox Theater Oakland last weekend! They made us laugh, weep, rage (the trifecta of emotions) will killer tracks like Royal We, Latchkey Kids, Friendly Fire, Wild Kind, and Lazy Eye (of course!). Not only is Brian Aubert is not only a phenomenal musician, pushing the limits with different soundscapes and emotion, but he is FREAKING HILARIOUS and super animated (always has his hands up in the air when telling stories). He also pays so much close attention to his fans through the entire show (more than most musicians I’ve seen), and will often point out people in the audience that he knows. Towards the end, he even bentr over the stage to fist pump my music buddy Nori Nakayama (#1 fan) who has been following Silversun Pickups since 2007 and has seen them >25 times. I have so much respect for Brian coming out to say hi (despite having probably been exhausted) and taking time to chat about tour life and music in general. I was laughing so hard when he and I were finishing each others sentences while geeking out on bands that we both love: The War On Drugs, Courtney Barnett, Kurt Vile, Future Islands, Arcade Fire, and The National . He has a particular appreciation for Arcade Fire and their ability to consistently recreate themselves in new albums that bring forth new elements/ingenuity not present in their older material. I nearly DIED when we both cried out that ‘Creature Comfort‘ is by far the best song on their new album and proceeded to sing “God, make me famous, if you can’t, just make it painless” in unison. He also was excited to hear that Courtney and Kurt just played at the Fox a week prior and he told me stories of how he first met them both. He even had a CRAZY COOL story about how Courtney made his wife’s water break (a story she won’t let him live down, haha); Turns out Brian and his very pregnant wife saw Courtney for the first time 2 1/2 years ago and then his wife went into labor that same night. NUTS! He also said how Osheaga was his favorite North American festival and that he would love to keep going back there. We ended up on that topics cause I mentioned having seen them both at Sasquatch (2012) and BottleRock Napa (2017). WHAT A NIGHT picking the brain of this SILVERSUN PICKUP! I will always look back on this with such a big goofy smile. 😀
The last time I saw PUBLIC SERVICE BROADCASTINGwas at a 2,00 capacity venue in London about 3 years ago, and so it was pretty surreal to watch them perform only a foot in front of me in an intimate venue like Swedish American Hall AND to meet them afterwards (very nice guys!). I had a friend joining me for the shows and struggled in trying to describe their sound, as they really are in a category of their own. PBS’s J. Willgoose Esq. (guitar, banjo, samples), Wrigglesworth (drums, piano), and J F Abraham (flugelhorn, bass guitar, drums) together play live instruments in combination with samples from old public information films, archive footage and propaganda material that attempt to “teach the lessons of the past through the music of the future.” With a passion to “inform, education, and entertain” (listed to their song called ‘Theme from PSB’), PSB have consistently put out albums that do just that, and their recent albums (released July 2017) depicts the history of the mining industry in Wales. J Willgoose, Esq., described the album’s premise as an allegory for today’s “abandoned and neglected communities across the western world”, which have led to a “malignant, cynical and calculating brand of politics.” They also included a track (‘They Gave Me a Lamp’) to raise political awareness of a generation where women “seemed to realize, suddenly, the power and the potential that they had… It’s a song of gender barriers being broken down, of a group of people finding their voice, of the power of protest and its importance in a democratic society. Given what we’ve seen on both sides of the Atlantic in recent years, I don’t think there’s ever been a better time to be making such a strong case in defense of those ideas.” HELL YES. The last verse with collaborative vocals by the super-talented UK female trio, Haiku Salut(who coincidentally I discovered the same year as PSB at Green Man Festival), gives me chills every time: “I’ve been in front, I have never give in, I have never sat back, and I have never refused anybody, and I am very proud of it, and I’ll be proud to look back on it.” Cheers to a band pushing the envelope on both creativity and awareness. My favorite PBS tracks are: Spitefire, ROYGBIV, Theme from PBS, The Pit, They Gave me a Lamp, If War Should Come, and New Dimensions in Sound (exactly what they are creating!) ❤
Jessica of She Keeps Bees is SO FREAKING AWESOME. I am SO GLAD I got to catch her opening for Benjamin Booker earlier this week at The Independent. First off, she is HILARIOUS (a legit comedian), making us roar with laughter the entire set as she made fun of herself on stage (“I never wear heels so if I trip on stage, please send it in to funniest home videos and win some money”) and belted out whatever the hell was on her mind (I freaking LOVE THAT). Secondly, she SLAYS INJUSTICE (politics, healthcare, discrimination, etc.) with powerful messages that she wails ferociously on stage. With vocals that remind me a bit of Florence and the Machine and a style that reminds me of Sharon Van Etten (who I found out later she is good friends with and used to jam with in Brooklyn), she certainly captured everyone’s full attention. Highlights included tracks like ‘Our Bodies’ and ‘Head of Steak’ that reflect her frustrations with the government and civil rights. She dedicated ‘Our Bodies’ to “healthy vaginas,” shedding light on issues with the US healthcare system and plans to cut funding for Planned Parenthood (for which all proceeds of this song are donated to). She said she wrote this song “as I watched my mother’s fight become my own” and she hopes it will instigate people fight for their rights of basic healthcare. When chatting with Jessica after the set (she’s just as vibrant off stage as she is on), she was excited to hear that I was working on developing therapies for neurodegenerative disorders because her uncle (who she was close with) suffered with motor and cognitive dysfunction. Sooner or later we got to talking about music and memory. The nerd in me can only stay hostage for so long! Can’t wait to see her again! ❤
STILL AMPED UP after the INSANELY AWESOME, INCREDIBLY INFECTIOUS performance by The Pierce Brothers opening for Tash Sultana at The Fillmore. These awesome Aussie twins (Jack and Pat) have been kicking up dust all over the world, wowing people with their high octane energy and pure joy for their craft. I was mad impressed by their unique DIY setup and their ingenious blend of dugeridoo, percussion (bongos/cans), tambourine, harmonica, and guitar, and at one point Jack even started tapping the stage equipment (light scaffolds) right in front of me to create new sounds. I couldn’t believe he was playing tambourine with his foot while banging on percussion and blowing into his dugeridoo. That’s some crazy coordination! But what impressed me the most was ability for Jack and Pat to deliver a boot-stomping, heart-throbbing, head-bopping performance despite their equipment breaking on stage. Their “one shot is all I got” attitude was greatly appreciated by everyone watching. I also really appreciated the message that Jack delivered before playing the song ‘Genevieve‘ that they wrote for their sister suffering from cancer: “There’s always love and support if you reach out, and that’s what we’re going to do right now.” I will DEFINITELY be seeing them again when they return to SF, and when they do, I will have to bring sturdier boots! My heal actually broke off during their set! ❤
I find it SO FREAKING EERIE that I immediately compared Courtney Barnett to Kurt Vilenearly 4 years ago when I first saw her at The Great Escape Festival in Brighton and NOW, they are TOURING TOGETHER after the recent release of their collaborative album, Lotta Sea Lice. Kurt Vile was someone that I had been following since his ‘Smoke Ring for My Halo’ days thanks you his brother Paul Vile who directed me to his set at Sasquatch 2012 (arguably the best lineup of any US festival I’ve been to yet). Courtney and Kurt reminded me of one another in so many ways – stitching songs together with threads of rock, grunge, and folk, and doing so with a carefree, nonchalant charisma that plagues all who listen. I am in awe of their ability to whip up to witty narratives about obscure observations of the mundane. Their collaborative albums is a testament to the beauty of a creative, comfortable companionship between two eclectic music makers that complement each other’s chords finished each other’s sentences (literally). Their charming ‘Continental Breakfast‘ track has Courtney and Kurt singing back and forth about the frustration of maintaining their long-distance friendship (“I cherish my intercontinental friendships; We talk it over continental breakfast”) and the monotony of life on the road (“In a hotel in East Bumble-wherever; Somewhere on the sphere, around here.”) I also really loved their song, ‘Fear is Like a Forest’ (“Fear is like a forest, The dark of the unknown; Love is like a promise, That you’ll never be alone”), which was actually written by Courtney’s wife, Jen Cloher (talented musician who opened the show). I also enjoyed the manifestation of Courtney and Kurt covering each other’s songs, with Courtney’s version of Kurt’s ‘Peepin Tomboy’ (‘Peepin’ Tom’ on this album) paralyzing me with the arresting apathy of her delivery. I also really enjoyed Kurt’s take on Courtney’s ‘Out of the Woodwork.’ But, the MOST MEMORABLE MOMENTS OF THE NIGHT were when Courtney and Kurt covered Belly’s ‘Untogether’ (“You can’t save the unsavably untogether”) and Gillian Welch’s ‘Elvis Presley Blues’ (“I was thinking that night about Elvis, Day that he died, day that he died”). Courtney’s vocals absolutely SHINE on this on, and the bread and range of the vocals are more apparent than ever. My heart was gushing a bit with the beautiful harmonies between her and Kurt. I’m sure Mr. ELVIS PRESLEY himself would have definitely approve. It was so refreshing to watch the playful banter between such seasoned musicians and I kept smiling when I saw Kurt’s classic yelps (“Whoop!”) making Courtney laugh throughout the set. He then had the entire audience laugh when he said that “Lotta Sea Lice” is the “only sea lice you want to have.” A powerhouse performance by a powerhouse pair of proper pals.:D ❤
FRESH NEW PLAYLIST (56 songs) inspired by recent shows/sets (Sylvan Esso, Flock of Dimes, Wild Cub, Future Feats, Maggie Rogers, Plini, Haim, Milky Chance, Manchester Orchestra, Tigers Jaw, Foxing, Henry Jamison, Gracie and Rachel, The Decemberists, Asgeir, Public Service Broadcasting). There was additional influence from recent track/album releases by The National and War on Drugs (Both are SO FREAKING GOOD), as well as Trevor Hall, Frightened Rabbit, The Head and the Heart, Fatherson, LCD Soundsystem, Good Old War, and my friend Alexa-J! I also included tracks by new discoveries: Future Feats (opened for Wild Cub), Sinkane, Vista Kicks (opened for Milky Chance), Foxing (opened for Manchester Orchestra), Tusks (opened for Asgeir), and Frenship (whose CAPSIZED TRACK I CANNOT GET ENOUGH OF and who I can’t wait to see next month in SF).
(In order to access the playlist, you have to press the 3 vertical dots in the upper right hand corner and select download. You can then cancel the download immediately and still have access to the playlist. If you are still having uses, let me know and I can send you a link to download the tracks!)
The amazing Sylvan Esso making sure that we PLAY IT RIGHT before leaving the Fox Theater – Oakland after their stacked set, including hits from their new album, ‘What Now‘: Die Young, Radio, Glow, Kick Jump Twist, Just Dancing, and Signal. Their epic encore triggered a massive dance party after the closing of the show. First time I’ve ever witnessed such a phenomenon at that venue (and I go there ALOT). Amelia and her fluid, infectious moves had us all wishing we could “just dance,” for not many people can GLIDE ON STAGE the way that she does (not even close!). It was cool to also meet two videographers beforehand that were filming footage for a Sylvan Esso documentary. What an awesome idea! It was also cool to learn that Amelia’s family was originally from the SF Bay Area. Towards the end of the set, she mentioned that the Fox Theater was “her grandfather’s favorite,” and that many of her cousins (he had 11 grandchildren!) were in the audience that night. The unique lighting design on stage (<< >>) is tattoo that Amelia, Nick, and Jen (of Flock of Dimes and Wye Oak) all have. Speaking of Jen, it was such a treat to have her on tour with them. In fact, I first discovered Sylvan Esso when they opened her her as Wye Oak in March 2014 at the Lexington (tiny venue!) in London. I guess things really do come full circle!
PERFECT SUMMERTIME PLAYLIST inspired by San Francisco’s very own Outside Lands music festival (Mondo Cozmo, RAC, Bleachers, K. Flay, Jacob Banks, Porches, James Vincent McMorrow, Joseph, Grace Mitchel, Vance Joy, Young the Giant) last week and by recent shows I rocked out to within the last month or so: Portugal. The man, Local Natives, Benjamin Booker, Alvarez Kings, The Trims, Run River North, Saint Mesa). There was additional influence from recent track/album releases by Arcade Fire (LOVE THEIR NEW ALBUM), Geographer, Wild Cub, Allen Stone, Overcoats, Haim, Foster the People, Amber Run, Daughter, Mogwai, and Zach Winters. I was also happy to include tracks by new discoveries: Betty Who (touring with Geographer), Charlie Cunningham (playing with Low Roar in October), Jeremy Loops, and Jaws of Love (gorgeous solo project of Local Natives’s Kelcey Ayer).
“Saying God, make me famous If you can’t just make it painless Just make it painless”
(In order to access the playlist, you have to press the 3 vertical dots in the upper right hand corner and select download. You can then cancel the download immediately and still have access to the playlist. If you are still having uses, let me know and I can send you a link to download the tracks!)
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Live In The Moment- Portugal. The Man
Creature Comfort- Arcade Fire
Human Touch- Betty Who
Witness- Benjamin Booker
I Fall Over- Wild Cub
Where You’re At- Allen Stone
No Answers- Amber Run
Everything Now- Arcade Fire
The Beautiful Game (feat. St. Lucia)- RAC
Easy Tiger- Portugal. The Man
Thunder- Mondo Cozmo
I Saw You Close Your Eyes- Local Natives
Everybody Lost Somebody- Bleachers
Tell-Tale Heart- Alvarez Kings
High Enough- K.Flay
Read My Mind- Geographer
Feel It Still- Portugal. The Man
Hollywood (Feat. Penguin Prison)- RAC
Peter Pan- Arcade Fire
Chainsmoking- Jacob Banks
Hold Me Close- Overcoats
Rich Friends- Portugal. The Man
Plastic Soul- Mondo Cozmo
Heartbreak Summer (feat. K.Flay)- RAC
Cold Conscience- Alvarez Kings
Tidal Wave- Portugal. The Man
Imagination- Saint Mesa
Mother Emanuel- Local Natives
Higher Stakes- Jeremy Loops
The Future- San Holo & James Vincent McMorrow
Infinite Content- Arcade Fire
Don’t Take The Money- Bleachers
Burn It Down- Daughter
Run Or Hide- Run River North
Jellyfish- Local Natives
Nighttime Hunger- Overcoats
Party in the Dark- Mogwai
Nothing’s Wrong- Haim
So Young- Portugal. The Man
I Wish I Could Say- The Trims
Motivation- Benjamin Booker
White Flag- Joseph
Sit Next To Me- Foster The People
Lights Off- Charlie Cunningham
Jaws of Love.- Tasha Sits Close to the Piano
Run River Run- Run River North
Truth Is Heavy- Benjamin Booker
No Resolve- Alvarez Kings
Coolverine- Mogwai
An Opening- Charlie Cunningham
Hate That You Know Me- Bleachers
Nolo- Grace Mitchell
Hold On To Me- Mondo Cozmo
10 To Have You Around- Zach Winters
Monster (Feat. Avelino)- Jacob Banks
Lay It On Me- Vance Joy
Blood In The Cut- K.Flay
Silvertongue- Young The Giant
Faithful (Bonus Track)- Allen Stone
Car- Porches
NEW PLAYLIST inspired by my recent visit to Iceland, a country that, like Dave Grohl of Foo Fighters, stole my heart the first time around. I could not agree more with his speech at Secret Solstice Festival last month:
“We’ve never played here, let’s go here (Iceland). And our first day that we spent here, and I’m not kidding, you can ask an of my friends or my family, that this country became my f*cking favorite place on earth. And you might think it’s stupid and kind of silly, but that time, 2003, whenever it was, I bought this f*cking necklace, and I’ve never taken it off… for 14 years. Because, I think that your country is a perfect example for the rest of the world. I really do. I think that you’re strong, and you’re independent, and you’re smart, and you take care of each other, and you respect nature, and you respect each other. So, someday, if I ever wanna move somewhere else, I hope that you’ll have me and my family here in Iceland. I love it so much.” ❤
It was Asgeir‘s 2013 debut album, Dýrð í dauðaþögn (the biggest selling debut album in Icelandic history), that was my initial hook into Icelandic music and culture, and I listened to non-stop during my first ever trip to Iceland back in March 2014 (and so it forever holds a special place in my heart). I was so moved by his live performances at Bush Hall in London and Iceland Airwaves Music Festivalthat I decided to write a pretty detailed review: https://beatsthatsetmypulse.wordpress.com/2014/07/17/asgeir-i-lift-my-mind-to-the-sky-and-i-let-it-take-flight-the-wind-carries-to-my-ears-precious-sounds-of-life/. We all were anxiously awaiting his next album, and when Afterglow was released May of this year (with ‘I Know You Know‘ being one of my favorite tracks), you better believe there were plenty of smiles beaming around the world. AND, as if releasing a new album and touring around Europe & Australia didn’t tire him out enough, Asgeir decided keep the world smiling with his fascinating feat of playing requests (including covers of Milky Chance, Adele, Abba, Nirvana, etc) for 24hr non-stop and recording them straight to vinyl. SUCH a freaking cool, creative way to engage fans on a personal level and cultivate a more interactive music community. I am amazed by his generosity and unique vision, and I can’t wait to see him again atIceland Airwaves in Nov. Another Icelandic artist that I look forward to seeing at Airwaves is Rythmatik, a super talented indie-rock band that I was lucky enough to discover (and meet!) at Secret Solstice this year. They recently won the The Icelandic Music Experiments (Músikltilraunir) “Battle of the Bands” and moved to Reykjavik from Suðureyri & Akureyri in order to hone their craft and play more live shows. Oh and, they are super fun and awesome to hang out with (always a plus!) 😀
This playlist was also inspired by performances at Secret Solstice (Kiriyama Family, Amabadama, Rhye), Bottlerock Napa (Day Wave, Dreamers, Parade of Lights, City of the Sun, Run River North, Bad Suns), the San Francisco Oyster Fest (Sir Sly, Passion Pit, Kongos, Panic is Perfect, The Soft Whites Sixties). There was additional influence from recent track/album releases by The National (BEEN WAITING WITH BAITED BREATH and SO STOKED to be seeing them Oct 14!), London Grammar (“My only hope is to let life stretch out before me and break me on this lonely road”– so good),Haim (seeing them Sept 7!), Manchester Orchestra (Sept 16!), Broken Social Scene (seeing them Oct 26!), Lucy Rose (accompanied by a short documentary of her fan-led trip to Latin America last year), Vancouver Sleep Clinic, Zach Winters, Jade Bird, Nothing But Thieves, Public Service Broadcasting, Lanterns on the Lake, and Ben Sollee. Finally, I was happy to include tracks by some new discoveries: OUTLYA, Overcoats (LOVE!), Isaac Gracie, Henry Jamison, Klangstof, and Ella Vos.
(In order to access the playlist, you have to press the 3 vertical dots in the upper right hand corner and select download. You can then cancel the download immediately and still have access to the playlist. If you are still having uses, let me know and I can send you a link to download the tracks!)
Nothing better to lift dem spirits than rocking out to your favorite SF band (Geographer) on a random Tuesday night (especially after a long, long day). Glad to have shared this experience with other diehards (new friend named Janette) who also knew the words to every song and had no shame shouting them out loud with you. Turns out we were both at the same Geographer show back in Jan too! What a treat it was for Mike to be extra active on our side of the stage (e.g sticking his guitar out in front of our face!) and even letting Janette push the button on his synthesizer to start ‘Original Sin‘! I also really enjoyed Mike and Duncan’s dueling guitar action at the end of ‘I’m ready’ (I’m ready for a replay!) The woodblocks in ‘Verona‘ and saxophone in ‘Walk on the Moon‘ are always consistent crowd-pleasers, and in case the crowd wasn’t pleased enough, Mike jumped right into his sea of fans to show them his love up close and personal. Getting to hear their 2 new, unreleased tracks (‘Read My Mind‘ and ‘Something’s Missing‘) def has us anxiously awaiting the new album (scheduled to be out in the Fall). CAN’T WAIT! 🤗 I’m also stoked to check out Duncan’s other band (DONCAT) this Saturday (5/20) at Amnesia in SF. Thank gosh for musical medicine!<3<
Kurt Vile– St. James Church, London
(April 12, 2014)
I first heard about Kurt Vile from his brother Paul, who approached our campsite at SASQUATCH 2012, selling his own kick-ass t-shirt design (see pic below). Paul was a very cool dude, and I remembered Sara and I (both from Philly) enjoying a lil’ chat with him about the “City of Brotherly Love” and all the things we miss. Further discussion let me to find out that their younger sister actually went to the University of the Arts in Philadelphia with my best friend Amanda. SMALL WORD. Looking back on that Sasquatch 2012 t-shirt, I am thinking….DAAAAAAAMN, what a siiiiiiiiiick line-up that year. I can’t believe it never sold out! That festival still remains to be one of my FAVORITE MUSIC experiences of ALL TIME (hands down). Mad props to the cool peeps (Kyle, Colin, Nick, Ben, Sara, Kenzie, Maria, Phil, Pat, Lucas) that made it so memorable. That’s one festival I am going to commit to as an annual tradition once I built my nest up in Northern California.
Although I was too late to catch Kurt Vile at Sasquatch, I took his brother Paul’s advice and made sure to check out his tunes when I got home. WELL, thank gosh I TOOK THAT ADVICE because Kurt Vile’s 2011 ‘Smoke Ring for My Halo‘ became on of my favorite albums of the summer, and I could not stop listening on repeat. It also happens to be the album that launched his career and made him a household name. Luckily, I saw that Kurt Vile and the Violators were playing at the Forum in Dec in London (the city I had just moved to at the time), and I made sure to snag tickets before they sold out. See live videos below.
One of the early songs in the set that night was Jesus Fever, a favorite from Smoke Ring for My Halo, and the intro line always makes me laugh:“I packed my suitcase with myself, but I’m already gone.” Soon after was Peeping Tomboy, an anthem of seeming contradictions that makes me smile time I hear it: “I don’t wanna change, but I don’t wanna stay the same…I wanna go but I’m running…I wanna work but I don’t wanna sit around…All day frowning.” Then came Baby’s Arms, a love song “Kurt Vile” style:
“I get sick of just about everyone And I hide in my baby’s arms Hide in my baby’s arms ‘Cause except for her you know…” (Slayed)
Following up this sweet song was Freak Train“YEAH YEAH YEAH,” and it surely got everyone up and rowdy. Such a siiiiick set already, and Kurt STEALS THE SHOW by surprising us with a cover of Bob Dylan‘s Knocking On Heaven’s Doorfor the encore. UNREAL!
Although I do enjoy being violated by The Violators, I must admit that I prefer Kurt Vile‘s music when he’s flying solo. Just over a year after that Kurt Violator and The Violator‘s gig in London, I saw Kurt Vile while on a solo tour around Europe. At that point he had already become a music LEGEND and music motivator for those scrappy musicians in the Philly music scene trying to make their “big break.” On this solo tour, I caught Kurt at St. James Church in London the night before Easter Sunday (only he has that kinda pull), and I actually felt pretty “holy,” with music being a sort of devout religion for me and all. I was lucky enough to snag a seat in the front pew for that show, and was utterly captivated by the rustic acoustic vibe of the night. It really showcased Kurt’s talent as an adroit guitar player and unique lyricist. My eyebrows were doing a lil’ dance the whole time as I was trying to follow his fingers. Haha. In comparison to his set with the Violators, this solo gig better captures his raw, lyrical style and his intricate finger-picking of the guitar and BANJO. Apparently the banjo was the first instrument that Kurt ever picked up (a gift from his dad), and he sure went to town on it (see video below). This helps explain why his finger-plucking of the guitar is so good! The entire set (Dead Alive, Ghost town, It’s Alright, Girl Called Alex, Laughing Stock, Smoke Ring for My Halo, Jesus Fever, Goldtone, Wakin on a Pretty Day, Baby’s Arms), and I can only thank Kurt for my pre-Easter resurrection.
One of the first songs of his set was Dead/Alive, and older gem that I never before heard live, but one that I kept smiling at when listening closely to the lyrics:
“You’re telling me a good man is hard to find Well what are you blind? Well never mind let’s try and have a good time..”
I really enjoyed how the chords get all temperamental in sync with the lyrics: “You’re telling me a good man is hard to find, What was that? You better rewind…” (haha, I love it)
Next up was Goldtone, one of my favorites from Kurt Vile’s newest album, Wakin on a Pretty Daze. It makes me feel all pensive and completely normal if I just want to hibernate all day in search of my “gold tones”:
“In the night when all hibernates I stay awake Searching the deep, dark depths of my soul tone Golden tones..”
Following this favorite was another favorite, Smoke Ring for My Halo, and the strumming in stride with his lyrics was enough to soothe the soul:
“Smoke ring for my halo Angel, demon, human Overestimated Over and over…Think I can see it now…. YEAH.” xxx
The acoustic version of this track has a certain organic vibe that I really enjoy. Just Kurt and his guitar. That’s all I need. Same with Waking on a Pretty Daze, another favorite from that album:
“Wakin on a pretty day Don’t know why I ever go away It’s hard to explain My love in this daze..”
The tempo is perfect for a chill, lazy day when you wanna live low, “lackadaisically so…” (love his words) x
Kurt saves one of the best for last: an encore of Baby’s Arms with Pall Jenkins (his opening act) adding some interesting sounds from the saw. Kurt doesn’t have many “love songs,” but of the ones he has, this one stands out above the rest:
“There has been but one true love…In my baby’s arms…Cause except for her…There’s just ain’t nothing to latch on to.”
I really wanted to meet Kurt after the show, but there was a huge swarm of crazy fans and I wasn’t sure where to cut in. I tried to get him to sign his brother Paul’s Sasquatch t-shirt, of which he shouted “Jelloman!” when he saw it. (Paul later told me that he had been making videos about touring festivals, selling his own shirts and jelloshots under that name.) Fortunately, I was able to snag a quick photo (see below) with Kurt before he had to go, and at least could come to the rescue when he asked the crowd if anyone had a piece of gum. “Bubble or mint?!”, I ask, and he so non-nonchalantly chooses mint. I knew I stocked my bag with gum for a reason. This isn’t “amateur hour,” as my sister would say. DUH. 😉
CAN’T WAIT TO SEE KURT AGAIN AT GREEN MAN in AUGUST 2014!!
Some meat is harder to chew, but when you do, it’s a MUCH MORE satisfying MEAL. That’s how I feel about the music of The Twilight Sad, as well as of some of my other favorite bands: tUnE-yArDs, The Dirty Projectors, Manchester Orchestra, etc. Even the size of The Twilight Sad fan-base (# of facebook “likes”) is pretty low considering their talent/potential, the dedication and loyalty of this fab base is unparalleled in comparison to that of most other bands (another example of this is Augustines). Having seen The Twilight Sad three times in the past three months (1 twilight per month, yes please!), I’ve already become friends with a few other fans (the “regulars”) that I’ve recognized at these same gigs. One of these fans in particular had actually traveled up to Scotland a few times just to see them when they weren’t gigging as frequently in London (which fortunately, they are now). She was even recognized by James’ dad last night at their SOLD OUT Lexington gig. Diehard fans = family, but it’s only a matter of time before TheTwilight Sad builds up their numbers (hopefully with the release of their next album). Every one needs to experience the satisfaction of that meat which initially might be harder to chew. x
I first heard of The Twilight Sad from an Irish buddy back in 2010 who had seen them at The Cluny in Newcastle and was BLOWN AWAY. They were on my radar ever since, and it just so happened that they were playing at my favorite music venue (The Independent) in San Francisco the spring (March 2012) before I was set to graduate. That gig was a COMPLETE EYE-OPENER, and I was just as blown way by The Twilight Sad then, as my buddy was a few years back. Right before SLAYING US with his performance of Cold Days from the Birdhouse, James toasted crowd and mentioned that it was a particularly special night because his DAD was in town, COMING ALL THE WAY FROM SCOTLAND for the show. He was overflowing with gratitude, claiming that the last time the band played the Independent back in 2007, only one person showed up. I found out later that it was more like 15 people, but thing definitely have changed…
I was almost moved to tears during the intro of Cold Days from the Birdhouse, with James’ powerful pipes (and full Scottish brogue) pulsing over the euphoric ringing of Andy’s guitar. My INSIDES were basically doing JUMPING JACKS the entire time…Jaw dropped, eyes stunned, heart pounding. Mad “cheers” to the gut-wrenching punch of The Twilight Sad (see video below).
“And so you make it your own But this is where your arm can’t go (James KILLS IT here) You make it your own But this is where your arm can’t go … And your red sky at night won’t –follow me It won’t follow me now. I won’t wear your shoes, I won’t clip your wings.”
Aside from Reflection of a Television, I Became a Prostitute, and That Summer, I had Become the Invisible Boy, and Alphabet, the other song that killed it for me was And She Will Daken the Memory. James has a eeire way of gettin gunder your skin with his emotionally-charged lyrics that seem to emerge from a dark, curious place: “And head up dear, you’re shallow and blind…And head up dear, the rabbit might die…Because I’m putting up with your constant whine…And that won’t last too long.” A fantastic frontman indeed, and the passion/power behind his pipes are something I would have expected from the legendary James Morrison back in the day. When vocals are your main contribution to a band, you have to OWN THEM in every way, shape, and form to make them your own, unique instrument. You are responsible for carrying the melodies and entertaining the masses, and James clearly DOES THIS when he twirls around stage with his hands clenched and his body thrown into fits, letting the music take FULL CONTROL. At one point, I clearly remember him kneeling on stage with his head thrown back and eyes rolled back, ROARING into the mic like a madman. Yep, that’s the kinda passion that sticks. x
Right after the gig, I started chatting with the woman who was standing next to me the entire time, and it turns out she’s pretty famous music photographer (lots of her stuff is in Rolling Stone magazine and in art galleries) by the name of Paige Parsons. She mentioned to me that had taken portraits of James the year before (2011) when they were on tour with Frightened Rabbit. That night, James told Paige that one of her portraits of him was his Dad’s favorite, and that it is hanging up on the mantle inside their house. A mother herself, Paige was SO MOVED by this that she asked to get a photo with James’ Dad, and I couldn’t help but grin at the magical moment unfolding before my eyes. I went on to telling James how much I enjoyed the gig, and later started suggesting places (Redwood forests!) for them to see while on tour in Northern California. I also asked to grab a pic (yes, it’s cheesy but I don’t care) with James, as well as with Martin (“Doc”) Doherty who was handling keyboards/percussion. Crazy thing is, I remember Martin telling me that night about his itch to pursue his own solo project, one with a more electronic focus. WELL, turns out this ITCH later ESCALATED into something HUGE: formation of the Scottish electro/pop band, CHVRCHES, who BLEW UP in 2013, topping all radio charts and headlining major festivals. There’s a prime example of why you should never stop following your heart, even when your mind tells you otherwise. Related to this, Sarah Barthel (of Phantogram) claims that the secret to making it in the 21st century music industry is to “Just work your ass off and believe in your music.” (Love that) ❤
Having moved from California to England in Nov 2012, I’ve been lucky enough to see The Twilight Sad three times in London since that gig at the Independent. One of those three was a rare and unique acoustic performance by James and Andy as part of a Bandstand Busking event (all videos are posted below). They opened the set with Cold Days From the Birdhouse, the gem that SLAYED US the first time we heard Fourteen Autumns & Fifteen Winters. God damn. Then, they surprised us with a new song, Last January, that really struck a deep chord with me and is likely to be one of my favorites on the new album: “It’s your eyes, touching my eyes…” (SO GOOD)The next song, I Became Prostitute, is one of my favorites, and although it’s got a heavy title, James assured us that the the title really has no relevance to the song. Haha. And that’s why we love them even more… (The unexpected airplane flying over the gazebo at 2 min in made for a pretty funny moment)
I Became Prostitute followed with a hilarious intro to the second new song, one that James couldn’t quite remember the name of at first. He jokes about how he thought it was his Dad sitting there, saying: “Open your eyes, James! You can’t see anything!” (“shut the f*ck up, Dad!”) His dad surely DOES know him well, because James DOESN’T EVER open his eyes. Haha. He’s just concentrating too hard! James soon remembers the name of the song as It Never Was the Same, and later tells me that they only just named the songs a week ago. Plus they all have different names for them, and the names one their set-lists don’t ever match the actual names on the album (see picture below). It Never Was the Same was such a STUNNING TRACK, and I very much Looking forward to hearing it again with a full band: “We danced to save them all…” (YES)
After being spoiled by the new tracks, James and Andy finished off the set with two of our favorites from Fourteen Autumns & Fifteen Winters: And She Would Darken the Memory and That Summer, at Home I Had Become the Invisible Boy. It was really cool to hear the stripped down, raw version of the louder, bolder originals. These songs definitely hit a soft spot for many Twilight Sad fans, and I noticed a few tears coming from the person (a full grown man) standing next to me. Oh, those musical triggers! It’s crazy how they sneak up on us and re-awake different moments of our lives. I guess that’s the beauty in it all: “I’m 14, and you know, That I’ve learned the easy way…The stupid decisions…And with a broken heart…The kids are on fire in the bedroom.”
About a month after this beautiful acoustic performance through Bandstand Busking was The Twilight Sad’s sold out Lexington gig, and we were all a bit SAD to hear that they could only play ONE of their new songs because some JERK stole their equipment last week. Who does that?! James dedicated I Became a Prostituteto that BAD BAD person, and all of their channeled RAGE made for one hell of a performance. Mark was a beast on drums (as always), and Andy was shoegazing with all sorts of new tricks tonight. The noise generated from Andy’s guitar is MASSIVE, so massive that his guitar vibrations alone were causing the empty beer glasses in front of me to glide across the stage. James was his usual ‘two-headed boy’– nice and humble in between songs, but a stormy savage on stage. He even yanked at the microphone so hard during Cold Days from the Birdhouse intro that he temporarily broke it..SILENCE…right at the buildup to “And your red sky at night won’t follow me.” He then laughs, “Well that kinda ruined the moment.” The whole set was epic (I don’t think I EVER stopped swaying), including the full-band version of their new gem, Last January. “It’s your eyes….touching my eyes.” I can’t wait for more TWILIGHT ON TUESDAY when they play a benefit gig with Mogwai! I also can’t wait for the NEW ALBUM, which James confirmed would be released in the Autumn. From the songs I’ve heard so far, this album might be their BEST (James thinks so too). It might just be the right place/right time for others (non-diehards) to catch on. I’ll make sure my buddies in California see them when they fly through in Nov with the Jetpacks (We Were Promised Jetpacks). 🙂
PICTURES:
***
The Twilight Sad– bandstand Busking, London
(June 21, 2014)
VIDEOS:
Cold Days from the Birdhouse:
Last January:
I Became a Prostitute:
It Never Was the Same:
And She Would Darken the Memory:
That Summer, At Home I had Become the Invisible Boy:
PICTURES:
***
The Twilight Sad– Hoxton Square Bar & Grill, London
Getting to MEET SHARON the first time I ever saw her. It was at a tiny venue (Rickshaw Stop) in San Francisco, and was the night I passed my PhD defense. There’s no one else I’d rather spend me first night as a “Dr.” with! LOVE HER.
I remember as if it were yesterday. August 10, 2012. Not just the day I passed my thesis defense, but the day I got to see AND MEET one of my favorite female artists OF ALL TIME: Sharon Van Etten. Having started listening to her a year prior through an Irish buddy I met in Barcelona, I was immediately HOOKED by Epic and even later by the fierce grasp of their newer arrival, Tramp. A devout fan of the National since 2010, I was enamored by the thought of Aaron Dressner and Sharon sitting down together, mixing up some musical madness together in some Brooklyn studio. She speaks very highly of Aaron, and says it was he that taught her how to “communicate in the studio” and be “open to collaboration” (e.g. working with Beirut‘s Zach Condon and Wye Oak‘s Jenn Wassner) without “shying away from production.” “I feel like Aaron gave me a lot of tools and confidence to communicate with my band and it made me want to try something different sonically. I wanted to give the songs more space and not bury them in instrumentation. I really wanted to focus on the band and the space and the melodies.” You could definitely sense the extra dimension in Tramp, and even more so in her newest album, ‘Are We There‘ (released June 2014). For this album, Sharon rounded up a two more band members, Darren Jessee (of Ben Folds Five and Hotel Lights) and Brad Cook (from Megafaun), both joining alumni Heather Woods Broderick and Doug Keith. I remember Doug very well because I was standing RIGHT IN FRONT of him (arms reach away) at that Rickshaw Stop gig and was serenaded by his EPIC bowing of the guitar intro to ‘I’m Wrong’ (one of my favorites from their collection). CHILLS up and down my spine every time I hear that song, and the “tell my I’m worth all the miles you put on your car…” line always draws a tear. ‘I’m Wrong‘ and ‘Joke or a Lie,’ back-to-back ON REPEAT was instant therapy for me during the weeks leading up to my PhD defense, and am not sure I would have made it (in one piece) without these songs. That strong dependency on Sharon’s music was something I could not be more eager to share with her that night (after I passed)…AND I DID (hence the picture above). Normally I would have been nervous to approach her, but her down-to-earth spirit and bubbly, comedic banter throughout the set just instantly diffused those nerves and suddenly I felt like she was a good friend who I had known for years. I was shocked to find that someone who sings such devastating, heart-breaking songs could be so happy-go-lucky and utterly HILARIOUS…(so hilarious that I actually asked her if she was “a comedian before this,” to which she replied, ” I liked doing gags, like saran wrap on the toilet seat.”)…She also mentioned eating waaaaay too much chocolate cake that day, and when I mentioned that to her 6 months later at their December gig in London (The Forum), SHE REMEMBERED ME…literally pointed to me in a crowd of 1500 people and was like “HEY YOU!”…(I was DYING). It just goes to show you that no matter how big or famous some artists get, they will still remain the GENUINELY AWESOME PERSON that got them there in the first place. “I don’t want to be big,” Sharon said in a recent interview with Gigwise. “I don’t want to be bigger. I think that with the way I write and perform, I like where I am. I’m kind of scared to get any bigger because I just don’t think that’s the reason I do this. I soon as I don’t know who I’m connecting with or why then I want to stop and do something different. I’m not even like a festival kind of band – who wants to stop partying to come and listen to me? It doesn’t make sense to me, but I feel lucky to be here. I don’t have any ‘moves’.” She wants to still feel the impact (on a personal level) with her fans, and I very much admire her for that. Sharon is developing a fan base for all the right reasons, and we can only continue to LOVE MORE (pun intended) the many sides of this dynamic, lovable lady. ❤ And this lovable lady is proving that her music can only get better with time, and her evolution as an artist is something we can only look forward to. Having added 2 new members to her touring WOLF PACK, some might be concerned that they additional instruments would drown out her sound on the new album, ‘Are We There,’ but they don’t.When asked about maintaining the intimacy and purity of her music while involving more people, Sharon replies: “The songs still originate from my bedroom, for the most part, and start from a really intimate place. I feel as long as the melody is supported and not covered you can hear that intimacy.” When discussing the inspiration for ‘Are We There,’ she says, “The whole album was written over the past two years while on the road, touring Tramp. And the songs are all about the struggle of trying to have a home life, relationship – and also trying to work and the frustration that comes with trying to balance it all when it is virtually impossible…In the end, I had to choose my work over having a relationship because the person I was with couldn’t handle it. It was someone that I loved very deeply, but it just plays on people’s insecurities when you’re in a place that they’re not. And that’s kinda what that song is about, what the whole record’s about.” I’m not a famous musician or anything (obviously), but I can definitely emphasize with that nomadic type lifestyle, and I can see how difficult it would be to maintain a healthy relationship (esp. with someone outside the business who might not understand). But what I (and most others) love about Sharon is how fearless she is in facing her subconscious and unleashing many of the deep-seated affliction that most people would rather suppress. “I have a hard time not wearing my heart on my sleeve and answering people honestly. You know, my friends warn me that I should be more guarded ‘cause sometimes I am too honest and open, but it’s also just who I am. I don’t like to hold back. Especially with who I am and what I do, it’s all me, everything’s my name, it’s what I do, it’s how I feel, it’s what I think. Over the last two years, I’m beginning to think that what I do is kind of self-centered, you know? And I’ve been contemplating doing something else after a couple of years, ‘cause it’s all me. It’s almost like, why do people care about me?…I love who I work with, and I’m lucky, and I know that people would kill to be in the position that I’m in, but it’s fucking with my head a little bit. It’s all about me and my life and my hardships or whatever you want to call it, and I don’t know who I’m helping, I don’t know what I’m doing…I feel pretty selfish to be doing what I’m doing and not knowing who it’s affecting or who it’s helping.” But I wish I could tell her (shout it out) that she is HELPING ME!! Without Sharon’s recent album release and gig at KOKO, I am not sure I could have made it through last week without having complete meltdown. The one song that became my instant ailment (still is) was ‘Afraid of Nothing.’ It’s actually the title track to my recent playlist: https://beatsthatsetmypulse.wordpress.com/afraid-of-nothing/ The minute I hear those intro piano chords to this song, my fear/troubles/frustrations instantly dissipate off my chest, and suddenly I feel a thousand times lighter. This was the first song of Sharon’s set at KOKO, and I couldn’t help but choke up (at the first song, lame I know). I would have loved getting this on video, but the photographers were obstructing my view. These lyrics = therapy: “I can’t wait…Til we’re afraid…Of nothing. I can’t wait…Til we hide….From nothing…Nothing.” Next up in the set was ‘Taking Chances,’ one of my other favorites from the new album. The beat is so hypnotic and catchy, and the lyrics just flow behind like a perfect cascade: “When you love all of you, they know all of you..Be alone and take, and you break for your sake…Even I’ve taken my chances….Even I’ve taken my chances on you.” Then it was ‘Tarifa‘, a song that didn’t’ capture my initial interest the first time through, but now that I listen more and more I’ really drawn to it: “Tell me when…Tell me when is this over?…Chewed you out…Chew me out when I’m stupid.” After the first 3 songs (photographers booted, thank you), Sharon apologizes to the the audience, saying that she is a bit sick and will have to carry her tissues on stage..(she later jokes about about making a business with personalized tissues). Then she cracks a few jokes with her keyboardist/back up singer, Heather, who claimed at the red tambourine wasn’t “her color.” She soon interrupts the set with an oldie (but goodie), ‘Don’t Do It,’ and the crowd goes wild for the tune that we all know and love: “Look me in the eyes, say you can’t do it, but you will if you want to…I wish I could make you right.” (fierce ending…wish I could give her a hug!) Next was another oldie, a song (‘Give Out‘) she introduces as the reason why she “moved to the city“: “What’s with the eyes…In the back of the room?…The only ones shining…The only ones I’d met in years…“I’m biting my lip…As confidence is speaking to me.” (this continues to be one of my favorites of her older stuff) Just before she hits us with a new one, she giggles as she and Doug discuss how much they are enjoying the show during their “meeting minutes.” (haha) Then someone in the crowd yells, “We love you Sharon!,” to which she replies (looking out with her hand over her forehead, ” DAD? Is that you?” Everyone laughs as she then explains how it’s not uncommon for her parents to randomly show up and surprise her at gigs in different cities, as they have in the past for both Dublin and Paris. (But then she says they would not be here because they are at home getting ready for her sister’s wedding). Next up was another new one, ‘Nothing will change,’ and I for sure felt the gravity in these lyrics; “It had been a while and I thought that you’d forgot about me I never could have forgotten you. (def have been there…) The next song (‘Break Me‘) seems to be a continueation of ‘Give out’, and I can’t help but draw a parallel between the two. She says, “This is a song about therapy, cause I need it.” (LOVE THE OMNICHORD IN THIS ONE) “He can make me..Move into a city on my knees…He can take in everything…Hoping he let’s me in..I, I let you in.” She then played one more old one (‘Serpents‘) before finishing off her collection of new gems, including ‘You Know Me Well‘: “Everyone is crazy with their own life…Lies in existential you ever want to find your way out…Turn into yourself again and reach on out….To become your true self…You know me well….You show me hell when I’m looking…And here you are…Looking.” “I’m just not that broken any more,” Sharon says in a recent interview. “I feel like I’ve been hurt and I’m still hurt, but for different reasons. I know who I am more, I know what I want, I don’t take as much shit, I know what I don’t want, I know what I will not tolerate, I know when I’m making someone else happy and vice versa…I still get hurt and get sad, I’m still a romantic at heart, but I think that one thing about growing up is that you know what you want more.” (YES.) Following this is the song, “Your Love is Killing Me,” which has drawn the attention of many and is “the heaviest thing she’s ever written.” In response to everyone’s concern and consideration, Sharon responds: “I am doing fine. It’s just this is what I do.” I call it “The Beast” because it is relentless.” She freaking lets all hell lose on this one. Emotional implosion. Her voice is on the verge of SHATTERING at the very end as if her heart were all the sudden in her throat.
“We’ve been through better days And you’ve tasted all my pain
Break my legs so I won’t walk to you Cut my tongue so I can’t talk to you Burn my skin so I can’t feel you Stab my eyes so I can’t see You like it when I let you walk over me You tell me that you like it Your love is killing me
There he let it go, his temper, standing there See her with his gun and he, steals love so he can feel alive (This line SLAYS ME) Everyone’s knees knockin’ at the fear of love Taste blood Everybody needs to feel.”
Following “The Beast” is a song (‘Every time The Sun Comes up‘) that Sharon introduces as “literal in every way,” and one that her band tricked her with: “People say I’m a one-hit wonder But what happens when I have two? I washed your dishes, but I shitted in your bathroom..’ (hahah) She follows with another hit from the new album, ‘I Love You But I’m Lost“: “Come in here and be yourself again I love you but I’m not somebody who take shots See me after I recoil I’m better than I know There’s room to grow .. Let’s turn it into something we can change I love you but I’m lost Between the pain and cost I hold myself alive.” After thanking TONS of people, including her old drummer (now manager), Zeke, Sharon says that she can either play a song or tell a story (for the encore). Riding on gut and intuition, Sharon dismisses (as nice as possible) the many song suggestions from the audience and instead says, “But I sorta had a plan, guys…‘ before she dazzles us with her last track on the album, “I Know.” “And then you push me out I know, I know And then you disappear because you can’t fight fear I know, I know..I all ever wanted as YOU.” (she warned us that it was going to be a sad one) “Every time I write, it is for therapeutic purposes. I write when I am going through a really hard time. I hit record and sing stream of conscious. I usually let it out for about ten or twenty minutes and then wait a day or two then listen back a day or two later so I have some perspective on what I was going through. Nine times out of ten I don’t share those “songs” with anyone because they are too personal. The ones I choose to share are the ideas that are more relatable and universal so I don’t alienate the listener – and hopefully they can connect with it on their own personal level.” YES, yes they do! We love you, “SHIZZLE.” (what she called herself on the set) xxx And to leave YOU on a personal level, here are a few interesting comments I read about Sharon in a recent interview: CP- What do you hope for? SVE—I hope to one day find balance in my life. (my biggest struggle too!) CP—What motivates you to make music? SVE—Healing myself, helping others heal, and helping others feel not so alone. CP—What makes you smile? SVE—A dad with their kid, a stranger helping someone, someone else smiling (it’s contagious!) CP—When are you most at peace? SVE—At the beach. CP—What are you most scared of? SVE—Never settling down. (ME TOO)
Back in February, I noticed that my Facebook newsfeed (already dominated by an onslaught of music reminders) kept REMINDING ME about a NEW ARTIST that was rising on the scene: Courtney Barnett. This reminder was further back by the opinions of my credible music resources: Paige Parsons– who saw Courtney at the Rickshaw Stop in San Francisco, and Chris Hayes- who saw Courtney at the Ace Hotel in London. Both spoke highly of her musical talent and her unique delivery as a singer/songwriter. One thing that I don’t recall them mentioning–something that is no obvious from her EP (‘A Sea of Split Peas’) either– is the RAW ROCKER EDGE that kinda just SMACKS YOU IN THE FACE during her live performances. For someone as chill and nonchalant as Courtney, her display of SHREDDING GUITAR comes as a surprise to most who come see her for the first time. Similar to St. Vincent in that regard, she makes stare in disbelief as she RAVAGES that electric guitar and sends it WAILING. I caught myself continually looking up at her all googly-eyed, thinking how freaking siiiiiiiiick it would be to reign a throne that once used to only be occupied by men. She sure does put the HER back in rockHER, and I’m all about pumping my fist in the air to show my support. HELL YES. xx
Having had the luxury of seeing her TWICE in 2 WEEKS —the Great Escape Music Festival in Brighton (May 9, 2014) and the Islington Assembly Hall in London (May 29, 2014)– I was AMAZED by the cool, collected confidence she carried throughout both performances. She didn’t appear to be nervous at all, and instead engaged in casual conversation with her fans (whom she refers to as “new friends”). In fact, at one point during the London gig, she asked “So what are you all doing tomorrow?” Having been nominated for NME’s Best New Band (2014) and having managed sold out tours in the UK, USA, Australia, I am impressed by her humbled appreciation for the audience support. She’s very apathetic about the whole fame thing and really makes an effort to greet all her “new friends” after the gig. Standing in the front for both gigs, I was lucky enough to flag her down (Sheree and I) after the show and strike up a chat. I am not ashamed to say that I am part of the Courtney CULT that is beginning to spread like wild fire.
Meeting Courtney after her Brighton Dome gig at the Great Escape music fest on May 9, 2014. Dying!! (From the left: Me, Courtney, Sheree)
Courtney’s Brighton Dome gig at this year’s Great Escape was hands down one of the STANDOUT PERFORMANCES of the festival. No question about it. Her lackadaisical but completely honest vocal style reminds me a bit of Kurt Vile, who I also really love. She delivers her dream-like narratives with such tangible imagery that you can’t help but jump in and go along for the ride. According to Rolling Stone magazine, “Barnett is a storytelling twenty-something singer/songwriter from Melbourne who writes matter-of-fact tales that unspool like barstool revelations and sound like some hybrid of Kimya Dawson and Kurt Cobain.” All of her tales carry their own element of sass and sarcasm, but it’s the rambling restlessness of History Eraser that we can’t seem to ERASE from our minds. With lines like “they made their paints by mixing acid wash and lemonade” and “We drove by tractor there, the yellow straw replaced our hair, we laced the dairy river with the cream of sweet vermouth,” you can only grin over the pure ingenuity of her impressive imagination. The best, though, is the chorus: “In my brain I re-arrange the letters on the page to spell your name…” (I just wish her bass player sang it louder during the gig!)
My favorite verses have got to be the last two:
“You said “we only live once” so we touched a little tongue, and instantly i wanted to… I lost my train of thought and jumped aboard the Epping as the doors were slowly closing on the world. I touched on and off and rubbed my arm up against yours and still the inspector inspected me. The lady in the roof was living proof that nothing really ever is exactly as it seems.
..
We caught the river boat downstream and ended up beside a team of angry footballers. I fed the ducks some krill then we were sucked against our will into the welcome doors of the casino. We drank green margaritas, danced with sweet senoritas, and we all went home as winners of a kind. You said “i guarantee we’ll have more fun, drink till the moon becomes the sun, and in the taxi home i’ll sing you a triffids song!” (Tamanna, this one’s for you!)
History Eraser:
A girl next to me grabbed what she thought was the setlist, only to find a list of scattered words with no obvious meaning (except to Courtney of course). We later found out from Courtney that this was her lyrical “cheat sheet.” Something EVEN MORE valuable than a setlist. “Love you/hate you” –> FENCE –: “Like you/despise you”….What with the FENCE separating those sets of contradictions? And what with he “Turpentine” and “Cyanide” references? She’s such an interesting enigma! xxx
After Courtney’s impressive performance at The Great Escape, I was patting myself on the back for having purchased tickets early to see her at the Islington Assembly Hall (cause they sold out within weeks). The day the gig came around, however, I happened to be in a HORRID MOOD (might as well have had “f*ck you” written on my forehead), and was on the verge of a tears walking to the venue. Well, thank god I made it, cause Courtney proved to be the ultimate cure, and singing along (yes, I know most of the lyrics now) to her dark, witty tales had me smiling in no time. Who needs therapy when you’ve got musical madness as medicine?..
Courtney starts off the gig with Don’t Apply Compression Gently, David, Lance Jr., Canned Tomatoes, Scotty Says, taking a break in between to thank the audience and ask questions like: “Are you all having a good time?”, “Who has seen me before and has come back?” She also called out a person in the upper balcony who was leaving for the toilet during her set (haha). Although I didn’t get Don’t Apply Compression Gently on video, it happens to be another favorite. The brut honesty of the chorus (“I may not be 100% happy but at least I’m not with you”) and last verse is killer:
“I take pieces of myself from everyone around me I’m not individual enough for you I replicate the people I admire But at least I’m not bitter and sad.” (TRUTH).
Next up was what she introduced as an “angry song” about a “bad person,” soon correcting herself to say that person is probably “not so bad.” It’s called Out of the Woodwork, and it’s exactly what I needed to extinguish those bitter flames of frustration/anger/confusion I had burning inside. The line responsible for cracking a smile in my otherwise frowny face was: “I noticed you stopped talking to me, now you’re talking to me all the time” (we’ve all been there)
But then she stabs at him even harder, saying: “Do you know you’re no good at listening? But you’re really good at saying everything on your mind. It must be tiring trying so hard, to look like you’re not really trying at all. I guess if you’re afraid of aiming too high, then you’re not really gonna have too far to fall.” (SLAYED.)
Out of the Woodwork:
Then there was Are You Looking After Yourself?, which Courtney said was inspired her mom’s voice (e.g. nagging). This song makes so much more sense after you separate half the lyrics to include her mom’s part. (GOD, she is so freaking witty and clever. )
Mom: “Are you working hard my darling, we’re so worried, always thinking of you and we just want you to be so happy, keep on going…”
Courtney: “I don’t want no 9 to 5, telling me that I’m alive and ‘Man, you’re doing well!”
Mom: “Have you got some money saved up for those rainy days? You should start some sort of trust fund just in case you fail” (sound very familiar…)
Courtney: “My friends play in bands, they are better than everything on radio…”
Are You Looking After Yourself:
(I think it’s safe to say that she IS indeed LOOKING AFTER HERSELF. She’s KILLIN IT right now!)
Following that one was a new song which they still haven’t a name for (hence it listed as “Blah” on the setlist). This one was probably the most volatile of all, and the lyrics cut like a knife. The harsh words kinda remind me a bit of Alanis Morrisette.
“Put me on a pedestal and I’ll only disappoint you.
Tell me I’m accessible and I’ll only exploit you.”
Next up was Avant Gardener, HANDS DOWN my favorite from Courtney’s kickass collection. I FREAKIN’ LOVE THIS TRACK and the entire witty rendition of a relatively serious event: the time she suffered from anaphylactic shock when trying to clear her front yard on a hot morning. “The one thing that captivates me in a song is the honesty of a songwriter. It could be about walking to the shop, but if it’s said with that person’s perspective then it can make it interesting,” says Courtney. This is ethos that dominates her EP, and this song in particular. My favorite verses (although they’re hard to choose!):
“Life’s getting hard in here So i do some gardening Anything to take my mind away from where it’s sposed to be. … I feel pro-active I pull out weeds All of a sudden I’m having trouble breathing in… I take a hit from An asthma puffer I do it wrong I was never good at smoking bongs. I’m not that good at breathing in.” (Genius ending.)
Avent Gardener:
Setting up a DOUBLY WHAMMY and hitting us with her two best in a row, she follows with the crowd pleaser, History Eraser.
History Eraser:
Then, we all didn’t think there was going to be an encore, as Courtney affirmed that History Eraser would be their official “last song.” SO, we were all super excited (jumping up and down inside) when she came out to play one more song. It was an ode to Preston, the area in Melbourne where she was possibly going to live until she realized how “depressing” it is (hence Depreston as the title of the song). She quickly mentions that it’s really “not that bad, though..” and she doesn’t want to give Preston a bad rap. The lyrics which really stood out to me were:
“If you had to spare half a million, You could knock it down and start rebuildin’..” (chills)
Depreston:
So amazed and utterly IN AWE of Courtney after this performance, I couldn’t help but wait in line to chat with her real quick and tell her how much enjoyed the show for a second time (this time knowing MOST of the lyrics.) I also asked her why both gigs they didn’t play Anonymous Club, which happens to be one of my favorites. Lyrics like: “Turn your phone off friend, you’re amongst friends and we don’t need no interruptions…Leave your shoes at the door, along with your troubles.” YES. Get me there. She responded by saying that was a difficult song to play live and they haven’t quite figured it out yet. Mainly I think it’s because they need to get another guitarist (or maybe the drummer?) to make some of those background effects while she keep on rhythm. Hopefully that’s something they’ll work on for future cause I LOVE IT…love her. Def seeing her again and again. ❤
I should have asked her what the PEDIGOGEE (and foot) were referring to! Haha
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