Entries tagged with: Webster Hall
The Antlers @ ACL 2011 (more by Tim Griffin)
Tickets will be available at the door to tonight's Explosions in the Sky/Antlers show at Wellmont Theater in NJ (10/3). The Antlers play an opening set at 8pm. From there they stay on the road for a couple more days before coming home. They head to Mexico and California later this month, and then it's off to Europe in November. By December 10th they're back home because that's the date they'll headline their own NYC show at Webster Hall! Ticket info TBA shortly. All tour dates below...
Thirty minutes before the opening act, Webster Hall was already getting crowded - good news for Alessi's Ark, the opening act. Much like Laura Marling, Alessi Laurent-Marke combines acoustic guitar-based folk songs with a good deal of charm, but what Marling's discography lacks - levity - Laurent-Marke makes up for. Instead of singing about ghosts, going mad, and lost hope, Laurent-Marke tends to stick to lighter topics (like kite flying) and a more delicate, gentle sound.
Many musicians lose their accents when they sing. Lauren-Marke is not one of them. Accompanying her rich voice is a relatively pronounced British accent (she hails from West London) that makes her vocals all the more alluring - especially when she shares the mic with her friend Marcus, who also accompanied her on the guitar throughout the performance.
Though the crowd was certainly attentive during the opening act, the energy in the room seemed to triple as soon as Laura Marling walked on stage. Shrieks, whistles, and high-pitched giggles replaced demure clapping and extended into the first notes of the opening song ("Rambling Man"). But the crowd became fantastically silent as soon as Marling began to sing.
Blending intimacy with power, she often begins her songs with soft finger plucked melodies before calling on her five-piece backing band to contribute thunderous instrumental interludes on banjo, mandolin, upright bass, drums, keys, cello, and guitar.
Marling performed a smattering of songs from her three albums, including older crowd favorites like "Alas I Cannot Swim" and "Ghosts," which she played back-to-back toward the beginning of the set. Midway into the evening, her bandmates took a break, leaving her alone on the stage to play stripped down versions of a handful of songs, including a brand new, as of yet, untitled song.
In typical fashion, Marling apologized for her inability to grasp the art of stage banter and proceeded to charm the crowd with her asides, random facts, and general awkwardness.
There was no encore, well not technically. "We don't consider ourselves rock 'n roll enough to do an encore," said Marling. "So we have a way of getting around it [...] so if you did want an encore, than this is the last song, and if you didn't, than this is the second to last song." The real reason they don't do encores? The crowd would never let them leave. Somehow, though no one appeared to be dancing, the floor of the venue began to shake in time to Marling's last song, "All My Rage," as if the room itself had undergone a conversion and could no longer contain its excitement. Despite Marling's disclaimer, no one budged after she walked off stage, no doubt hoping she would have a change of heart. No such luck.
Last night's show marked the last stop in Marling and Laurent-Marke's tour that also passed through Chicago.
Earlier in the day Laura awarded some fans who bought her album with a very special afternoon event that involved her playing songs for two people at a time in an extremely intimate setting.
More pictures from Webster Hall and both setlists below...
The Rapture @ Webster Hall (photo by davidoliva)
"Embrace for a moment the idea that the most important band to emerge from early-2000s New York wasn't the Strokes but the Rapture. Sure, the Strokes went on to arenas, to overblown follow-up albums, to myth, all while the Rapture idled, then fizzled, then reconstituted, only to fizzle some more.The Rapture are now touring the United States.
But that's because there was no way to recapture the specific high of the Rapture's breakthrough, particularly the 2002 single "House of Jealous Lovers," which was the sparkplug of New York's dance-punk revival and remains that scene's greatest document. But while many rock micromovements of the day were ingested by the mainstream, the Rapture stayed small, a champion of a world preoccupied with itself and the preoccupation of few others. It lived as subculture. It died as subculture. It remained a pulsing memory.
At least that's the best way to explain how almost a decade after those earliest hits the Rapture -- Luke Jenner, Gabriel Andruzzi, Vito Roccoforte -- is still able to play to a full Webster Hall, as it did on Friday night, in what was as much a celebration of a lapsed idea about New York as a vital incubator as it was of the band that was once its soundtrack."
Speaking of DFA-signed bands, YACHT is playing a show at Brooklyn's Dekalb Market on October 9th. The market is a free place. The show is not free. More details below...
Mobb Deep @ Rock the Bells (more by Dana (Distortion) Yavin)
When Malkmus got bumped from Terminal 5 to Webster Hall (good news for Malkmus fans, bad news for Malkmus), the hip hop show that was already scheduled at Webster Hall that night got bumped down to the even more intimate Studio, and that show features Mobb Deep (performing "The Infamous") & Lloyd Banks (performing "The Hunger For More"). Mobb Deep performed the same album at Rock the Bells. Tickets are still on sale for that, and for Malkmus too.
photos by Greg Cristman
Opeth @ Webster Hall
"Swedish metal act Opeth played to a packed Webster Hall, debuting new songs from just-released record Heritage and putting new spins on old favorites.Opeth & Katatonia played their second of two shows at Webster Hall last night (9/22). Pictures from the first night, including one of their setlist, are in this post.
Opeth may have started as a full-on death metal band, but recent years and albums have shown that both the band and its fans' affinity lies with the beautiful, progressive tracks that seem to pour out of frontman Mikael Åkerfeldt, and the death growls have slowly but surely been fading out of the picture, and are nowhere to be found on the new album.
The band opened with two new songs off of Heritage, The Devil's Orchard and I Feel The Dark, and the enthusiastic fans cheered wildly for the new music. Webster Hall's relatively small capacity meant that fans were crammed shoulder to shoulder, but even in the very front of the crowd, everyone was abnormally pleasant when compared to a typical rock show, and that positive energy was reflected on stage as well, the musicians all clearly vibing with one another. Åkerfeldt is an outgoing frontman, and took a break every few songs to joke with the crowd about everything from masturbation to Swedish royalty. [Examiner]
Their tour continues at the Trocadero in Philly tonight. Updated tour dates and more pictures below....
Stephen Malkmus @ Other Music in Aug (more by Dana (Distortion) Yavin)
Terminal 5 haters rejoice. Stephen Malkmus & The Jicks had to do some rearranging...
The New York show is being moved from Terminal 5 to Webster Hall, and will now take place on Sunday, September 25 instead of Monday, September 26. All tickets purchased for the Terminal 5 show will be honored at Webster Hall.Updated Malkmus dates below...
The Chicago show originally scheduled at the Vic Theatre has been moved to Metro, 3730 N. Clark. Tickets purchased for the Vic Theatre will be honored at Metro. Showtime is 8:00pm; Holy Sons will open the show. Tickets for the Metro show are $22.50 and are on sale now through etix.com and jamusa.com. Ages 18 & Over.
Cat Power @ Webster Hall
After a string of shows got canceled this weekend, I was glad that there was at least one that was unaffected by Irene: Cat Power. (Chan Marshall's advice for those living in "hurricane city"? "Don't sleep under a window.")
Friday evening's show at Webster Hall, Chan's second in a row at the NYC venue, began not with Xray Eyeballs (Thursday's opener), but the one-woman act, Vorhees. Though her music is relatively unknown, Dana Wachs has been involved in the scene for a number of years both through her job as a sound engineer at DC's club The Black Cat and through her work on the road with artists like Black Dice, MGMT, MIA, and yes, Cat Power.
Perhaps unsurprisingly for a sound engineer, Wachs' music is heavily layered. Still in its beginning stages now, Vorhees dabbles with a number of influences. At its core, it's ambient and droney, but Wachs' chirpy, upbeat vocals recall 80s pop, and her beats bring a little hip-hop flavor.
After playing a handful of original songs, Wachs concluded her short 30-minute set with a Lindsey Buckingham cover and a few words of caution on the weekend's inclement weather.
Cat Power's backing band had already begun to play by the time Marshall walked onto the dimly lit stage. After a quick "hello" to the crowd, she grabbed the mic out of the stand and, dragging the chord behind her, retreated farther into the shadows where she kicked off the show with a couple of ballads, including a grim new song about alcohol, sleeping on the streets, and inescapable memories.
As if to draw as little attention to herself as possible, Marshall had dressed in all black, and her long bangs fell over eyes and covered half of her face. Periodically, she pulled at her clothes, clutching at both the collar of her shirt and her neck as if she were uncomfortable in her very skin despite receiving generous accolades from the crowd every few minutes. ("I love you!" "You're so beautiful!" people cried.)
Not one to bask in the spotlight, Marshall awkwardly shuffled back and forth, obviously favoring the far left and right to the center. Though she often had her back to the audience and hardly made eye contact with her praise-shouting fans, her nervous, self-conscious behavior was strangely intimate (in the way that someone who is confiding something extremely personal will rarely look you in the eye). Here was Chan Marshall in all her beautiful vulnerability. Somehow, her deep, smoky voice seemed even heavier and more world-weary live than recorded.
Though the music was largely subdued and melancholic, every few songs, the band let loose, and there were sudden moments of cacophonous instrumentation - electric guitar riffs, crashing drums.
After playing through a string of covers (from Jukebox) and new songs, Marshall closed the first portion of her set with a dramatic extended version of "Greatest," complete with flashing stage lights and a rowdy instrumental segment. She hardly got out the first few words of the song before the crowd interjected wild cheers. As the song stretched to eight minutes, Marshall simply walked off stage as the band continued to play. One by one, her band mates joined her until only a distorted melody remained to be repeatedly looped. The long wait definitely tested the patience of the audience, but no one seemed to move. (At this point, she had only played for about 50 minutes, or eight songs total.)
Finally after nearly fifteen minutes had passed, Marshall and the band returned to play nine additional songs. For the first time of the evening, Marshall joined in on guitar, at least for a couple of songs.
Between the heaviness of the songs themselves and Marshall's apparent unease, it was not the most uplifting show, but she did pick things up toward the end of the set and eventually made an odd request.
"Can you turn on the houselights? Like all of them?" The house obliged, leaving Marshall to sing the last song ("Don't Blame Me") to an audience bathed in bright lights as if born again. Then, after a series of odd bows, waves, and salutes, she walked away, again leaving her band mates to wrap up the song one by one.
So, was there a big breakdown? Well, no, not unless you count Marshall's periodic disappearances from the stage or the lengthy intermission. But despite the relative stability of her performances now, there remains a soul-stirring sadness in her voice and her delivery that in some ways is as difficult to bear as a show addled by an alcohol-induced haze of forgotten lyrics and on-stage crack-ups.
A video and the night's setlist below...
photos by Jessica Amaya words by Andrew Sacher
Deerhunter @ Webster Hall
Eleanor Friedberger (of Fiery Furnaces) and her band took the stage around 9 PM at Webster Hall last night (8/23) for the second of two shows with Deerhunter, while a cover/remix of The Beatles' "Eleanor Rigby" played through the PA. They played a great opening set. Eleanor's got an awesome voice and she's a killer downstrummer on the guitar. The set was enjoyable throughout, but the undeniable highlight came for me on the last track, "I Won't Fall Apart on You Tonight." The vocal harmonies she did in the chorus with her guitar player meshed so well, and were definitely something I wished I'd heard more of.
At around 10:15 PM, Deerhunter minus Bradford Cox walked out onto the stage at the sold out venue and began filling the room with noise and ambience. While awaiting Bradford's entrance, the band were joined by Colin Mee, an original member of Deerhunter who left in 2007. Bradford then appeared, taking solely to the mic like he did in Deerhunter's earlier days, and they began playing the intro to "Fluorescent Grey" off the EP of the same name, released shortly before Colin's departure from the band. Without a second of silence in between songs, they progressed into the first few tracks on Cryptograms, building the songs around the layers of noise they'd been creating. As the band moved through their set the stage was flooded with languid clouds of fog and absinthe-green lights, silhouetting the members and adding a visual companion to the heavy atmospheres of their music.
After about a half hour, Colin left the stage and Bradford returned to his guitar for the remainder of the set. In a slightly sarcastic manner, Bradford commented on yesterday's earthquake hitting NYC and that he was glad we were all okay, before going into Halcyon Digest's opening track "Earthquake." The band followed that with a couple more tracks off the album, including a distortion-ridden version of "Don't Cry," before going into a few Microcastle cuts. After extending "Nothing Ever Happened" into a trance-like passage, Bradford started screaming the "Horses" section of Patti Smith's "Land" over the mix. They left the stage after ending the climactic "Twilight At Carbon Lake" with a reverberating crunch that continued through their entire break before returning for an encore. The 2-song encore included the Lockett Pundt-fronted "Desire Lines" and "Calvary Scars II," which again ended with hypnotic noise that didn't cease until the lights in Webster Hall were turned back on and the stage crew muted the amps.
More pictures from the Tuesday night show below...
Panda Bear at MHOW in July (more by Amanda Hatfield)
As mentioned, Panda Bear plays Brooklyn Masonic Temple on October 2. We also mentioned that the show would reportedly be taking place one day after another NYC show that would probably be at Webster Hall. It's since been confirmed that the other show will take place on October 1 at Webster Hall. Tickets go on sale Friday (8/26) at noon for the Webster show and the Masonic Temple show. An AmEx presale for the Webster Hall show starts Wednesday (8/24) at noon.
In other Paw Tracks news, Prince Rama's collaborative show with Sun Araw happens at Music Hall of Williamsburg this Friday (8/26), and Prince Rama have a bunch of other shows coming up too including September 8th at Issue Project Room.
All tour dates are listed below...
photos by Dana (distortion) Yavin
Patti Smith @ Escape to NY
Patti Smith is playing a free show at Webster Hall on September 8 in commemoration of the tenth anniversary of 9/11. France Inter, the French National Public Radio Channel, is hosting the free event. Email email@example.com to RSVP (required). The show is at 8 PM. Check Webster Hall's website for more details.
Patti headlined the first night of the three-turned-two day festival Escape to NY in the Hamptons on Friday. A full set of pictures from the shortened weekend is coming soon, but here are the shots of Patti and band who also recently played a NY show at Castle Clinton.. They continue below...
Cat Power @ Summerstage 2009 (more by Chris La Putt)
Cat Power (aka Chan Marshall) told Rolling Stone last October that she plans to release a new album and play all of the instruments herself. She has since debuted some new songs live at The Fillmore in San Francisco this past February, which you can check out along with a video of the Rolling Stone Interview below.
Cat Power, who is also on the new Eddie Vedder album, will hopefully bring some of these new songs to NYC when she plays Webster Hall on August 26. Tickets for that show go on sale Friday (8/5) at noon with an AmEx pre-sale starting Wednesday (8/3) at noon.
The NYC show is two days before Chan plays LouFest in St. Louis, MO along with The Roots, TV on the Radio, Deerhunter, The Hold Steady, !!!, Surfer Blood and more.
More Cat Power dates TBA? Videos below...
photos by Amanda Hatfield
Oh Land / Sia
Sia played Webster Hall last night (7/26) with Oh Land and Ximena Sarinana. Sia played material mainly off of her last two albums, including Madonna's "Oh Father," and Ray Davies' "I Go to Sleep," both of which she has recorded covers of. She also revealed a new song titled "Hostage" and ended her encore with the 2004 single "Breathe Me."
All three of them play Webster again tonight (7/27). Tickets, like they were for last night, are sold out. The Sia/Oh Land tour continues through August 19th.
More pictures, videos and Sia's setlist from last night's Webster Hall show are below...
photos by Bao Nguyen
"One of the sickest shows I have ever been too,
James Blake blew the roof that bitch." - Lily Nunez
"My teeth are vibrating. At James Blake in Webster Hall" - Brennan Moore
"Seeing James Blake at Webster hall.
This is what soul and bass should sound like" - Static TV
James Blake played to a sold out crowd at Webster Hall last night (7/13). His set included all of the James Blake standouts as usual, but also some interesting additions. He played a live version of "CMYK" which he only recently began doing (video below). He ended his set with a cover of Digital Mystikz' "Anti-War Dub" and then returned for an encore to play "The Wilhelm Scream" and a new track, "Tell Me, Are You With Me" (video below).
More pictures, videos, and the setlist from the Webster Hall below...
photos by Jessica Amaya
Beady Eye @ Webster Hall
"...in the Fall of 2009 the Oasis brothers, Noel and Liam Gallagher, get into a heated argument, which may or may not have involved the destruction of one or more musical instruments, Noel quits the band, Liam and the other band members decide to carry on. Fast forward to the spring of 2011 when what essentially boils down to Oasis minus Noel Gallagher drop their debut album, Different Gear, Still Speeding, under the new moniker Beady Eye." [Live4Ever]Beady Eye, who are sort of Oasis without Noel, played their first public NYC show at Webster Hall on Thursday (6/23). I say "public" because one day earlier they also played a full set at the Ed Sullivan Theater as part of the "Live from Leterman" series which you can watch in its entirety below.
The Webster show was opened by New York locals The Dig and is pictured in this post. Beady Eye played their entire debut Different Gear, Still Speeding, including the iTunes bonus track "Man of Misery." They also covered the World of Twist song "Sons of the Stage" in the encore.
Full Webster setlist, more pictures from the show and the Letterman video, below...
photos by Ryan Barkan, words by Andrew Sacher
Being that I'm admittedly too young to have seen Paul Simon in his prime, I wasn't totally sure what to expect from his BV-presented Webster Hall show last night (6/6). After watching him deliver a 26 song set, which failed to show any signs of slowing down, I lost sight of all expectations I had and embraced the fact that Paul Simon was just straight up impressive. The set spanned his entire career from his days in Simon & Garfunkel through his recently released So Beautiful or So What, and also included a few covers. The songs off So Beautiful or So What resonated as strongly as his earlier material and blended right in. During the song "Rewrite" I even found myself debating over which of his albums the song was on, only to later realize it was in fact a new one. The entire set was so consistent that choosing any sort of standout is difficult, though if I had to say, When Paul and his band flowed seamlessly from Jimmy Cliff's "Vietnam" into Paul's own classic, "Mother and Child Reunion," I was pleasantly caught off guard.
The real treats, however, came during the encores. After a massive end to the initial set, Paul and band left the stage only for Paul to return with nothing more than an acoustic guitar. He provided some foreshadowing guitar which eventually built into an extremely intimate version of the Simon & Garfunkel staple "Sounds of Silence." Contrasted with a largely upbeat set, that small dose of melancholy left the audience still, silent, and possibly even more captivated. The impact that song holds almost 50 years later isn't matched by many, and Paul Simon's still-strong deliverance is matched by even less. Paul's band returned to the stage and the encore continued for three more songs including a rendition of the George Harrison-penned "Here Comes the Sun."
When the first encore finished and the stage crew scrambled to set up another mic stand, it was obvious that the band was returning for a second encore. But little did I know, the second mic was being set up for none other than David Byrne. The fellow worldbeat loving New Yorker sounds like the most appropriate guest on paper (except for maybe Art Garfunkel) and it was even more than that in real life. As mentioned, David, Paul, and band performed Talking Heads' "Road to Nowhere" and Graceland favorite "You Can Call Me Al." Byrne left the stage and Paul Simon and band played two more, appropriately including "Still Crazy After All These Years," before taking their final bows and exiting the stage after playing "Crazy Love, Vol. II".
Check out more pictures from the show below...
Paul & David @ Webster Hall -- photo by Ryan Barkan
An already excellent show was made epic when David Byrne surprised everyone by joining Paul Simon on stage at Webster Hall to perform two songs during the encore last night (6/6). First Simon and band backed David as he sang Talking Heads hit "Road to Nowhere". Then, like they did at BAM in 2008, David and Paul traded verses on Simon hit "You Can Call Me Al". A full review and set of pictures (more like the above) from the Monday night club show are coming soon. In the meantime check out some videos people posted to Youtube, below...
Lykke Li @ Webster Hall
"She looks like a normal non-idiotic Gaga. With better music." Or at least, that's what the consensus seems to be among Lykke Li fans on the music site Last.fm.
Lykke Li's rise to fame over the last few years has not been incidental. She's got an ear for catchy pop music, sexy dance moves, and just the right combination of Swedish genes. On stage, she seems to exude a cool confidence. And yet, in the song "Dance, Dance, Dance," she insists that she's actually quite shy. Of course, with her dramatic eye make-up, form fitting clothing, and sleek physique, she's gorgeous, but not in a way that incites resentment or makes her seem elitist or impossible to relate to. When she encourages you to dance, you want to respond accordingly, even though the room is far too crowded and you know you won't have the space to dance as gracefully as she does. Behold the draw of Lykke Li.
"We're lucky we're seeing her play here. She won't play anywhere this small again," a concert-goer said to his companion. One thing's for sure: She's certainly a tough act to precede.
But despite the fact that few people at Wednesday night's show at Webster Hall (the second of two sold out shows at the venue) seemed to even know there was an opener on the bill (let alone the identity of said opener), the audience seemed highly receptive to the Toronto one-woman outfit Grimes - even when she (Claire Boucher) momentarily flubbed the intro to her first song.
With her catchy keyboard-driven melodies and thumping bass lines, Grimes at times reminds me of a female Baths - but with an otherworldly twist due to Boucher's distinctive high-pitched, childlike voice and indecipherable lyrics.
Boucher's performance was certainly not as polished as that of Li (She coughed right into the microphone at one point), but her experimental leanings nicely contrasted Lykke Li's more straightforward pop sensibility.
With the exception of some dramatic lighting, the stage set-up was fairly minimal for Grimes, but for Lykke Li, the venue piled on the drama. Following a long intermission between sets, the room suddenly went dark and the smoke machines on stage kicked into overdrive.
As music played in the background, Li's backing back assumed their positions, and the tension escalated. Finally, Li herself appeared to rapturous applause. As if the setting on stage wasn't dramatic enough, Li looked like a widow in mourning in her black veil and oversized cloak. Bursts of blinding white light, thick clouds of smoke, and well-placed fans made it seem as if a tempest had broken out on stage. Long black curtains billowed in the manmade gusts and effectively enveloped Li until she brushed them aside with a graceful flourish.
Of course, it wasn't long before the veil fell and revealed Li's beauty mark, well-defined cheekbones, and unblinking gaze; and the cloak fell open. Li powered through her hour-long set, playing songs both from her most recent release and a few old favorites, including "I'm Good, I'm Gone" and "Little Bit." At the encouragement of the audience, she extended her encore and closed with "Unrequited Love."
Lykke Li's lyrics may not be particularly groundbreaking, but she performed with the poise of an experienced pop star and a level of intensity typically reserved for an encore. Perhaps she said it best herself: "Words can never make up for what you do."
Lykke Li's next NYC show is in fact in a bigger venue, Central Park Summerstage on August 1st. Tickets are still available. In the meantime, Lykke continues on her current North American tour which runs through the end of May with Grimes.
More pictures pictures from the Wednesday night show at Webster Hall, and the setlist, below...
words & photos by Dominick Mastrangelo
That so many of the characters in Greg Dulli's songs are met by misfortune (often self-inflicted) and find themselves in questionable circumstances, it was fitting that he and his Twilight Singers rolled into New York City on a Friday the 13th. Though anyone expecting something to go wrong during their feverish 21-song set were left disappointed.
"It's my birthday... three days later," Dulli joked at one point, but the entire 90-minute set seemed like a party. Nobody was having more fun than Dulli, who with this year's Dynamite Steps has released as many records as a Twilight Singer/solo artist as he did fronting the Afghan Whigs.
Early on, before a punishing version of "Bonnie Brae" (made popular by its inclusion in the television show "Rescue Me"), he accepted flowers from a fan in the front row, stepped to the mic and said, "You sure know how to make a man feel like Neil Diamond."
His voice was expectedly and delightfully off-key and his band sounded great, especially drummer Greg Wieczorek, "the best drummer I've ever seen," said Dulli during his band introductions. Erik Kang of openers Margot & the Nuclear So and So's (more on them in a second) came out to play pedal steel and violin later in the set.
As thunderstorms, porn theaters and other ominous images appeared on the screen behind them, set highlights included "Teenage Wristband", the cover of Martin Topley-Bird's "Too Tough To Die" and "On the Corner", "The Beginning of the End" and "Get Lucky" all from Dynamite Steps.
"Ladies and gentleman, The Killer," Dulli proclaimed, as a photo of that song's protagonist, Jerry Lee Lewis, and 13-year-old wife (and first cousin once removed) Myra Gale Brown loomed on the screen. It was the first song of a three-song encore and "The Killer" grooved and wailed better than anything else they played that night. Dulli closed with a ramped up version of "Esta Noche" ("This is the motherfucking finish line") that ended in a refrain of Carl Carlton's "Everlasting Love."
Margot and the Nukes' opening slot for the Twilight Singers made a lot of sense considering that bandleader Richard Edwards' songs traffic in a milder, Dulli-esque world of bruised and mis-handled relationships, but armed with Rachel's review of a show from last fall, I approached their set with trepidation. Then something happened when I got to the venue - I didn't care about any of that stuff. Bands shed and add members all the time and you either stick with them or you don't and I was just excited to see a band that I've adored since The Dust of Retreat. Sure, like a lot of people I'm nostalgic for the old version of Margot and (having seen them four times previous) missed seeing some familiar faces who were germane to a pretty great live show. But the version that recorded last year's Buzzard needed to be taken for the band it is now.
Ultimately, where the earlier Margot was more a chamber pop collective - this retooled lineup is a solid, straightforward rock band. "If you want to stay/Shut up. If you want to go/Get lost," Edwards snarled on Margot's set opener, the excellent "Claws Off" And then later in the song, "get lost" becomes "get fucked." But there are some lovely melodies in the earlier material, which was showcased on the stripped down version of "Broadripple Is Burning" complete with audience members singing along. There's still plenty of common ground to be found in their live show for fans of both incarnations.
The Twilight Singers and Margot are still on tour. A list of all upcoming TS dates, more pictures and the setlist from the Webster Hall show, and a video of the band playing Letterman in April too, below...
NYC did just get two nights of Paul Simon at the fabulous Beacon Theater, but I still couldn't help feeling left out since the March announcement of rare Paul Simon club dates. Seattle, LA, San Francisco, Toronto, Chicago, DC and even Boston were given chances to experience Paul up close and personal . NYC wasn't included... until now. BrooklynVegan is proud to present Paul Simon at Webster Hall on June 6! (at 8pm)
Tickets for the NYC club date will go on sale to the public on May 25 at 10am (via Ticketmaster), but there will also be a presale beginning exactly 24 hours earlier. Check in right here on BrooklynVegan.com on the morning of May 24 for presale details and a password.
UPDATE: Password HERE.
You can also try and WIN two tickets on the BrooklynVegan Facebook page now. All tour dates, Philadelphia on June 4 & 5 included, are listed below.
Paul's Chicago club show happened on Monday at the Vic. Greg Kot was there...
"Paul Simon has played stadiums and festivals. He's done Central Park. So it was a treat Monday to see one of the most venerated songwriters of the last half-century turn the relatively intimate, sold-out Vic Theatre into his living room.The full Chicago setlist, all tour dates, and videos of Paul performing new songs "Rewrite" and "So Beautiful or So What" on Saturday Night Live over the weekend (Ed Helms was the host), below...
The 69-year-old singer-songwriter dressed for the occasion in loose-fitting jeans and black T-shirt underneath an unbuttoned shirt. His eight-piece multi-culti band framed him, with Simon at times resembling a crossing guard at a three-way intersection as he directed musical traffic. His foot tapped, his arms waved, he crouched and jutted a guitar toward his musicians, he even played an air washboard solo...
Toro Y Moi at Bowery Ballroom (more by Toby Tenenbaum)
Shortly after enjoying a relatively leisurely summer compared to his year so far (SXSW, Bowery Ballroom, Mercury Lounge) , Toro Y Moi will hit the road after Labor Day for a string of U.S. dates that will include a stop at Webster Hall on 9/14 with Ava Luna. Tickets for Chazwick Bundick's biggest NYC show yet go on sale at noon on Friday (5/20).
Toro Y Moi welcomed the Underneath The Pine LP in February, and will follow it up with the Still Sound Remix 12" via Amazing Sounds on June 13.
Toro Y Moi recently made a mixtape featuring awesome names like King Tubby, Dorothy Ashby, Ennio Morricone, and Goblin. In related news, Goblin's Claudio Simonetti will play Santos Party House on May 24th as part of Daemonia, his metal band that updates classic songs by Goblin. They'll be joined by Wolf Eyes and tickets are still available.
All tour dates and some video is below.
* Modeselektor photo by Emma Gutteridge
A night of bass in all its wide-ranging permutations! MODESELEKTOR bring their hotly anticipated Modeselektion night to the Metropolis. The "no holds barred" German duo will be DJing alongside their selected guests, including mysterious industrial-dubstep duo ANSTAM, New York garage revivalist FALTYDL, Montreal bass producer JACQUESGREENE, and high-end electro maven SIRIUSMO.The June 3rd event at Webster Hall has almost the same lineup, but includes KRSN instead of JACQUESGREENE and FALTYDL. Both events will have Pfadfinderei Visuals. Unfortunately, the NYC show is also a Friday night "Girls & Boys" party at Webster Hall. Fortuntunately, that means it's only $5 with RSVP if you arrive before midnight.
Modeselektion, the night, is branded to match Modeselektion the mixtape series. Modeselektion Vol. 1 was released on November 5, via Monkeytown, and the tracklist (which you can see in full below), includes Siriusmo. Falty DL appears on Modeselektion Vol. 01 - Bonus Tracks & Versions which was released in December.
The NYC flyer, all Modeselektor dates, the CD tracklist, and some videos, below....
RJD2 at Webster Hall (more by Chris Doss)
A little more than a year after he last played the venue, RJD2 will return to Webster Hall again on Sept 2nd, but this time as part of the club's Friday night "Girls & Boys" party (aka more club night than concert). RSVP and get in for $5 before midnight ("Neat and trendy appearence a must"). Flyer below.
photos by Winnie Cheung
Appearing as a five-piece following the addition of guitarist Christoph Hocheim, The Pains' live performance largely eschewed excessive bombast and theatrics in favor of sharply-written and arranged shoegaze-inspired songs awash with passion and an understated intensity. The band's romantic, major chord-driven melancholic pop retained the low-key yet dramatic sensibilities of their recent records, with singer Kip Berman's gentle, whispered vocals proving the perfect counterpoint to dense, fuzz drenched guitars and synthesizer hooks.The review comes from the Pains of Being Pure at Heart/Twin Shadow tour stop at Daniel Street in Milford, CT on May 2nd, four days before the tour ended in NYC at Webster Hall (on May 6th). Pictures from Webster Hall, opener Big Troubles included, are in this post.
The band's 13-song set was almost evenly divided between their first and second albums, as early singles "Teenager in Love" and "Come Saturday" brimmed with an indelible youthful energy. But The Pains were especially engaged and confident on songs from their recently-released album Belong. The synth-driven dream pop of "The Body," the Ride-influenced "Heaven's Gonna Happen Now" and the album's dynamic title track easily stood as highlights of the evening and demonstrated a marked evolution in the group's skills as composers and performers. -[kevchino]
The Webster show was one day after Twin Shadow played an NYU show at LPR with the Thermals which was the same night Twin Shadow appeared on Late Night with Jimmy Fallon to perform "Castles in the Snow," and web-exclusive "I Can't Wait." Both videos are below.
Twin Shadow and Pains will cross paths again at the Osheaga Festival in Montreal at the end of July. All upcoming tour dates for both bands, and more pictures and those videos, below...
YACHT at Coachella 2011 (more)
The previously discussed YACHT tour continues until middle May, and the crew is poised to tear down Webster Hall with Light Asylum and Bobby Birdman in NYC tonight (4/27). Tickets are still available, or you can try your luck at winning one of three pairs of tickets we're giving away! Details on how are at the bottom of this post.
YACHT recently made a remix of the Classixx track "Into The Valley" (featuring Karl Dixon) for Green Label Sound (download/stream it below), and the LA production and DJ duo will be in NYC this week and at Webster Hall too. Just two days from today (on 4/29), Classixx will play as part of the Girls & Boys party with Nancy Whang (of Holy Ghost!, the Juan Maclean, and the now defunct LCD Soundsystem) and guests. Tickets are still available and doors open at 10PM.
All tour dates, contest details and that Yacht remix is below.
photos by Toby Tenenbaum
"Last night Yawn opened for Yuck. Indie rock has officially become an Abbott and Costello routine." - Simon Vozick-Levinson
"Had this awesome dream where Tame Impala covered Angel by Massive Attack. No wait...that actually happened." - Peter Sununu
Tame Impala @ Webster Hall
Tame Impala and Yuck and less-advertised opener Yawn brought their tour to a sold out Webster Hall in NYC last night (4/25). It was the headliner's only NYC show this time around, though Yuck will be back soon to headline their own show at Bowery Ballroom on May 27th. Tickets are still on sale for that. Oh, AND Yuck play a free in-store at Other Music TONIGHT.
About last night...
"[Tame Impala] had 9 flat screen monitors behind them that featured a light show that responded to the music. As you can imagine, it was a pychedelic delight. Aside from "I Don't Really Mind," Tame Impala played the entire "Innerspeaker" album as well as a cover of Massive Attack's "Angel." They even dug deep and played "Skeleton Tiger" and "Half Full Glass of Wine" off their debut EP (which is quite hard to find in the United States). The set was just about 70 minutes long and it was awesome." [According to G]The full setlist and more pictures from the whole show, below...