Words and Images: Tim Hara
As we exited our cab outside of the Park West in Chicago, we were immediately approached by a fan asking us if we had any extras for the sold out Pretty Lights show. Then another, then another, then another. Dozens of kids braved the miserable cold and rain with their fingers raised high in the air with hopes of scoring a ticket to what seemed like the hottest show in town. Sadly, almost all of them would get shut out.
Yonder Mountain String Band was playing at the House of Blues Chicago, but you wouldn’t have known it. All people were talking about for weeks was whether they had a ticket for Pretty Lights and how they were going to get in if they didn’t have one. Desperation led to some fans offering up to five times face value for a single ticket. I hadn’t seen this kind of pandemonium for a show in this city for a long time. We passed all the unfortunate, ticket less fans and entered the venue knowing that the evening was truly going to be something special.
Derek Vincent Smith, AKA Pretty Lights, creates infectious beats that seem to appeal to a wide audience. His music is so unique that even his biggest fans have a hard time describing exactly what it is that they are listening to. He blends a heavy electronic sound that walks the line of glitch, electro or even dubstep with a combination of samples that run the gamut of soul to funk to rap. The result is a live performance of non-stop dance music that truly provides something for everyone.
READ ON for more from Tim on Pretty Lights in Chicago…
The intimacy of FlynnSpace lends itself to revealing the detail of a musical performance which benefited The David Binney Quartet tremendously the evening of September 26th. It was impossible not to notice how the foursome challenges itself when they play.
Ben Folds and the Seattle Symphony. For few musicians would I have fewer reservations about this potential pairing – and in Folds’ recent visit to Seattle, this critic was not disappointed. Folds played a magnificent set, highlighting the strength of his songwriting, giving the audience a window into the process of converting pop songs into orchestral pieces (or, at it’s called, “arranging”), and generally providing a great evening.
iPeter Gabriel is set to release an orchestral covers album featuring songs by the likes of Radiohead, Arcade Fire, Elbow and Bon Iver. Entitled ‘Scratch My Back’, the album is
Earlier this month we ran a virtual costume contest where folks submitted ideas for their best Phish-related costume contests and now that Festival 8 is finally upon us we’re asking
Words: Jonathan “Kos” Kosakow
Each year, the CMJ Music Marathon descends upon New York City for five days in October. For bands, it is a chance to be discovered. For journalists, bloggers, photographers and the recording industry, it is an opportunity to stumble upon the next big thing. And for the fans, it is a chance to discover new music, a chance to witness the origins of a band, and perhaps more importantly, a chance to run around New York City for five days without a plan or a clue as to what they will find.
There is no “right” way to get through CMJ. Of the almost 1,100 musical acts who performed over the five days at this year’s marathon, even those fans heavily immersed in the music scene were familiar with only a small percentage. Some choose to see only the bands they already know and are familiar with. Some choose to pick a venue and stick with it for an entire evening. Others choose to pick bands based on their names, and still others just go to an area with the highest concentration of shows (generally the Lower East Side of Manhattan), and bounce around between venues. But no matter what method you choose, you are bound to find something you love, something you hate, or something completely weird.
As I am just one man, I was only able to see a (very, very, very) small percentage of the music played. But of the bands I was able to see, here are my recommendations.
These United States bring a sound similar to a combination of The Black Crowes and The Band, with vocals slightly reminiscent of the Counting Crows’ Adam Duritz. Comparisons aside, this quintet had a sound too big for Piano’s, the small bar that played host that evening. By adding a steel pedal guitar to the classic southern rock, they are allowed much greater diversity of sound and can bring in many more influences. And that may be their only true drawback – the lack of a definitive sound. Give them a little bit more time to find their true sound, though, and I’d put some money on seeing these guys in much larger venues.
READ ON for more of Jonathan’s recommendations…
The Faces reunited on Monday night at the iconic Royal Albert Hall in London for a one-time charity show with Simply Red front man Mick Huchnall, Kiki Dee and Mel
Words: Daniel Schneier
Pictures: Will Porter
It’s taken The Avett Brothers 9 years, 11 albums and a tireless touring schedule to abandon the indie label cradle and enter the musical mainstream, though one evening with this North Carolina foursome leaves no doubt as to why they have courted the interest of big city suitors. The group is currently in the throes of a touring and promotional blitz in conjunction with the late September release of I and Love and You
Having sold out two straight nights at the formidable “Fillmore” at Irving Plaza back in June, the Avett’s took on an even larger New York City stage on Saturday, October 17th, delivering a high-energy set of music to a packed house at Terminal 5. The band, consisting of talented multi-instrumentalists, Scott and Seth Avett, longtime bassist Bob Crawford and cellist, Joe Kwon, wasted no time in setting the night’s hootenanny tone, taking the stage around 9:15 to a roar of raucous approval from the audience.
With a swarm of homemade signs and t-shirts pressed up against the stage, and denizens of flannel-wearing, 20-somethings leaning off the venue’s 2nd and 3rd story balconies, the Avett’s broke out the ringing acoustical chords to opener, Paranoia in bFlat Major and proceeded to power through a breakneck paced 90-minute set of rock-infused folk and bluegrass.
READ ON for more on the Avetts from Dan and Will…
The first-ever Marco Benevento & Friends DVD – culled from footage shot during their Sullivan Hall residency in January of 2008 – hits stores on November 10. Those who pre-order
Brock Butler’s debut studio album, “Lately Here Though” is now available for digital download on Brock’s official website, www.therevbutler.com. Produced and recorded by David Barbe (Drive-by-Truckers, Cracker) at Chase Park
