Not quite full, but definitely buzzing, San Francisco's Fillmore Auditorium once again welcomed Saint Etienne with enthusiasm, and Saint Etienne brought their trademark quirks with them.
Are you looking for a great new American indie-folk singer? Look no further than… Faroe Islands native Marius Ziska. Following on the heels of Britons Mumford & Sons, whose songs have reinvented banjo-driven Americana, Ziska is making great American music – far from American shores.
Neil Young’s second record of the year with Crazy Horse, Psychedelic Pill, is an excellent piece of work. With some slightly more astute editing, this long-awaited album might well rank with the best Young’s ever done. A collection of traditionals and covers, the previous 2012 release, Americana, is permeated with a ramshackle charm that’s in marked contrast to the studied approach of its successor. Still, this record of original material has, as its foundation, the natural chemistry between Young with his beloved backing band.
Just like teenagers try on various guises in an attempt to ultimately find themselves, bands too try on different styles. And for the most part it’s a healthy sign of growth. What makes it heartbreaking is when you liked (even loved) what they were and not what they now are. And that is what made me so sad the other night at the Bowerbirds show at the Crescent Ballroom.
Diluvia, the group's sophomore release, is at least a few shades darker than Weathervanes, but preserves the oddball pop instrumentation that helped Freelance Whales stand out in a crowded New York indie scene.
The historic and beautiful Moore theater offered the perfect backdrop for a festival finish, hosting Colorado natives Devotchka for a standout set, backed by the Seattle Rock Orchestra. Not only did their eclectic mix of influences shine with this extra backing, they fully took over the room and the night; Nick Urata's voice soaring to the rafters, while the rest of the band swapped instruments and provided the skeleton on which to rest the orchestra's powerful additions.
With a simply but eye-catching package inside and out, The Georgia Bootleg Box documents the process by which the original Gov’t Mule trio, two years into its existence, was well on its way towards a mission of fine-tuning a repertoire that provides a foundation for the group even today, in its third formal incarnation.
Everyone loves Tom Petty. For over 35 years, he’s been a constant staple of the rock and roll landscape, writing honest and straightforward vignettes that always seem to unify the varied branches of the music universe. He’s the common ground that connects the hipster to the mainstream, the urban liberal to the red-state conservative, the jaded blogger to the well-worn classic rock scribe.
It was only when Hiatt began to trade his acoustic guitars for a Fender electric that the vibrations from the stage grew in proportion to the volume.
Say Anything has always been synonymous with angst, high energy, and unconventional themes. Their fast-paced, passion driven music has been a staple part of most American teenagers’ lives. Even after 12 years in the business, the band does not disappoint. At the Paramount Theater in Huntington, NY on October 21, opening quartet Tallhart sang, “We dance in circles,/it’s Saturday night/We dance in circles now” off their track, “Wolves.” The lyrics set the scene for the night to come – when teens and adolescents gathered for a night of quintessential teenage entertainment.
