The Orpheum Theatre felt the like the scene from an ancient ritual as everyone on stage stomped their feet as Feist hung her guitar over her shoulders and eases into the first track of the night.
Little Broken Hearts suggests that maybe Jones isn’t looking to head back, but instead shake things up even further. If she is able to find a musical partner like Danger Mouse that she connects so well to, we’re due for yet another fantastic record from an artist many of us wrote off years ago.
Should Herzig and her band bring the show back through the Bay Area for a third leg, chances are she’ll play to an even larger audience, and one that will continue to welcome the ten songs from her last record with even more of an embrace.
The first weekend of the annual Jazz & Heritage Festival in New Orleans has come and gone with an incredible bang. Not only did a reunited Beach Boys close out the first day but Tom Petty dug his heels into some blues on day two and Bruce Springsteen amassed a congregation thousands strong on day three as he preached and prayed, boogied and rocked. It was a weekend of legends not ready to settle down slowly.
With Luther Dickinson’s enlistment in the Black Crowes back in 2007 and his subsequent return to The North Mississippi All Stars, he’s inspired himself to nurture his propensity for collaborative projects. With The South Memphis String Band, a collaboration with Jimbo Mathus and Alvin Youngblood Hart, Dickinson lends his versatile blues rock guitar playing to yet another roots project.
Father John Misty is Josh Tillman's (ex-Fleet Foxes) latest identity and this time around he strives for honesty over escapism. After leaving Fleet Foxes, Tillman set out to capture the truth inside of himself that he felt must be hidden underneath the layers of 'alter-egos' he has been collecting over the years. Fear Fun, Father John Misty’s full length debut on Sub Pop reveals something worth singing about and the message is something one discovers at their own pace.
Cake’s appearance at the Raleigh Amphitheater didn’t include their disaffected traffic serenade “Long Line of Cars,” but it did contain a long line of songs from the band’s 20-year career. In fact, “Long Line of Cars” was about the only song they didn’t play that would be expected by the 3,000 or so people in attendance. Armed with a disdain for cameras of any kind and a relatively modest production featuring a disco ball and desert backdrop, the veteran band unfurled two separate sets full of aging college radio gems, indelible alternative hits, and new songs.
Released on the same day as his offspring's second birthday, is indicative of the musician's timeless, quality-heavy chops. Rock is better for having Brendan Benson in its world.
Despite the need for some much needed acoustic improvements, the members of Lotus were mostly able to overcome the sonic limitations of the venue, delivering yet another satisfying two sets of danceable electro-indie tunes.
Lower Dens hails from Baltimore, an important fact to consider when listening to their music. It’s a trippy, synth-fueled and mystifying sound that alternates between pulsing, metronomic beats and more languidly buzzing slow burners.
