Venue:
Schubas (5/10)(Price range: 8$-15$): Schubas is what it is: a bar with a stage in back. I do love the place. The atmosphere is very relaxed. It’s the sort of place you can kick back with a beer and listen to local talent or small bands that aren’t quiet well known enough to open for anyone. The floor is lined with tables. Schubas is clean, which is nice and has a decent balance between the bar element and the stage element. There is an auxiliary bar toward the back of the stage area and the merch booth is squeezed in next to it just by the door. The stage feels a bit jerry rigged in places and security for the band is a bit lax, not that it’s needed for the sort of band that finds itself at Schubas. Allegedly they have food, but I’ve never seen it or where it’s served, so I will refrain from comment on that.
However, the sound quality is sub par at best and it really limits what a band can do on stage as all of the audio channels are set at the same volume: loud. The music is then pumped through sub par speakers.
I never saw the bathrooms so no marks on that.
The Crowd: (6/10) a sparse but lively bunch considering the fact that a) it was electronics rain out and b) the show was short notice. I’m sensing a cult following.
The Band: Makeshift Prodigy (7/10) I know a gal who works with them so I’d already been warmed up to them and they were no let down. Their recorded music is good; don’t get me wrong (review forthcoming). But live they really come to life. I wish I’d heard them somewhere with a better balance of sound and in venue lighting equipment. Front man Anthony Bagnara has a good range and a unique sense of how to use it. Bagnara uses the high notes to accentuate already intense emotion rather than impress the audience, though he accomplishes both. However, I’d encourage him to use his chest voice more as you can hear the strain on his throat in places. His smooth tenor voice meshed curiously with the other vocalist, Brandon fox’s rap. I have to confess; I was a little skeptical as to how the melodic, passionate tones of Bagnara’s voce would work with the sharp edged, pulses of rap. But work it did. Fox really brought an extra edge to the show and got the crowd moving. Both front men were extraordinarily emotive. Bagnara in particular was so caught up in intense emotion that he actually wound up on his knees for part of the show. Bagnara also paid as much attention to the crowd as was feasible in the venue, and seemed genuinely amused by the crowd’s antics, breaking into a grin in the midst of a relatively serious song.
Musically, its clear all of them have talent, however, they need to work on balancing their guitar work against the vocals. Bagnara has quite a soft voice and it’s easy for the louder guitar work to distract from it. The piano (Bagnara’s handy work as well) work was beautiful and had a degree of precision above the other instrumentation. Oddly enough, the electronics were very nicely timed and well done. The guitar work was alternately good and cacophonous, its clear guitarist Jake Foy, has talent but he sounds the least less talented of the band. While all of them are gifted artists, Bagnara’s work both on the piano and the vocals is a cut well above the rest.
I sincerely look forward to seeing these guys really come into their own, I don’t think they are there yet, but I have every confidence they will be very soon.
April 25, 2010
Format change
When I first started this blog, I didn’t have as much experience really paying attention to the nuances of music Now I’ve trained my ears and really learned to listen to the music. So here’s my new scale of assessment, roughly, and subject to whims.
1-10 With a breakdown as follows:
1- reserved for the worst of the worst. Something hopefully you will never see.
2-3: Not worth buying the CD, but tolerable
3-5: Alright, might be worth the CD if its a 5-10$ concert CD certainly not worth shipping price
5-7 Worth buying, very good stuff. This is where I expect the majority of bands I’m not actively seeking out will fall.
7-9 stuff a step above the average that really, really sands out. This is the stuff I actively seek out.
10- reserved for the crème de la crème. Run and get this music: it will turn heads and blow minds.
New Criterion for Venues (I will re-review some) :
1) Promised amenities-- How are the bathrooms? Is there actually a coat check? How are the bars?
2) the floor: Is it properly ventilated? Cramped? Too flat? Too full of pillars?
3) Pricing
4) Atmosphere: does the place generally creep you out? Is it cozy? Boisterous?
5) Sound Quality/ audio balance-- this is partly the bands responsibility, but the venue can often play a critical role
The crowd:
1)participation: you are at a rock show, not the symphony, it says something if you can’t at least give a golf clap.
2) Turn out.
3) vibe: the general energy of the crowd.
The band(s):
1) the attitude: Part of the point of going to a live show is to interact with the artist in a way, if their a jerk it really detracts from the show. How do they comport themselves to their fans? to each other?
2) sound balance
3) (on albums) Speed balance: too many slow tracks? fast ones?
4) Vocal sound:
5) overall sound
6)Instrumentation/ use of electronics: I find some bands use electronics to cover for their lack of talent, but electronics can be highly effective.
1-10 With a breakdown as follows:
1- reserved for the worst of the worst. Something hopefully you will never see.
2-3: Not worth buying the CD, but tolerable
3-5: Alright, might be worth the CD if its a 5-10$ concert CD certainly not worth shipping price
5-7 Worth buying, very good stuff. This is where I expect the majority of bands I’m not actively seeking out will fall.
7-9 stuff a step above the average that really, really sands out. This is the stuff I actively seek out.
10- reserved for the crème de la crème. Run and get this music: it will turn heads and blow minds.
New Criterion for Venues (I will re-review some) :
1) Promised amenities-- How are the bathrooms? Is there actually a coat check? How are the bars?
2) the floor: Is it properly ventilated? Cramped? Too flat? Too full of pillars?
3) Pricing
4) Atmosphere: does the place generally creep you out? Is it cozy? Boisterous?
5) Sound Quality/ audio balance-- this is partly the bands responsibility, but the venue can often play a critical role
The crowd:
1)participation: you are at a rock show, not the symphony, it says something if you can’t at least give a golf clap.
2) Turn out.
3) vibe: the general energy of the crowd.
The band(s):
1) the attitude: Part of the point of going to a live show is to interact with the artist in a way, if their a jerk it really detracts from the show. How do they comport themselves to their fans? to each other?
2) sound balance
3) (on albums) Speed balance: too many slow tracks? fast ones?
4) Vocal sound:
5) overall sound
6)Instrumentation/ use of electronics: I find some bands use electronics to cover for their lack of talent, but electronics can be highly effective.
April 23, 2010
Sneak peek review: Makeshift Prodogy
This isn’t something I normally do but I’ve been meaning to talk about these guys for a while now.
Makeshift Prodigy Call themselves "indy/rock" however, their sound is unlike anything I've ever heard so I’ve struggled with how best to describe them for quite some time now.
If Bullet for My Valentine collaborated with Lifehouse. I think they’d sound a little like these guys. It's a sound I’ve heard parts of before, but as a whole it's something entirely their own. Melodic vocals, engaging piano work, with a slightly 80s feel but not so much that its hindering. Yet despite this mellow vibe, there’s an undercurrent of substance and innovation that is distinctly lacking in a lot of music these days, especially when comparing their first album to their new work.
Tomorrow I’m going to a show so a longer review is forthcoming. I just had to get the word out about these guys.
This show and this next album should be interesting indeed.
Makeshift Prodigy Call themselves "indy/rock" however, their sound is unlike anything I've ever heard so I’ve struggled with how best to describe them for quite some time now.
If Bullet for My Valentine collaborated with Lifehouse. I think they’d sound a little like these guys. It's a sound I’ve heard parts of before, but as a whole it's something entirely their own. Melodic vocals, engaging piano work, with a slightly 80s feel but not so much that its hindering. Yet despite this mellow vibe, there’s an undercurrent of substance and innovation that is distinctly lacking in a lot of music these days, especially when comparing their first album to their new work.
Tomorrow I’m going to a show so a longer review is forthcoming. I just had to get the word out about these guys.
This show and this next album should be interesting indeed.
April 19, 2010
30 Seconds to Mars with Mutemath and Neon Trees
Venue: The Aragon Ballroom (see previous review)(2.5/5) I was up on the balcony and got to observe the venue from a different angle, which solved some of the problems The Aragon has, namely ventilation and being able to see as a short person. I also had the unpleasant experience of being near their “coat check” which is a lie. Its a shady woman in the ladies room who just sticks your stuff under the counter and apparently also does not have change. She had wandered off with a twenty from the girl in front of me. I don’t know what became of that as my girlfriend and I took one look at each other and decided to get the fuck out of Dodge. Which meant I spend the show with the stuff I’d brought from the comic book convention I’d been to earlier. Luckily we were in the seated section.
The Crowd: (4/5) I had an interesting perspective on the massive crowd as I was removed from the bulk who were on the floor. They were an active bunch. Especially for 30 Seconds to Mars. As a member of the 30 seconds to mars “Echelon” I’ve been impressed by the fervor in that fan-base. They are intensely devoted and damn, are they loud. I got to see a visual representation of this pleasant fanaticism. When Front man Jared Leto said “take three steps forward,” the entire crowd not just shuffled, but surged forward. The crowd for that part of the show was just as wild and passionate as Leto.
On to the show.
Neon Trees (2/5): They had a song that said something to the effect of “take me back to 1985” and I agree that they should perhaps go back to 1985 and leave 2010 to people who aren’t stuck in the past. A decent sound musically, the front man was a touch whiney both in the vocals and the lyrics. Very much 80s revival music they sounded like a bad attempt at billy idol with a little bit of metro station’s perky beat.
Pleasantly, they are better recorded. Still a little 80s bubblegum without actually being 80s bubblegum for my taste.
Mutemath (2/5) Too many strobe lights with too little talent and too many laser sounds. The show had an odd division the first half was fair at best with way too many flashy lights. Toward the end of the set, they suddenly gained some talent and quite literally trashed the stage, throwing soundboards, guitars and drums everywhere. The front man even screwed up the mic. While they were a fun listen, this band was more show than substance.
30 Seconds to Mars (6/5)-- 30STM, as they are known in the fan community, is a powerhouse of, layered instrumentation, intense effects and a front man whose stage presence alone could leave many bands in the dust. On top of his incredibly powerful prescience and striking good looks, Leto has a voice like none other with incredible power, range and precision. He was deep in the crowd for parts of the show, playing both the main-stage and a smaller, jury rigged stage in the sound both. His graciousness came as a pleasant surprise. He was also very gracious to the fans, expounding on how much that night, and his fans meant to him and his band.
The band itself was precise and very professional. On top of their coordination, each member could stand on his own. However, there was no mistaking that this was Leto’s show, not for vanity or lack of talent on the band’s half, but for the simple fact that Leto is a force on stage.
I look forward to whatever 30 Seconds to Mars does next, this band is something to be reckoned with and if the evolution of their albums is any indicator, we have not seen one tenth what they are capable of.
The Crowd: (4/5) I had an interesting perspective on the massive crowd as I was removed from the bulk who were on the floor. They were an active bunch. Especially for 30 Seconds to Mars. As a member of the 30 seconds to mars “Echelon” I’ve been impressed by the fervor in that fan-base. They are intensely devoted and damn, are they loud. I got to see a visual representation of this pleasant fanaticism. When Front man Jared Leto said “take three steps forward,” the entire crowd not just shuffled, but surged forward. The crowd for that part of the show was just as wild and passionate as Leto.
On to the show.
Neon Trees (2/5): They had a song that said something to the effect of “take me back to 1985” and I agree that they should perhaps go back to 1985 and leave 2010 to people who aren’t stuck in the past. A decent sound musically, the front man was a touch whiney both in the vocals and the lyrics. Very much 80s revival music they sounded like a bad attempt at billy idol with a little bit of metro station’s perky beat.
Pleasantly, they are better recorded. Still a little 80s bubblegum without actually being 80s bubblegum for my taste.
Mutemath (2/5) Too many strobe lights with too little talent and too many laser sounds. The show had an odd division the first half was fair at best with way too many flashy lights. Toward the end of the set, they suddenly gained some talent and quite literally trashed the stage, throwing soundboards, guitars and drums everywhere. The front man even screwed up the mic. While they were a fun listen, this band was more show than substance.
30 Seconds to Mars (6/5)-- 30STM, as they are known in the fan community, is a powerhouse of, layered instrumentation, intense effects and a front man whose stage presence alone could leave many bands in the dust. On top of his incredibly powerful prescience and striking good looks, Leto has a voice like none other with incredible power, range and precision. He was deep in the crowd for parts of the show, playing both the main-stage and a smaller, jury rigged stage in the sound both. His graciousness came as a pleasant surprise. He was also very gracious to the fans, expounding on how much that night, and his fans meant to him and his band.
The band itself was precise and very professional. On top of their coordination, each member could stand on his own. However, there was no mistaking that this was Leto’s show, not for vanity or lack of talent on the band’s half, but for the simple fact that Leto is a force on stage.
I look forward to whatever 30 Seconds to Mars does next, this band is something to be reckoned with and if the evolution of their albums is any indicator, we have not seen one tenth what they are capable of.
April 12, 2010
Sonata Arcitca with Mutiny Within and Powerglove
Now, that was a metal show. None of this Nü Metal either (not that I don't love some of that stuff, its just, frankly, not metal)
But I'm getting ahead of myself.
The venue: (4/5) (see also previous reviews of the House of Blues in Chicago). The House of Blues has fallen from grace in a little my eyes though it is still an amazing venue. However, the rules are a little tighter than other venues. I stand by everything I said before; it’s just a mater of personal preference.
As a side note, apparently you can find Tony Kakko’s signature on one of the bathroom wall from 2006. He noticed it this past show.
The crowd: (3/5) Not as wild as some crowds I've seen, but still very much a rocking metal crowd. I was a little surprised that I didn't see much of a mosh pit (though that’s partially the venue's rules). However, there is an interesting phenomenon in the metal scene that was prevalent at this show. Some people stand and occasionally throw up the horns or head bang but otherwise are unmoving. However, if you see their faces, they are intently focused on the music. I pity the person who gets between them and their metal.
I was running late, so I missed the first opener, Power Glove Upon giving them a listen, I'm still trying to figure out exactly how I feel about them. Nerdcore goes metal with a huge 80’s vibe. It was just flat out weird, but the more I listen the more they grow on me. However, they had to do just that. They have a strong electronica influence, and strange sampling (one form a work out video, I kid you not). I'm still scratching my head at their lyrics (in one verse the woman the lead man is lusting after was compared favorably to both methamphetamine and a computer monitor). 2.5/5.
Moving right along...
Second opener: Mutiny Within (3/5): Even on a re-listen I wanted to head bang to these guys. As a metal fan, I can dig the occasional death grunt or scream-o moment, so Muntany Within's emphasis on those elements didn't bother me. Two things particularly stuck out for me. First: front man, Chirs Clancy has a fantastic range that includes the 80's style high falsetto notes and the deep rumbling growls. This is further impressive because he could do the grunts and screams without losing his ability to hold the key and could not only sing, but also articulate. His spoken voice was a little sloppy, but that wasn't a bother. The second impressive element was the guitar work. I'm a sucker for a good guitar solo and watching lead guitarist, Brandon Jacobs, shred that guitar was amazing.
It was also nice to hear a balance between melody and the death grunts. While the screaming/grunting is very much a part of what makes metal, well, metal, it can get tiresome very quickly. However, an effectively used death grunt in an otherwise melodic song can be quite powerful.
Very impressive for such a green band.
They do have a tendency toward unoriginality. I don't think i could pick them out of a set similar metal bands without focusing. Clancy's voice isn't particularly distinctive, though he's certainly talented. I also thought they weren't quite as coordinated live as they are on the album. Once they hone their sound I think they have the chance to be powerful.
Main Act: Sonata Arctica(4.5/5)
Wow. Despite being a fan of theirs for the better part of ten years, I'd only seen them as an opener with Nightwish. This was far and away more amazing. Front man, Tony Kakko comes across much like one of the wolves, which have become a theme with many of their albums. Shaggy, a touch goofy, but positively breathtaking in his performance. He has a distinctive voice. His heavy, Finnish accent and odd intonation make for something you wouldn't expect to be find in power metal. But when Tony puts that mike to his lips something explosive happens. Sonata Arctica's songs very from deeply melodic, sad songs, to thrashing guitar work, by way of obsessive chilling pieces. Tony's lyrics are often strangely worded and surprisingly precise. His recorded work is wonderful, but on stage is he is unworldly moving constantly face distorted with passion, he belts, growls and holds the watcher in an intense gaze.
Kakko, does not the entire band make, however. I never thought I’d be impressed by a key-tar solo. But I heard one like nothing i've ever heard before. If i hadn't known it was a key-tar, I would have thought it was a heavily pedaled guitar. Simply amazing. The guitar work itself was incredible. Lead guitarist, Elias Viljanen, also contributed a great deal of personality to the performance (at one point covering his eyes during a guitar solo). The entire band had a distinctive sense of balance and each piece was pivotal and had its own moments and quarks.
The show itself was an odd creature, filled alternately with skin tearing, mind blowing metal and strange little interludes. Because of how much they all put into the performance, there were times when each of them needed a brief rest, but the abundance was never neglected. At one point the keyboardist (and keytarest) needed a drink, so Tony took up the mike, chatted with the audience and started to yodel--I'm not kidding. He was good at it too.
The entire band was also exceedingly gracious. When it finally came time to say good night, The Enter band came up and took a bow together. Tony actually 'hugged" and blew kisses to the audience. (Bear in mind, this is the man I compared to a wolf earlier, not a feminine sort). I will go back to them in a heartbeat. Excellent show.
But I'm getting ahead of myself.
The venue: (4/5) (see also previous reviews of the House of Blues in Chicago). The House of Blues has fallen from grace in a little my eyes though it is still an amazing venue. However, the rules are a little tighter than other venues. I stand by everything I said before; it’s just a mater of personal preference.
As a side note, apparently you can find Tony Kakko’s signature on one of the bathroom wall from 2006. He noticed it this past show.
The crowd: (3/5) Not as wild as some crowds I've seen, but still very much a rocking metal crowd. I was a little surprised that I didn't see much of a mosh pit (though that’s partially the venue's rules). However, there is an interesting phenomenon in the metal scene that was prevalent at this show. Some people stand and occasionally throw up the horns or head bang but otherwise are unmoving. However, if you see their faces, they are intently focused on the music. I pity the person who gets between them and their metal.
I was running late, so I missed the first opener, Power Glove Upon giving them a listen, I'm still trying to figure out exactly how I feel about them. Nerdcore goes metal with a huge 80’s vibe. It was just flat out weird, but the more I listen the more they grow on me. However, they had to do just that. They have a strong electronica influence, and strange sampling (one form a work out video, I kid you not). I'm still scratching my head at their lyrics (in one verse the woman the lead man is lusting after was compared favorably to both methamphetamine and a computer monitor). 2.5/5.
Moving right along...
Second opener: Mutiny Within (3/5): Even on a re-listen I wanted to head bang to these guys. As a metal fan, I can dig the occasional death grunt or scream-o moment, so Muntany Within's emphasis on those elements didn't bother me. Two things particularly stuck out for me. First: front man, Chirs Clancy has a fantastic range that includes the 80's style high falsetto notes and the deep rumbling growls. This is further impressive because he could do the grunts and screams without losing his ability to hold the key and could not only sing, but also articulate. His spoken voice was a little sloppy, but that wasn't a bother. The second impressive element was the guitar work. I'm a sucker for a good guitar solo and watching lead guitarist, Brandon Jacobs, shred that guitar was amazing.
It was also nice to hear a balance between melody and the death grunts. While the screaming/grunting is very much a part of what makes metal, well, metal, it can get tiresome very quickly. However, an effectively used death grunt in an otherwise melodic song can be quite powerful.
Very impressive for such a green band.
They do have a tendency toward unoriginality. I don't think i could pick them out of a set similar metal bands without focusing. Clancy's voice isn't particularly distinctive, though he's certainly talented. I also thought they weren't quite as coordinated live as they are on the album. Once they hone their sound I think they have the chance to be powerful.
Main Act: Sonata Arctica(4.5/5)
Wow. Despite being a fan of theirs for the better part of ten years, I'd only seen them as an opener with Nightwish. This was far and away more amazing. Front man, Tony Kakko comes across much like one of the wolves, which have become a theme with many of their albums. Shaggy, a touch goofy, but positively breathtaking in his performance. He has a distinctive voice. His heavy, Finnish accent and odd intonation make for something you wouldn't expect to be find in power metal. But when Tony puts that mike to his lips something explosive happens. Sonata Arctica's songs very from deeply melodic, sad songs, to thrashing guitar work, by way of obsessive chilling pieces. Tony's lyrics are often strangely worded and surprisingly precise. His recorded work is wonderful, but on stage is he is unworldly moving constantly face distorted with passion, he belts, growls and holds the watcher in an intense gaze.
Kakko, does not the entire band make, however. I never thought I’d be impressed by a key-tar solo. But I heard one like nothing i've ever heard before. If i hadn't known it was a key-tar, I would have thought it was a heavily pedaled guitar. Simply amazing. The guitar work itself was incredible. Lead guitarist, Elias Viljanen, also contributed a great deal of personality to the performance (at one point covering his eyes during a guitar solo). The entire band had a distinctive sense of balance and each piece was pivotal and had its own moments and quarks.
The show itself was an odd creature, filled alternately with skin tearing, mind blowing metal and strange little interludes. Because of how much they all put into the performance, there were times when each of them needed a brief rest, but the abundance was never neglected. At one point the keyboardist (and keytarest) needed a drink, so Tony took up the mike, chatted with the audience and started to yodel--I'm not kidding. He was good at it too.
The entire band was also exceedingly gracious. When it finally came time to say good night, The Enter band came up and took a bow together. Tony actually 'hugged" and blew kisses to the audience. (Bear in mind, this is the man I compared to a wolf earlier, not a feminine sort). I will go back to them in a heartbeat. Excellent show.
Adendum to the Concert PSA
Someone I met at my most recent concert (review forthcoming) added the following (very valid) points that i found worth metioning
If you’re at a rock or metal show, you might encounter the mosh pit. It can be awesome and intense for those used to getting hit hard. However, it can be dangerous to the those not as experienced or of a slighter stature. I’m not a pit bunny, but a lot of people are. WHile I have no advice about being in the pit other than “good luck and don’t whine about being hit”
tips on avoiding the pit:
- Don’t count on an ATM: Don’t count on there being one at all in smaller venues If there is one expect a large fee.
- Get there early, leave late: Show times are not always precise and this insures you aren’t stuck in a bad spot in the crowd.
- Buy cds there: More of the money goes directly to the band than it does online.
- Coat checks can be pricy:see also the rant about bringing less
If you’re at a rock or metal show, you might encounter the mosh pit. It can be awesome and intense for those used to getting hit hard. However, it can be dangerous to the those not as experienced or of a slighter stature. I’m not a pit bunny, but a lot of people are. WHile I have no advice about being in the pit other than “good luck and don’t whine about being hit”
tips on avoiding the pit:
- stay to the back or at least one layer of people to either side. In front can be dangerous.
- Don’t fear the pit, but don’t be afraid to move. Even if it means cutting through people.
March 20, 2010
Tangent: Concert 101
So it’s nearing summer (ok its still spring, but it snowed today so I’m dreaming of summer) and summer means heavy concert season. A lot of people go and don’t know what they’re getting into, don’t know what they’re doing. It ends poorly, not just for them but for others too. I’ve been at this for the better part of thirteen years, so I figured I’d give some of the less experienced folks a crash course.
- If you don’t absolutely need it, don’t bring it. Or check it in the coat check that most indoor venues have. In fact it’s a good general rule that if it doesn’t fit in your pockets or a bag no wider than your hip, leave it at home.
- Do bring:A cell phone, ID (even if its an all ages show), and money/ credit cards. Poncho if its outdoors. Personally, I like to bring at least $20-40 in case i have to cab it home for some reason
- Do not bring large bags larger than you are wide or backpacks. This is not only asking to be robbed, but it’s a hazard to anyone near by. Epically in standing room only venues. You’ll end up having to buy people drinks because your huge bag knocks them.
- Wear sensible clothes/ shoes.Yes, we all go a little nuts at concerts bur bear in mind, you are going to be in a crowd of people dancing, jostling and above all trying to see. Ditch the parka and the heals.
- Be nice to the openers.Your band was once an opener, and odds are there is someone trying to enjoy them. There are people on a stage, putting themselves out for a crowd that, odds are, are not here to see them. Clap at least. Even if they are bad.
- Be nice to security. It could save your life.
- Don’t stand around bored. This is sort of part of five, but bears reiterating. The people who go to shows and stand bored, huffing and puffing until their song/ artist comes on are really rude.
- Stay hydrated. Yes, water can be over priced at some venues. But 3$ for water, is better than 300$ for an ER visit
- Don’t be afraid to shove a little, but don’t be a jerk. –It’s a concert, especially if it’s a rock/ metal sort of show, there’s going to be jostling, head banging, probably moshing et.
- Be careful, but not too careful. You may think you’re ready to be thrown around, thrash danced into etc. But pits can be pretty dangerous if you’re not prepared. I tend to stay toward the middle of the crowd, just behind/ to one side of the proper mosh pit. But you are at a concert; most fans I’ve run into are good to each other, if you really get scared and need to get out odds are you can.
- Water bottles: Most venues will not let them in as they are a safety hazard
- Large bags; Bear in mind a) you’ll be holding it for 2-6 hours b) it will be hitting people.
- Cameras:some venues are flexible on this, know what you’re getting into.
- Anything you don’t want getting hurt that isn’t signed there.
- Young Children. This is a use your own judgment sort of thing, some kids fair well at concerts I saw a 7 year old with at a metal show once having an absolute ball but I’ve also seen crying, unhappy ones.
- Anything that can’t fit into a small bag.
- A person who won’t enjoy it: yes it may feel better to bring your friend/SO, but it brings all of us down if someone is not having it.
March 19, 2010
March 14, 2010
Concert revew: Flogging Molly with, The Architectsand Frank turner at the Aragon Ballrom
Venue: The Aragon Ballroom (4/5) The most beautiful venue I've ever seen. The pictures on the site don't come close to doing it justice. Originally a legit ball room in the twenties, the Aragon is a larger venue than most (Holding up to 4,500 people, compared to the House of Blues at 1000people ). The entry way is a little cramped, and has an appearance of converted movie theater. there's one bar as you walk in across from the merch booth. You walk up the stairs into a beautifully painted and molded dance floor with balconies and little towers ornately carved and painted in oranges and creams. Each turret has intricately carved windows. I'm neglecting however, the most breathtaking element.
The ceiling is high and arced a little giving the place avery airy open feel. It is painted like a night sky with swirling blue clouds and a white moon toward the stage. The top of the stage is framed with swords. If that wasn't enough, when the houselights go down, little stars appear, winking in and out alternately. The orange windows in the turrets reflect onto the ceiling reminiscent of citylights. The total effect transports you to a Spanish plaza, rather than a concert venue jammed in the bar district.
There is a coat check, i didn't use it, nothing to report on that or the bathrooms.
The bars were irritating. Rather than wristband you when you enter, they wrist band you on your way to the bar, thus creating huge lines, and causing those of us who just want water undue amounts of hassle. The bars are also more like kiosks than real bars. And I was charged $3 for an 8oz bottle of water. Irritating.
There were only two problems with the floor itself. The first was minor, That being because there is very little variation (no steps, et.) and its a larger venue its very hard to see from the back. I'm five foot one so I'm use to this problem.
However, they are in desperate need of fans, and better ventilation. I'm a stubborn concert goer once I'm in the crowd and the main act is on i break for nothing except illness. I had to go out for water, after already having some at the start of the show. It was ridiculously stuffy.
The crowd: (2.5/5)The problem of such a large space is that the crowd varies wildly and I didn't get as much of a chance to weave through as I had a wonderful group of friends with me. For being such a great band, the crowd was tame. They were amicable, but very relaxed. However, I was in a bit of a dead zone for part of the show. I find just standing there bored absolutely rude, especially when you're over six feet and toward the middle of the crowd.
on to the show.
First Act: Frank Turner (3/5) All the way from Manchester, it was just Frank Turner and his guitar for this show, though according to his myspace he has a backup band. I have to confess, for part of his act I was distracted by the gorgeous venue. His music was enjoyable with the occasional lyric that made me grin and a few others that I sympathized with. A little relaxed for what was to come, with a more ethnic engish feel to it, Turner's music was a perfect warm up for a band like Flogging Molly.
Second Act: The Architects (2.5/5). There are three bands easily found on the internet with that name, and if your forming a band in this day and age it pays to check these things. It made them harder to track down. Not that I especially wanted to. While they significantly improved over the course of these set, they were out of place in that they sounded much more like mainstream rock/metal than the Irish flavored music of the evening. They were thrashy, hard to understand and the numbers of theirs that caught my attention were either covers, or stylistic rip off of other bands. They aren't half bad recorded however, with some decent lyrics. On stage, they were discordant and inarticulate. Worth dancing to, very much not worth buying a CD from.
The Main Act: Flogging Molly (3.5/5) Great live show, good solid sound. For those of you who may be new to this band they are about two parts traditional Irish music. This band manages to keep to their Irish roots, while still engaging with modern politics and more importantly a modern audience. These guys may be in their late fifties, but they still no how to rock without coming across as clinging to their younger days. The sound they make is insane, and unmistakably their own. Even front man, Dave king, doesn't quite know what genera to put them in, nor does he care. I would have been happy indeed with the guitar work with the mandolin and banjo work, but then the fiddle came in.
And let me tell you something, you've never seen or heard anything quite like an electric fiddle player rocking out, let alone one dueling with a guitarist. It was intense. The lyrics are serious and at times irreverent. Its wonderful to see a band that's been around as long as they have keeping the edge sharp politically and musically.
While predominantly thrashy, they do have their share of ballads that are equally strong and more articulate.
Where they lose points is that they are a bit of a one trick pony. Most of their stuff sounds similar weather its from 2002 or 2010. However, it's quite an enjoyable trick and a lot of fun.
The ceiling is high and arced a little giving the place avery airy open feel. It is painted like a night sky with swirling blue clouds and a white moon toward the stage. The top of the stage is framed with swords. If that wasn't enough, when the houselights go down, little stars appear, winking in and out alternately. The orange windows in the turrets reflect onto the ceiling reminiscent of citylights. The total effect transports you to a Spanish plaza, rather than a concert venue jammed in the bar district.
There is a coat check, i didn't use it, nothing to report on that or the bathrooms.
The bars were irritating. Rather than wristband you when you enter, they wrist band you on your way to the bar, thus creating huge lines, and causing those of us who just want water undue amounts of hassle. The bars are also more like kiosks than real bars. And I was charged $3 for an 8oz bottle of water. Irritating.
There were only two problems with the floor itself. The first was minor, That being because there is very little variation (no steps, et.) and its a larger venue its very hard to see from the back. I'm five foot one so I'm use to this problem.
However, they are in desperate need of fans, and better ventilation. I'm a stubborn concert goer once I'm in the crowd and the main act is on i break for nothing except illness. I had to go out for water, after already having some at the start of the show. It was ridiculously stuffy.
The crowd: (2.5/5)The problem of such a large space is that the crowd varies wildly and I didn't get as much of a chance to weave through as I had a wonderful group of friends with me. For being such a great band, the crowd was tame. They were amicable, but very relaxed. However, I was in a bit of a dead zone for part of the show. I find just standing there bored absolutely rude, especially when you're over six feet and toward the middle of the crowd.
on to the show.
First Act: Frank Turner (3/5) All the way from Manchester, it was just Frank Turner and his guitar for this show, though according to his myspace he has a backup band. I have to confess, for part of his act I was distracted by the gorgeous venue. His music was enjoyable with the occasional lyric that made me grin and a few others that I sympathized with. A little relaxed for what was to come, with a more ethnic engish feel to it, Turner's music was a perfect warm up for a band like Flogging Molly.
Second Act: The Architects (2.5/5). There are three bands easily found on the internet with that name, and if your forming a band in this day and age it pays to check these things. It made them harder to track down. Not that I especially wanted to. While they significantly improved over the course of these set, they were out of place in that they sounded much more like mainstream rock/metal than the Irish flavored music of the evening. They were thrashy, hard to understand and the numbers of theirs that caught my attention were either covers, or stylistic rip off of other bands. They aren't half bad recorded however, with some decent lyrics. On stage, they were discordant and inarticulate. Worth dancing to, very much not worth buying a CD from.
The Main Act: Flogging Molly (3.5/5) Great live show, good solid sound. For those of you who may be new to this band they are about two parts traditional Irish music. This band manages to keep to their Irish roots, while still engaging with modern politics and more importantly a modern audience. These guys may be in their late fifties, but they still no how to rock without coming across as clinging to their younger days. The sound they make is insane, and unmistakably their own. Even front man, Dave king, doesn't quite know what genera to put them in, nor does he care. I would have been happy indeed with the guitar work with the mandolin and banjo work, but then the fiddle came in.
And let me tell you something, you've never seen or heard anything quite like an electric fiddle player rocking out, let alone one dueling with a guitarist. It was intense. The lyrics are serious and at times irreverent. Its wonderful to see a band that's been around as long as they have keeping the edge sharp politically and musically.
While predominantly thrashy, they do have their share of ballads that are equally strong and more articulate.
Where they lose points is that they are a bit of a one trick pony. Most of their stuff sounds similar weather its from 2002 or 2010. However, it's quite an enjoyable trick and a lot of fun.
A Rant/PSA
I don't normally do this but, I have a public service announcement.
I understand sometimes you have to bring stuff with you, I had on me last night: one eyeshadow, two brushes two crayons, a cell phone, several cards (both credit/debit and store related), my ID et. I also acknowledge that some outfits aren’t conducive to pockets (I ware cargos so I don’t have to face this issue). But if you’re at a show that is standing room only, or crowded in anyway, LEAVE THE BULKY PURSE/ BAG/BACKPACK AT HOME or check it. If the purse juts past your body more than a couple inches, I guarantee you will be obliviously hitting people, getting in people’s way and generally be “that girl” You don’t want to be that person at a sold out jammed to the walls show. Hell , if you’re near me, a seasoned concert goer and tiny metal head, you don’t want to be at any show with more than a very few people. )Also wear as thin a coat as you can justify, for the same problem.) You also hold up the pat down line and make yourself look like a giant newbie.
Not only is your giant bag a danger to people who are jumping around and ducking through the crowd and generally not keen on being smacked by a purse, its a danger to you. People generally at concerts are there to have fun, bond and drink. (I got my cell back when it slipped out of my pocket last night!) However, people are human, and some people are assholes. You could get robbed, or things could simply fall out/ get hurt. And at concert hall, even the nicest ones, you will never see said stuff again. At best its in the trash, at worst someone stole your cards.
Please for your sake and mine, leave the giant bag at home.
I understand sometimes you have to bring stuff with you, I had on me last night: one eyeshadow, two brushes two crayons, a cell phone, several cards (both credit/debit and store related), my ID et. I also acknowledge that some outfits aren’t conducive to pockets (I ware cargos so I don’t have to face this issue). But if you’re at a show that is standing room only, or crowded in anyway, LEAVE THE BULKY PURSE/ BAG/BACKPACK AT HOME or check it. If the purse juts past your body more than a couple inches, I guarantee you will be obliviously hitting people, getting in people’s way and generally be “that girl” You don’t want to be that person at a sold out jammed to the walls show. Hell , if you’re near me, a seasoned concert goer and tiny metal head, you don’t want to be at any show with more than a very few people. )Also wear as thin a coat as you can justify, for the same problem.) You also hold up the pat down line and make yourself look like a giant newbie.
Not only is your giant bag a danger to people who are jumping around and ducking through the crowd and generally not keen on being smacked by a purse, its a danger to you. People generally at concerts are there to have fun, bond and drink. (I got my cell back when it slipped out of my pocket last night!) However, people are human, and some people are assholes. You could get robbed, or things could simply fall out/ get hurt. And at concert hall, even the nicest ones, you will never see said stuff again. At best its in the trash, at worst someone stole your cards.
Please for your sake and mine, leave the giant bag at home.
March 4, 2010
Album Review: Halestorm(self-titled)
Halestorm(self titled) 4/5
I've gushed about this little band(particularly their front woman, Lzzy Hale) multiple times. Sexy, hard edged, but still feminine, I don't think there's much Lzzy Hale couldn't do if she set her mind to it.
The album itself, like the band, is a powerhouse. Strong guitar work coupled with vocals like I've seen in no other band of this generation. The lyrics are fearless and sexually charged. Finally, the music scene has a woman who isn't afraid to be sexual without being obscene. The album has a running theme of strength and danger. Between the pained"Familiar Taste of Poison" and the white hot anger of "It's Not You," Halestorm demonstrates stylistic variety without betraying the underlying tone of the album.
Highlights:
It’s Not You (linked above)-- Its the opening song, and what an opener. It's an attention grabbing, fierce rock song that inspires defiance and tells the listener very clearly "read my finger."
Innoncence-- -- an interesting reversal of the classing man-takes-woman's-virginity, story this song is about the conflict of a woman taking someone's virginity.
Familiar Taste of Poison (also linked above)-- This bitter lullaby demonstrates Halestorm's range of style wonderfully. I think its also a feeling a lot of people have experienced-- the desire to stay with a toxic relationship.
Dirty Work: This song made me grin, this song is an aggressive song that could only be about one thing--sexual dominance
In short, I still have nothing but good things to say about this band. Wonderfully bitter, sexy and talented. My only hope is that they come back to Chicago soon.
I've gushed about this little band(particularly their front woman, Lzzy Hale) multiple times. Sexy, hard edged, but still feminine, I don't think there's much Lzzy Hale couldn't do if she set her mind to it.
The album itself, like the band, is a powerhouse. Strong guitar work coupled with vocals like I've seen in no other band of this generation. The lyrics are fearless and sexually charged. Finally, the music scene has a woman who isn't afraid to be sexual without being obscene. The album has a running theme of strength and danger. Between the pained"Familiar Taste of Poison" and the white hot anger of "It's Not You," Halestorm demonstrates stylistic variety without betraying the underlying tone of the album.
Highlights:
It’s Not You (linked above)-- Its the opening song, and what an opener. It's an attention grabbing, fierce rock song that inspires defiance and tells the listener very clearly "read my finger."
Innoncence-- -- an interesting reversal of the classing man-takes-woman's-virginity, story this song is about the conflict of a woman taking someone's virginity.
Familiar Taste of Poison (also linked above)-- This bitter lullaby demonstrates Halestorm's range of style wonderfully. I think its also a feeling a lot of people have experienced-- the desire to stay with a toxic relationship.
Dirty Work: This song made me grin, this song is an aggressive song that could only be about one thing--sexual dominance
In short, I still have nothing but good things to say about this band. Wonderfully bitter, sexy and talented. My only hope is that they come back to Chicago soon.
Errata
I said that the self titled album was Halestorm's debut, While its their first full album, they also had an EP in 2006 (One and Done EP (2006)
Album Review 3DR: In the Bedroom-EP
3DR: In the Bedroom EP(2009)(1/5)
I Picked these guys up because I'd been a big fan of Red Line District, the band these guys used to be in. What a disappointment.
3DR(short for Third Day Rising) should NOT be confused with the band Third Day Rising the Christian screamo band, they are very different.
I wanted to like this album—the band’s previous incarnation Red Line District* was edgy and good old fashioned teen rock with songs like “Stuck” that had a lot of promise. Apparently, the band members that left took the majority of the bite and talent with them. Here we have a discordant EP that tries very hard to be a real album but falls flat. The vocals are decent, but very hard to hear over the cacophonous background While it is growing on me, as I do have a fondness for strange music, This EP is not up to any of my standards.
The lyrics are whiney, which can be alright if pared with strong vocals and clean instrumentation. However, the guitar work is just as whiney.
I do hope these guys get better, though judging by their work on Myspace, they haven’t. I really support local talent, but I think these guys sadly only fit one of those terms.
No highlights, due to length and quality of the album. If I had to pick one song that may have been a little better than the others, it would be “In Recovery” but even that, frankly, isn't that good.
I Picked these guys up because I'd been a big fan of Red Line District, the band these guys used to be in. What a disappointment.
3DR(short for Third Day Rising) should NOT be confused with the band Third Day Rising the Christian screamo band, they are very different.
I wanted to like this album—the band’s previous incarnation Red Line District* was edgy and good old fashioned teen rock with songs like “Stuck” that had a lot of promise. Apparently, the band members that left took the majority of the bite and talent with them. Here we have a discordant EP that tries very hard to be a real album but falls flat. The vocals are decent, but very hard to hear over the cacophonous background While it is growing on me, as I do have a fondness for strange music, This EP is not up to any of my standards.
The lyrics are whiney, which can be alright if pared with strong vocals and clean instrumentation. However, the guitar work is just as whiney.
I do hope these guys get better, though judging by their work on Myspace, they haven’t. I really support local talent, but I think these guys sadly only fit one of those terms.
No highlights, due to length and quality of the album. If I had to pick one song that may have been a little better than the others, it would be “In Recovery” but even that, frankly, isn't that good.
March 3, 2010
album review: Cavashawn(white) /w bonus tracks.
Cavashawn(White) 2009--4/5
Fun is the first word that comes to mind with Cavashawn’s second album. One part 1960s pop, two parts jaded, Cavashawn's second album bounces its way through seven tracks of thoroughly enjoyable rock. I think I will skip the highlights section as it’s a short album, however if anyone picks up these guys(which you can do for free at Cavashawn's homepage) I'd give "All the Lonely Girls" and "Friendly Fire" a listen.
Front man, Scott Salmon has a good range, with a distinctive, slightly nasally voice. The lyrics are deliciously bitter, yet hopeful. Salmon defies the pain of a breakup with a clever, if pained grin. Salmon also uses a lot of interesting word play and has a very expressive voice. In the beginning of "Friendly Fire," for example, you can hear the mock-innocence in his voice without it being overt. Sexy, clever and energetic, even recorded Salmon knows how to work the listener.
On first play through, Cavershawn sounds fairly simplistic, however on a closer listen there are some interesting little complexities in the music. Cavashawn is a well coordinated band that keeps a very nice balance between the volume of the music and the vocals
I'm very interested in what Cavashawn does next and where they end up shelved, as they don't quite settle into one particular genre.
Fun is the first word that comes to mind with Cavashawn’s second album. One part 1960s pop, two parts jaded, Cavashawn's second album bounces its way through seven tracks of thoroughly enjoyable rock. I think I will skip the highlights section as it’s a short album, however if anyone picks up these guys(which you can do for free at Cavashawn's homepage) I'd give "All the Lonely Girls" and "Friendly Fire" a listen.
Front man, Scott Salmon has a good range, with a distinctive, slightly nasally voice. The lyrics are deliciously bitter, yet hopeful. Salmon defies the pain of a breakup with a clever, if pained grin. Salmon also uses a lot of interesting word play and has a very expressive voice. In the beginning of "Friendly Fire," for example, you can hear the mock-innocence in his voice without it being overt. Sexy, clever and energetic, even recorded Salmon knows how to work the listener.
On first play through, Cavershawn sounds fairly simplistic, however on a closer listen there are some interesting little complexities in the music. Cavashawn is a well coordinated band that keeps a very nice balance between the volume of the music and the vocals
I'm very interested in what Cavashawn does next and where they end up shelved, as they don't quite settle into one particular genre.
February 7, 2010
Concert review: Mark Rose, Cavashawn, Sing It Loud, The Accademy is...
The Venue: See my previous review of The Metro. Excellent venue, but it lost some points for the merch booth being on the wrong side of the ticket check.
The Crowd: 4/5. What a fun crowd, even during the openers, they were moving, bouncing--even singing a long at some points. Good vibe, never an undeserved bored moment.
First Opener--Mark Rose (3/5) Former front man, guitarist lyricist for Spitalfield, Mark Rose, was really not suited to rest of the show. Very PG, no real push to it. It largely consisted of a man with an acoustic guitar, supplemented very slightly by another person on an electric guitar. It was the kind of thing that older people would call "good clean fun.” Despite this dilemma, he brought a lot to the stage. Because of where I was standing it actually took me about half the set to realize that there was another person on stage. The lyrics were a bit too sanitized, and would have been more at home in the nineteen fifties. The technical talent was there, as well as decent vocals, but if he's going to make it solo he has to bring a little more drive to the table.
Second Opener--Cavashawn (4/5)Nearly lost points on the hard to type and pronounce name. In sharp contrast to the previous act, front man Scott Salmon (sic) came out with a lot of drive, energy, and presence. Salmon was constantly moving, working the crowd, getting them to dance, clap and even sing along. On top his ability to work the crowd, his vocals were sharp, and had wide range from falsetto to something nearing baritone. The music itself was retro with a bitter twist in the lyrics. The love songs were at once cynical and hopeful. Their music was worth buying, though I didn't at the show, as the merch booth was jammed.
Final Opener-- Sing It Loud (2.5/5) Started out working the crowd fairly well. Not a very clean sound live. The music itself didn't have enough complexity and not crisp enough The front man does not have the best voice. The lyrics are simplistic and often repetitive. Nevertheless, they tried to keep the crowd moving and they complied more or less, though they lost a lot of their momentum due to the number of new songs played. The band put forth a lot of energy, however they didn't seem to understand what the crowd wanted or how to pace a rock show.
Main Act- The Academy is... (5/5) Goddamn. I never run out of good things to say about these guys. The Academy is.. are constantly innovative, always pushing the envelope to see what they can do. No two albums sound the same, yet with William Beckett's unmistakable vocal style they are always recognizable as TAI's work.
However, this show wasn't about the new and experimental; this was a celebration of the 5th anniversary of their first full album, Almost Here(2005). It was an homage to the fans that put TAI on the map. Despite this familiarity, there were no ruts or lulls. From the first word the fans were singing along, leaping, and dancing. However, Beckett, true to his previous shows, kept working the crowd with a spirited fervor. The fans returned his energy almost tenfold, and rather than simply take like other artists often do, he continued to give. The smile almost never left his eyes or his lips. Not only that, but he seemed to have an intrinsic knowledge about how long to spend at which part of the stage-- he was constantly in motion--quite literally in the crowd at some points. William Beckett is a powerhouse of rock and roll energy.
I hereby retract any apprehension at their new found popularity. Come back soon boys, Chicago will always welcome you.
The Crowd: 4/5. What a fun crowd, even during the openers, they were moving, bouncing--even singing a long at some points. Good vibe, never an undeserved bored moment.
First Opener--Mark Rose (3/5) Former front man, guitarist lyricist for Spitalfield, Mark Rose, was really not suited to rest of the show. Very PG, no real push to it. It largely consisted of a man with an acoustic guitar, supplemented very slightly by another person on an electric guitar. It was the kind of thing that older people would call "good clean fun.” Despite this dilemma, he brought a lot to the stage. Because of where I was standing it actually took me about half the set to realize that there was another person on stage. The lyrics were a bit too sanitized, and would have been more at home in the nineteen fifties. The technical talent was there, as well as decent vocals, but if he's going to make it solo he has to bring a little more drive to the table.
Second Opener--Cavashawn (4/5)Nearly lost points on the hard to type and pronounce name. In sharp contrast to the previous act, front man Scott Salmon (sic) came out with a lot of drive, energy, and presence. Salmon was constantly moving, working the crowd, getting them to dance, clap and even sing along. On top his ability to work the crowd, his vocals were sharp, and had wide range from falsetto to something nearing baritone. The music itself was retro with a bitter twist in the lyrics. The love songs were at once cynical and hopeful. Their music was worth buying, though I didn't at the show, as the merch booth was jammed.
Final Opener-- Sing It Loud (2.5/5) Started out working the crowd fairly well. Not a very clean sound live. The music itself didn't have enough complexity and not crisp enough The front man does not have the best voice. The lyrics are simplistic and often repetitive. Nevertheless, they tried to keep the crowd moving and they complied more or less, though they lost a lot of their momentum due to the number of new songs played. The band put forth a lot of energy, however they didn't seem to understand what the crowd wanted or how to pace a rock show.
Main Act- The Academy is... (5/5) Goddamn. I never run out of good things to say about these guys. The Academy is.. are constantly innovative, always pushing the envelope to see what they can do. No two albums sound the same, yet with William Beckett's unmistakable vocal style they are always recognizable as TAI's work.
However, this show wasn't about the new and experimental; this was a celebration of the 5th anniversary of their first full album, Almost Here(2005). It was an homage to the fans that put TAI on the map. Despite this familiarity, there were no ruts or lulls. From the first word the fans were singing along, leaping, and dancing. However, Beckett, true to his previous shows, kept working the crowd with a spirited fervor. The fans returned his energy almost tenfold, and rather than simply take like other artists often do, he continued to give. The smile almost never left his eyes or his lips. Not only that, but he seemed to have an intrinsic knowledge about how long to spend at which part of the stage-- he was constantly in motion--quite literally in the crowd at some points. William Beckett is a powerhouse of rock and roll energy.
I hereby retract any apprehension at their new found popularity. Come back soon boys, Chicago will always welcome you.
January 27, 2010
Album review: Adelitas Way: Self-Titled(2009)
This band was a pleasant surprise at the last show, so I bought the album. Many albums that I acquire at shows collect dust before I focus on them as they are often green and haven't perfected their style. When I saw Adelitas Way, I assumed this was a second, maybe third album. To my surprise, I found it is their debut album, but it has the polish of a more seasoned band. Its very definitely radio material. Adelitas Way is the kind of music that makes the listener feel like taking hold of their life. Peppered with sex, angst and boldness, Adelitas Way's self-titled debut album is a fun, radio safe listen.
Front man Richard DeJesus' voice is gravely and articulate. It carries a smile even when he's outraged. The lyrics are bold, but conservative, much like the music itself. I do think that, as a young band, they need to refine their use of the voice fade, among a few other details. Adelitas way isn't quite headline material yet, but they are certainly on the way there.
I would encourage Adelitas Way to push the envelope harder and hone their style. Right now they are a good, radio safe, band, but I think some of their songs would benefit from a little less sterility. Though, I do appreciate the double entendre in "Scream."
Overall: 3/5
There were no songs that I particularly disliked on the album so just the highlights:
Dirty Little Thing: I am a sucker for unrepentant songs. While this one isn't quite as shameless as others I've heard, its a sexy, entertaining number that ceretianly brought a smile to my lips. Shameless, but safe.
Last Stand: This is the "movie soundtrack" number. Very cinematic, down to the title, with some excellent guitar work and solid lyrics.
So What if You Go: This song comes closer to pushing the borders. It has a genunine anger that doesn't show up elsewhere on the album. Catchy.
Brother: A stylistic departure; this song has a country feel to it and an honesty we don't see much on this album. I would defiantly encourage more of this honesty.
A good band that has potential if they learn to push themselves a little further.
Front man Richard DeJesus' voice is gravely and articulate. It carries a smile even when he's outraged. The lyrics are bold, but conservative, much like the music itself. I do think that, as a young band, they need to refine their use of the voice fade, among a few other details. Adelitas way isn't quite headline material yet, but they are certainly on the way there.
I would encourage Adelitas Way to push the envelope harder and hone their style. Right now they are a good, radio safe, band, but I think some of their songs would benefit from a little less sterility. Though, I do appreciate the double entendre in "Scream."
Overall: 3/5
There were no songs that I particularly disliked on the album so just the highlights:
Dirty Little Thing: I am a sucker for unrepentant songs. While this one isn't quite as shameless as others I've heard, its a sexy, entertaining number that ceretianly brought a smile to my lips. Shameless, but safe.
Last Stand: This is the "movie soundtrack" number. Very cinematic, down to the title, with some excellent guitar work and solid lyrics.
So What if You Go: This song comes closer to pushing the borders. It has a genunine anger that doesn't show up elsewhere on the album. Catchy.
Brother: A stylistic departure; this song has a country feel to it and an honesty we don't see much on this album. I would defiantly encourage more of this honesty.
A good band that has potential if they learn to push themselves a little further.
January 20, 2010
Theroy of a Deadman w/ Halestorm, Adelita's way, and Taking Dawn at the House of Blues Chicago.
Venue: See my previous review of House of Blues, Chicago.
The Crowd: (3/5) Like much of the night, took a little warming up but was fun, and gave a good energy.
First Opener--Taking Dawn (3/5) Front man, Chris Babbitt's rocker attitude, and the fact that they had major technical difficulties gave them a very slightly higher score in my book. Taking Dawn has A fun sound reminiscent of 80s hair metal, lots of audience engagement, despite being the first of four bands on the docket. Very energetic, great for an opener. Sadly we only heard three songs.
Second Opener--Adelitas Way (3/5): Adelitas Way was a very pleasant surprise to both me and the rest of the crowd. Despite being the second band of four, they supercharged the audience. Performing with the same energy and professionalism as a headlining band. Many opening bands try to get the audience to respond without success, but with the momentum gained by Taking Dawn, Adelitas Way kept a strong energy going. Front man Ricky DeJesus was not only easy on the eyes, but preformed very strongly and had a surprising voice. The music was bold, energetic, and fun. There was also a nice verity in the songs, ranging from the angry "My Derailment," to the pining "Last Stand" by way of the unrepentant "Dirty Little Thing." Good work on their part, however, i don't know that they've hit their stride yet. I'm very much looking forward to seeing them headline in the future.
Third Opener-- Halestorm (4/5) As with my previous review of Halestorm, I have nothing but good things to say about this little band. Lzzy Hale has a bold, fierce presence and a voice like nothing I've ever heard before. I don't think that her recorded work does it justice. Her live rendition of It's Not You is, frankly, one of the sexiest things I've seen in a very long time. Despite the fact that the majority of their songs are breakup numbers, this band is not a one trick pony, we go from this bold rejection song, to the bittersweet, Familiar Taste of Poison. I won't neglect the rest of the band, who has improved immensely since last show . Well balanced and clear sounding guitar work, is complemented by intense drum work. Drummer Arejay Hale played a mind blowing solo about 3/4 through the set.
Even with this bitter anger on stage, in person Lzzy is the most gracious woman I've ever met. Genuine, and kind, she took a moment to speak directly with every fan at the signing. The rest of her band, were also very freidnly, one of them even recognized me which was a nice touch. Halestorm contunes to improve, and has once again given the show their all.
Main Act-- Theory of A Deadman (3/5). A band that makes you want to grab a beer and chill with friends, TOAD as they are called by fans, has a solid sound. Having only heard a handful of their songs, all from their 2005 album Gasoline I was interested to see what they'd done since 2005. They haven't changed at all. Good music, rather relaxing for a rock show. Front man, Tyler Connely has a pleasantly gravely voice, that brings forward a consistent series predominantly breakup songs(or alternatly, the "I got broken up with" songs) with a consistent sound, lots of fun and a decent energy.
However, there was a lot of predictability in their sound. Many of the songs sounded the very similar weather they came from the first album (self titled, 2001) or their newest (Scars and Souvenirs, 2009) While Scars and Souvenirs is a little more cleaned up, it honestly isn't anything new. While a dececnt band, they do not seem to push to improve.
Upcoming reviews:
The Academy is...
(album) Adelita's way (self titled)
(album) Halestorm (self-titled)
The Crowd: (3/5) Like much of the night, took a little warming up but was fun, and gave a good energy.
First Opener--Taking Dawn (3/5) Front man, Chris Babbitt's rocker attitude, and the fact that they had major technical difficulties gave them a very slightly higher score in my book. Taking Dawn has A fun sound reminiscent of 80s hair metal, lots of audience engagement, despite being the first of four bands on the docket. Very energetic, great for an opener. Sadly we only heard three songs.
Second Opener--Adelitas Way (3/5): Adelitas Way was a very pleasant surprise to both me and the rest of the crowd. Despite being the second band of four, they supercharged the audience. Performing with the same energy and professionalism as a headlining band. Many opening bands try to get the audience to respond without success, but with the momentum gained by Taking Dawn, Adelitas Way kept a strong energy going. Front man Ricky DeJesus was not only easy on the eyes, but preformed very strongly and had a surprising voice. The music was bold, energetic, and fun. There was also a nice verity in the songs, ranging from the angry "My Derailment," to the pining "Last Stand" by way of the unrepentant "Dirty Little Thing." Good work on their part, however, i don't know that they've hit their stride yet. I'm very much looking forward to seeing them headline in the future.
Third Opener-- Halestorm (4/5) As with my previous review of Halestorm, I have nothing but good things to say about this little band. Lzzy Hale has a bold, fierce presence and a voice like nothing I've ever heard before. I don't think that her recorded work does it justice. Her live rendition of It's Not You is, frankly, one of the sexiest things I've seen in a very long time. Despite the fact that the majority of their songs are breakup numbers, this band is not a one trick pony, we go from this bold rejection song, to the bittersweet, Familiar Taste of Poison. I won't neglect the rest of the band, who has improved immensely since last show . Well balanced and clear sounding guitar work, is complemented by intense drum work. Drummer Arejay Hale played a mind blowing solo about 3/4 through the set.
Even with this bitter anger on stage, in person Lzzy is the most gracious woman I've ever met. Genuine, and kind, she took a moment to speak directly with every fan at the signing. The rest of her band, were also very freidnly, one of them even recognized me which was a nice touch. Halestorm contunes to improve, and has once again given the show their all.
Main Act-- Theory of A Deadman (3/5). A band that makes you want to grab a beer and chill with friends, TOAD as they are called by fans, has a solid sound. Having only heard a handful of their songs, all from their 2005 album Gasoline I was interested to see what they'd done since 2005. They haven't changed at all. Good music, rather relaxing for a rock show. Front man, Tyler Connely has a pleasantly gravely voice, that brings forward a consistent series predominantly breakup songs(or alternatly, the "I got broken up with" songs) with a consistent sound, lots of fun and a decent energy.
However, there was a lot of predictability in their sound. Many of the songs sounded the very similar weather they came from the first album (self titled, 2001) or their newest (Scars and Souvenirs, 2009) While Scars and Souvenirs is a little more cleaned up, it honestly isn't anything new. While a dececnt band, they do not seem to push to improve.
Upcoming reviews:
The Academy is...
(album) Adelita's way (self titled)
(album) Halestorm (self-titled)
December 27, 2009
Album Review: 30 Seconds to Mars This is War
"A warning
to the people
to the good,
and the evil
this is war."
-- "This is War," 30 Seconds to Mars, This is War(2009)
Overall: This album is full of anthems, attesting to beliefs in the face of cynicism and rising from the ashes of one's own past. In addition to the fearsome pieces that stand alone nicely, this album is cohesive thematically, which is rare in the modern era. It tells a story, two stories if you look at the metaphoric angle. This is War, seems to be the spiritual sequel to Beautiful Lie (2001). Where Beautiful Lie was about the destruction of a relationship, and by proximity, a life, and the despair that comes with that, This is War delves into alternately reminiscence, and fighting back against the ravages of despair to emerge triumphant.
This album also takes a darker, more sexual turn than the previous two albums. "Night of the Hunter," and "Stranger in a Strange Land" particularly exude an animalistic darkness not found in other albums of theirs.
However, there are a few tracks that detract from an otherwise nearly flawless album, these tracks range from dissonant, to simply whining.
Track Highlights:
Kings and Queens: This was the single from This is War and rightly so. It stands on its own as a nostalgic, bittersweet number. Unlike many songs that look back on past relationships, this one reminisces completely without regret In fact, the lyrics speak of forging oneself from "blood and pain, in defense of our dreams." Layered over these lyrics, is front man Jered Leto's powerful voice and wonderfully coordinated music.
This is War(linked above): on my first listen through of this album, I considered this the summery track of the album. While I'm not sold on the audience tracks, the beginning of this song builds quite nicely into the chorus both in volume and tone. Leto has excellent vocal control and modulates its volume from husky whisper to bold (though still on key) shout. The lyrics tell the listener that on no uncertain terms they will never give up. Tenacity bleeds from both the music and the lyrics of this number.
Alibi- One of two very powerful, simple numbers on the album. While the majority of 30 Seconds to Mars' song have complex layering, this song and 100 suns both are very simple. I find that simpler songs tend to show what an artist's voice can truely do. Striping down to just a simple guitar line and some drums, this song becomes an inspiring lullaby. The lyrics are equally simple, evoking a sense of reconciliation with ones past and the ability to finally get back up again. Yet there is also a touch of concession, as though the battle will be missed. I would have welcomed this as an end track.
Stranger in A Strange Land(also linked above): Worth pointing out because I don't think I’ve heard a curse word beyond "damn" on any other album of theirs. While this alone is not reason to notice a song, I find when an artist uses infrequent, but very deliberately placed curse words the effect can be astounding. As mentioned in previous reviews, Leto is a very precise, articulate artist, his use of a singular curse evokes a precise message.
There were also a few songs that did not work for me quite as well, partly because the rest of the album was that much better, and partly because the songs, for whatever reason didn't meet the standards set by their other albums.
Hurricane-- While conceptually nice, I found that this track lagged in places and felt longer than it should have been. Very reminiscent of “The Story,” but it comes off a little whiny. Bleak, but nothing new for 30 Seconds To Mars.
L 490--the beginning is actually painful on the ears. While I'm all for innovative instrumental tracks, this one is out of place both thematically and rhythmically on the album. To say nothing of the fact that it is a dissonant piece which falls far, far short of the rest of the album.
Overall rating: 3.5/5
to the people
to the good,
and the evil
this is war."
-- "This is War," 30 Seconds to Mars, This is War(2009)
Overall: This album is full of anthems, attesting to beliefs in the face of cynicism and rising from the ashes of one's own past. In addition to the fearsome pieces that stand alone nicely, this album is cohesive thematically, which is rare in the modern era. It tells a story, two stories if you look at the metaphoric angle. This is War, seems to be the spiritual sequel to Beautiful Lie (2001). Where Beautiful Lie was about the destruction of a relationship, and by proximity, a life, and the despair that comes with that, This is War delves into alternately reminiscence, and fighting back against the ravages of despair to emerge triumphant.
This album also takes a darker, more sexual turn than the previous two albums. "Night of the Hunter," and "Stranger in a Strange Land" particularly exude an animalistic darkness not found in other albums of theirs.
However, there are a few tracks that detract from an otherwise nearly flawless album, these tracks range from dissonant, to simply whining.
Track Highlights:
Kings and Queens: This was the single from This is War and rightly so. It stands on its own as a nostalgic, bittersweet number. Unlike many songs that look back on past relationships, this one reminisces completely without regret In fact, the lyrics speak of forging oneself from "blood and pain, in defense of our dreams." Layered over these lyrics, is front man Jered Leto's powerful voice and wonderfully coordinated music.
This is War(linked above): on my first listen through of this album, I considered this the summery track of the album. While I'm not sold on the audience tracks, the beginning of this song builds quite nicely into the chorus both in volume and tone. Leto has excellent vocal control and modulates its volume from husky whisper to bold (though still on key) shout. The lyrics tell the listener that on no uncertain terms they will never give up. Tenacity bleeds from both the music and the lyrics of this number.
Alibi- One of two very powerful, simple numbers on the album. While the majority of 30 Seconds to Mars' song have complex layering, this song and 100 suns both are very simple. I find that simpler songs tend to show what an artist's voice can truely do. Striping down to just a simple guitar line and some drums, this song becomes an inspiring lullaby. The lyrics are equally simple, evoking a sense of reconciliation with ones past and the ability to finally get back up again. Yet there is also a touch of concession, as though the battle will be missed. I would have welcomed this as an end track.
Stranger in A Strange Land(also linked above): Worth pointing out because I don't think I’ve heard a curse word beyond "damn" on any other album of theirs. While this alone is not reason to notice a song, I find when an artist uses infrequent, but very deliberately placed curse words the effect can be astounding. As mentioned in previous reviews, Leto is a very precise, articulate artist, his use of a singular curse evokes a precise message.
There were also a few songs that did not work for me quite as well, partly because the rest of the album was that much better, and partly because the songs, for whatever reason didn't meet the standards set by their other albums.
Hurricane-- While conceptually nice, I found that this track lagged in places and felt longer than it should have been. Very reminiscent of “The Story,” but it comes off a little whiny. Bleak, but nothing new for 30 Seconds To Mars.
L 490--the beginning is actually painful on the ears. While I'm all for innovative instrumental tracks, this one is out of place both thematically and rhythmically on the album. To say nothing of the fact that it is a dissonant piece which falls far, far short of the rest of the album.
Overall rating: 3.5/5
December 22, 2009
Kill Hannah: New Heart for Xmass 7 (with VIP pass.)
What an amazing weekend. I had the privilege of meeting, and briefly socializing with two wonderful artists. I was indoctrinated into a wonderful community of close knit fans, brought together by a gracious, caring artist who gives back a great deal to his fans.
Day one (12/18/09):
Venue: Reggie's Rock Club (2.5/5) I'm trying not to judge the venue by the sketchy area it was lodged in. Being on state street a hop, skip and a jump from nicer areas, I assumed quite incorrectly that it would be a decent area.
I didn't really get a chance to look at the bar itself, as I was too busy doing what I came to do, namely schmoozing with Kill Hannah. Reggie's struck me as a place that could not make up its mind weather it was a music venue or not. The layout was similar to other standing room only venues, however, it was too small to accommodate the audience for larger shows. That alone was not a problem, as there are other similar venues, designed for smaller bands. However, if you're going to be a little dig like that, at least have a good enough sound system that the vocals could be decerned from the base four rows in.
Full Album performance of Kill Hannah's "American Jet Set" (3/5) While not my favorite album, it was nice to have a hat tip to the fans that had been there for the full decade that the band has been preforming. There were songs I'd genuinely forgotten were on the album, which was a pleasant surprise. Having seen them live before, my bar was set very high, and while the show was phenomenal, it did not live up to the standard Kill Hannah set. The energy was weaker I would have expected in a show that is explicitly devoted to the more dedicated fans. While far from a disappointment, it wasn't as powerful as I would have hoped.
Day two (12/19/2009)
Venue: The Metro (4/5): I would call this my new, second favorite venue, rival only two The House Of Blues. Despite having been a Chicago girl now for three and a half years, \ I hadn't visited The Metro before because I am a petite person and had heard The Metro's reputation for wild, densely packed crowds. However, my attachment to Kill Hannah's music won out over my trepidation. I was not disappointed.
The Metro is a lovely venue with four bars tucked just a little away from the floor, making them easier to get to than at most venues. It has three floors, one is mostly just the merchandise booth and a place to house the line. The second floor is where the stage and dance floor are, very simple design a basic black, flat floor. The third floor was more of a lounge with seats and tables, however it over looked the second floor so that the show is visible. This was also where the coat check was, which was nicer than most venues. It is clean, except for the bathrooms, which I will get to in a moment. The sound booth is set back closer to the bar, adding that much more room to the already spacious floor. The seasonal decor was fun, large wire and nylon snowflakes, lit candy canes and little plastic trees where the permanent decor was professional and neat and there were posters everywhere advertising the next show or release party, but not so many that it was messy.
Then there were the bathrooms, like at Vic, the bathrooms were questionable at best, I was a little afraid to use them actually for fear of how dirty they were and the amount of graffiti
The Crowd: (4/5) While understandably bored during the first acts, the crowd was lit with an energy hitherto unseen in Kill Hannah fans, they were airborne, screaming, dancing like the world was ending. The energy was intense, but it wasn't such a tight crowd that it was suffocating.
First opener: 1997 (1/5) I try to be lenient on first openers, because its a rough slot to fill and they are often less experienced, younger bands, doubly so if they are a multi-gender band. However, they were positively discordant and had all of the stage presence of a dust bunny. They did try hard to get the audience to participate, however the audience was having none of it.
Second opener: Hey Champ (3/5) A fun, if forgettable, opening band. Their guitar work was pleasant but nothing unduly impressive.
Main Act: Kill Hannah. (4.7/5) New Heart for Xmas is Kill Hannah's annual big show, and it was simply put amazing. Mat Devine gives 110% to the audience and his interaction with them was the a delightful give and take. I've never seen a front man so gracious as Devine. On top of the band's engagement with the audience, their music was as as always wonderfully dynamic and well orchestrated without sounding manufactured. I was also impressed by how the band managed to preform songs that normally had far more parts than they have band members (one song on the album includes a choir as well Amanda Palmer, but they still played it quite nicely).
Despite Devine's spending the bulk of his time leaning over, in some cases all but steping into the crowd, they still manage several set and costume changes, a light show, and laser guitars. These guys push from being simply a band to being full on performers without sacrificing their craft.
Even with the light show, there is an incredible intimacy between the fans and the band. The honestway Devine talks about his music, and by extension his life, shows a vulnerability not often expressed in artists who are, for lack of other word, high gloss. on the whole the band gives off a very human energy.
It is a privilege to be involved with such a kind, down to earth artist who is also still not afraid to dream. Feet planted firmly on the stage, and eyes ever on the horizon Kill Hannah is an invoative band that puts on a thoroughly engaging show.
Day one (12/18/09):
Venue: Reggie's Rock Club (2.5/5) I'm trying not to judge the venue by the sketchy area it was lodged in. Being on state street a hop, skip and a jump from nicer areas, I assumed quite incorrectly that it would be a decent area.
I didn't really get a chance to look at the bar itself, as I was too busy doing what I came to do, namely schmoozing with Kill Hannah. Reggie's struck me as a place that could not make up its mind weather it was a music venue or not. The layout was similar to other standing room only venues, however, it was too small to accommodate the audience for larger shows. That alone was not a problem, as there are other similar venues, designed for smaller bands. However, if you're going to be a little dig like that, at least have a good enough sound system that the vocals could be decerned from the base four rows in.
Full Album performance of Kill Hannah's "American Jet Set" (3/5) While not my favorite album, it was nice to have a hat tip to the fans that had been there for the full decade that the band has been preforming. There were songs I'd genuinely forgotten were on the album, which was a pleasant surprise. Having seen them live before, my bar was set very high, and while the show was phenomenal, it did not live up to the standard Kill Hannah set. The energy was weaker I would have expected in a show that is explicitly devoted to the more dedicated fans. While far from a disappointment, it wasn't as powerful as I would have hoped.
Day two (12/19/2009)
Venue: The Metro (4/5): I would call this my new, second favorite venue, rival only two The House Of Blues. Despite having been a Chicago girl now for three and a half years, \ I hadn't visited The Metro before because I am a petite person and had heard The Metro's reputation for wild, densely packed crowds. However, my attachment to Kill Hannah's music won out over my trepidation. I was not disappointed.
The Metro is a lovely venue with four bars tucked just a little away from the floor, making them easier to get to than at most venues. It has three floors, one is mostly just the merchandise booth and a place to house the line. The second floor is where the stage and dance floor are, very simple design a basic black, flat floor. The third floor was more of a lounge with seats and tables, however it over looked the second floor so that the show is visible. This was also where the coat check was, which was nicer than most venues. It is clean, except for the bathrooms, which I will get to in a moment. The sound booth is set back closer to the bar, adding that much more room to the already spacious floor. The seasonal decor was fun, large wire and nylon snowflakes, lit candy canes and little plastic trees where the permanent decor was professional and neat and there were posters everywhere advertising the next show or release party, but not so many that it was messy.
Then there were the bathrooms, like at Vic, the bathrooms were questionable at best, I was a little afraid to use them actually for fear of how dirty they were and the amount of graffiti
The Crowd: (4/5) While understandably bored during the first acts, the crowd was lit with an energy hitherto unseen in Kill Hannah fans, they were airborne, screaming, dancing like the world was ending. The energy was intense, but it wasn't such a tight crowd that it was suffocating.
First opener: 1997 (1/5) I try to be lenient on first openers, because its a rough slot to fill and they are often less experienced, younger bands, doubly so if they are a multi-gender band. However, they were positively discordant and had all of the stage presence of a dust bunny. They did try hard to get the audience to participate, however the audience was having none of it.
Second opener: Hey Champ (3/5) A fun, if forgettable, opening band. Their guitar work was pleasant but nothing unduly impressive.
Main Act: Kill Hannah. (4.7/5) New Heart for Xmas is Kill Hannah's annual big show, and it was simply put amazing. Mat Devine gives 110% to the audience and his interaction with them was the a delightful give and take. I've never seen a front man so gracious as Devine. On top of the band's engagement with the audience, their music was as as always wonderfully dynamic and well orchestrated without sounding manufactured. I was also impressed by how the band managed to preform songs that normally had far more parts than they have band members (one song on the album includes a choir as well Amanda Palmer, but they still played it quite nicely).
Despite Devine's spending the bulk of his time leaning over, in some cases all but steping into the crowd, they still manage several set and costume changes, a light show, and laser guitars. These guys push from being simply a band to being full on performers without sacrificing their craft.
Even with the light show, there is an incredible intimacy between the fans and the band. The honestway Devine talks about his music, and by extension his life, shows a vulnerability not often expressed in artists who are, for lack of other word, high gloss. on the whole the band gives off a very human energy.
It is a privilege to be involved with such a kind, down to earth artist who is also still not afraid to dream. Feet planted firmly on the stage, and eyes ever on the horizon Kill Hannah is an invoative band that puts on a thoroughly engaging show.
December 18, 2009
Concert review: After Midnight Project, The Used, 30 Seconds To Mars
I would like to say after a far to long hiatus it was fantastic to finally get back on the floor. I melted into a puddle of happiness on principle.
The Venue: House of Blues chicago (see this post for my review)
The Crowd: (3.5/5) An above average, fun crowd. Lots of chatting between shows, and during the first opener. They positively sprung to life during the main act. Thirty Seconds To Mars has a wonderful cult following, which makes the experience even better. No one was there just for one song. They were happy for each number which is how it should be.
First Opener-- After Midnight Project (3/5) AMP as their fans call them was a fun, solid opener. A little cacophonous upon a closer listen with bitter, almost vindictive lyrics. Great for an opener, but I wouldn't go to a show for them. They have a very common sound that wants to be original but falls short. However, front man Jason Evigan, made a lot of effort to get the crowd involved and the crowd was responsive as could be expected for the first wave opener. The album was was worth concert price, but I wouldn't have paid more for it. Very rough still, I look forward to seeing what this band does when they clean up and grow into their own, less generic sound.
Second Opener/ First Main Act-- The Used (2/5). I will make a caviat, the person in front of me was being a real pill and blocking my view, along with the people next to me so that may be shading my lack of enjoyment.
Their sound was unpolished, which I don't usually mind, but I found that in conjunction with an unprofessional attitude and vulgarity beyond even my tolerant standards, their performace was mediocre. While nominally better recorded, the frontman's vocals are reminiscent of a gremlin. That alone wouldn't have stopped me, however, that mixed with a run of the mill sound and a poor performance left me irritable. Had they been the main act I would have been very angry I'd spent money on these tickets.
However, they weren't.
Main Act: 30 Seconds to Mars (5/5). While the set only ran about an hour, due to that front man Jered Leto's being ill from a recent tonsillectomy, they made every moment count. When I heard Leto was ill my expectations naturally dropped, after all no one sounds perfect when ill.
If this is what he sounds like when he's off, I can't imagine what its like when he's in full health. Leto was full of fire, in constant motion and interacting with the audience constantly (actually, in the audience at one point). He looked fantastic, wich is a nice plus. I find often artist aren't as put together for shows, you see who they really are more. Having seen Leto as an actor, it was wonderful to see him come out of his shell and enjoy the evening as himself, rather than a role. He was the right mix of diva and graciousness. He even went as far as to dedicate one of his acustic numbers to a fan that had recently passed on.
30 Seconds to Mars is nothing if they are not professional. Their sound is even clean live, wich you don't hear often. Leto's intense energy, and very strong voice carry words that are occasionally a little cryptic, but speak of conviction and tenacity. Leto is also very articulate, you can hear every word clearly. While most of his songs are in a simlar speed, he does slip in the occasional ballad, which is often far simpler lyrically than his other work. In This Is War (title track for their newest album), he combines both the intensity of his faster work and the simplicity of his ballads.
While, Leto is a powerhouse unto himself, the rest of the band does a wonderful job matching stride with him and plays nicely, knowing both how to sound sharp and improvise when necessary.
I was impressed when I heard them recorded, I was blown away when I saw them live. Simply wonderful, a damn near perfect show.
Next up: Kill Hannah' New Heart for Christmas VII show.
The Venue: House of Blues chicago (see this post for my review)
The Crowd: (3.5/5) An above average, fun crowd. Lots of chatting between shows, and during the first opener. They positively sprung to life during the main act. Thirty Seconds To Mars has a wonderful cult following, which makes the experience even better. No one was there just for one song. They were happy for each number which is how it should be.
First Opener-- After Midnight Project (3/5) AMP as their fans call them was a fun, solid opener. A little cacophonous upon a closer listen with bitter, almost vindictive lyrics. Great for an opener, but I wouldn't go to a show for them. They have a very common sound that wants to be original but falls short. However, front man Jason Evigan, made a lot of effort to get the crowd involved and the crowd was responsive as could be expected for the first wave opener. The album was was worth concert price, but I wouldn't have paid more for it. Very rough still, I look forward to seeing what this band does when they clean up and grow into their own, less generic sound.
Second Opener/ First Main Act-- The Used (2/5). I will make a caviat, the person in front of me was being a real pill and blocking my view, along with the people next to me so that may be shading my lack of enjoyment.
Their sound was unpolished, which I don't usually mind, but I found that in conjunction with an unprofessional attitude and vulgarity beyond even my tolerant standards, their performace was mediocre. While nominally better recorded, the frontman's vocals are reminiscent of a gremlin. That alone wouldn't have stopped me, however, that mixed with a run of the mill sound and a poor performance left me irritable. Had they been the main act I would have been very angry I'd spent money on these tickets.
However, they weren't.
Main Act: 30 Seconds to Mars (5/5). While the set only ran about an hour, due to that front man Jered Leto's being ill from a recent tonsillectomy, they made every moment count. When I heard Leto was ill my expectations naturally dropped, after all no one sounds perfect when ill.
If this is what he sounds like when he's off, I can't imagine what its like when he's in full health. Leto was full of fire, in constant motion and interacting with the audience constantly (actually, in the audience at one point). He looked fantastic, wich is a nice plus. I find often artist aren't as put together for shows, you see who they really are more. Having seen Leto as an actor, it was wonderful to see him come out of his shell and enjoy the evening as himself, rather than a role. He was the right mix of diva and graciousness. He even went as far as to dedicate one of his acustic numbers to a fan that had recently passed on.
30 Seconds to Mars is nothing if they are not professional. Their sound is even clean live, wich you don't hear often. Leto's intense energy, and very strong voice carry words that are occasionally a little cryptic, but speak of conviction and tenacity. Leto is also very articulate, you can hear every word clearly. While most of his songs are in a simlar speed, he does slip in the occasional ballad, which is often far simpler lyrically than his other work. In This Is War (title track for their newest album), he combines both the intensity of his faster work and the simplicity of his ballads.
While, Leto is a powerhouse unto himself, the rest of the band does a wonderful job matching stride with him and plays nicely, knowing both how to sound sharp and improvise when necessary.
I was impressed when I heard them recorded, I was blown away when I saw them live. Simply wonderful, a damn near perfect show.
Next up: Kill Hannah' New Heart for Christmas VII show.
December 17, 2009
Life Happenened
I'll get to those album reviews. I think i'll skip some though as it concernt season part two.!
Why have I been on hiatus?
Dear reader, I can show you in picture form
His name is Jake, and he's now eaten (along with two stuffed animals and a highligher) a little over a month of my life. I love him.
Actual honest to gosh reviews forthcomng.
Why have I been on hiatus?
Dear reader, I can show you in picture form
His name is Jake, and he's now eaten (along with two stuffed animals and a highligher) a little over a month of my life. I love him.
Actual honest to gosh reviews forthcomng.
November 2, 2009
So There's Been a Lull
And to be honest I haven't had the energy or time to really update. Eventually I will review some albums, fear not the blog isn't abandoned.
on my to review list:
*new three days grace
*Mayday parade
*30 seonds to mars
*Adam Lambert
*The accemy is
on my to review list:
*new three days grace
*Mayday parade
*30 seonds to mars
*Adam Lambert
*The accemy is
October 11, 2009
Album Review: Kill Hannah Wake Up the Sleepers.
Song order is often critical to an album’s presentation, even with the advent of shuffle buttons. The balance and the opening are especially critical.
Kill Hannah does a lovely job here kicking off their newest album Wake Up The Sleepers with a song that hit me as an artist like a fist.
Highlights:
Radio: every band needs a song like this. The song that says we did this despite what other people thought and we owe it to you, our fans. In the spirit of front man Mat Devine’s bold personality, this song is one part thank you letter to the city and medium that made Kill Hannah, one part flipping the bird to the people that said they’d never make it. This song brings a shiver to my spine as an artist. I only hope to ever be able to say what this song says about my own work.
New York City Speed: I wasn’t in a good environment the fist time I heard “New York City Speed,” but it still managed to catch me. Utterly fearless and defiant, it speaks of living fast in the moment. Like “Welcome to Chicago,” (released originally on a one-track single: Welcome to Chicago, Motherfucker!) “New York City Speed” screams the name of its namesake city.
Living in Misery: Slow songs are not something Kill Hannah is known for, but this little beauty illustrates Devine’s wistful, touching lyrics beautifully. This song is for the misfits the way “Unwanted” (From For Never and Ever). With a lovely, almost gospel-like harmony at the end that made the hair on my arms stand up.
Why I have My Grandma’s Sad Eyes: Mat Devine’s lyrics once again speak of coming back from pain. Even his despairing songs whisper hope. This song quotes another song which I haven’t been able to track down with the words “Universe wrap your arms around me, make me strong so I can take on anyone.” This little line I think encompasses the song. One part admitting vulnerability one part seeking hope this little gem inspires
Escape artistry: This is a spirited song that I think anyone who’s ever been trapped in one place for too long can identify with this dancy, brazen song.
Promise Me: This one actually made me stop what I was doing the first time I heard it. It was so different from most of what Kill Hannah does. Stripped of the electronic rhythms and complex tones of their usual songs. This song has one very simple background note. The lyrics are a caress, a whispered entreaty not to be forgotten. Its a simple, beautiful song.
Overall review:
I was left wordless by the last new track on this album, so it took me a moment to get to writing this review. In this album, Kill Hanna keeps pushing and honing the style that is unquestionably their own. For those of you that haven’t heard Kill Hannah they are one part alt rock, two parts electronica. Mat Devine has an effeminate voice that I thought belonged to a woman when I first heard it. Its lovely in conjunction with lyrics that Mat himself has said come from the heart and a beat you can dance to. This album experiments a little more with both the vocals and the over all sound. It also has a nice balance of slow and fast songs.
(4.5/5. This album is nearly perfect)
Kill Hannah does a lovely job here kicking off their newest album Wake Up The Sleepers with a song that hit me as an artist like a fist.
Highlights:
Radio: every band needs a song like this. The song that says we did this despite what other people thought and we owe it to you, our fans. In the spirit of front man Mat Devine’s bold personality, this song is one part thank you letter to the city and medium that made Kill Hannah, one part flipping the bird to the people that said they’d never make it. This song brings a shiver to my spine as an artist. I only hope to ever be able to say what this song says about my own work.
New York City Speed: I wasn’t in a good environment the fist time I heard “New York City Speed,” but it still managed to catch me. Utterly fearless and defiant, it speaks of living fast in the moment. Like “Welcome to Chicago,” (released originally on a one-track single: Welcome to Chicago, Motherfucker!) “New York City Speed” screams the name of its namesake city.
Living in Misery: Slow songs are not something Kill Hannah is known for, but this little beauty illustrates Devine’s wistful, touching lyrics beautifully. This song is for the misfits the way “Unwanted” (From For Never and Ever). With a lovely, almost gospel-like harmony at the end that made the hair on my arms stand up.
Why I have My Grandma’s Sad Eyes: Mat Devine’s lyrics once again speak of coming back from pain. Even his despairing songs whisper hope. This song quotes another song which I haven’t been able to track down with the words “Universe wrap your arms around me, make me strong so I can take on anyone.” This little line I think encompasses the song. One part admitting vulnerability one part seeking hope this little gem inspires
Escape artistry: This is a spirited song that I think anyone who’s ever been trapped in one place for too long can identify with this dancy, brazen song.
Promise Me: This one actually made me stop what I was doing the first time I heard it. It was so different from most of what Kill Hannah does. Stripped of the electronic rhythms and complex tones of their usual songs. This song has one very simple background note. The lyrics are a caress, a whispered entreaty not to be forgotten. Its a simple, beautiful song.
Overall review:
I was left wordless by the last new track on this album, so it took me a moment to get to writing this review. In this album, Kill Hanna keeps pushing and honing the style that is unquestionably their own. For those of you that haven’t heard Kill Hannah they are one part alt rock, two parts electronica. Mat Devine has an effeminate voice that I thought belonged to a woman when I first heard it. Its lovely in conjunction with lyrics that Mat himself has said come from the heart and a beat you can dance to. This album experiments a little more with both the vocals and the over all sound. It also has a nice balance of slow and fast songs.
(4.5/5. This album is nearly perfect)
October 6, 2009
The Tenderbox, Kill Hannah and She Wants Revenge at The Vic Theater (10/1/09)
The Venue (see previous review of The Vic)I was smart this time and did not use the bathroom.
The Crowd: (2/5). Ugh. A too small crowd that kept staring at the stage wondering when their song/ band would come on. A little better for the opener but frankly, bored.
The First Opener ( The Tenderbox )(2.5/5)-- This little band tried very hard, and put fourth a lot of effort to get the crowd (which was having none of it) moving. They put forth a good effort. However, they were only all right in terms of talent and had no stage presence to speak of. I think they'll probably get better, but at this point in time they fell flat. I can't really comment on their lyrical content, as I cannot find their lyrics online and don’t feel they’re worth purchasing the album at this time.
The Second Opener (Kill Hannah)(4/5) Despite Kill Hannah being the band I came for I had relatively low hopes going in as electronically driven music often doesn’t translate well to stage. From the moment front man Mat Devine ran out onto the stage he gave 110%. Devine was full of energetic dancing, all but leaping into the crowd. I think he even got some of the stubborn She Wants Revenge fans moving. I could tell that this show meant absolutely the world to these guys (that its their home city and nearly coincides with their album release was really something). These are Chicago boys, and it shows.
I gravitate toward strong lyrics and Kill Hannah is no exception. They have some very intense songs, and you can feel the passion in them. The lyrics have the same intensity their performance does. Whether it be the almost flirtatious daredevil song "Lips like Morphine,” or the pained but still energetic "Unwanted," Kill Hannah brings a very strong, heartfelt lyrics and a fast no-fear energy that stays strong even after they’ve left the stage.
One of the first things that struck me about Mathew Devine was his effeminate voice, which could have sounded shy with tamer lyrics. The voice fits the man-- a slight, archetypal pretty boy. Devine’s quavering tone is complemented nicely by fierce lyrics and powerful energy. This surreal dynamic creates something truly unique
The Main Act (She Wants Revenge) (3/5): Admittedly, it’s hard to impress me when I only know one or two of your songs and I’m already tired from dancing my legs off to the opener, but I like to give it my all even for artists I’m not that familiar with. I have some of She Wants Revenge’s albums so I was familiar with their sound and a couple of their songs.
I danced merrily but I caught myself yawning, which is unusual for me, as I tend to get a buzz off the energy at a good show. So, I thought about it a little as I danced, and sure enough I yawned again. I focused my attention trying to discern what was causing this.
And then it hit me.
Despite the energy of the crowd, which had picked up substantially by that point and Front man very articulate singing style and smooth voice. Front man, Justin Warfield had very dull energy and he absorbed the energy the crowd generated but gave nothing back. It took me just another moment to determine that he was also quite arrogant.
His attitude was effectively demonstrated when a fan tossed an obviously hand painted graffiti style hat onto the stage. Warfield picked it up. Now I’ve seen artist show what I call the "gift face" when they receive something they're not sure what to make of, but they tend to be gracious and flattered. Not so here. Warfield looked at it, made fun of it briefly, and tossed it back into the crowd.
One of the things I have very little patience for is people being ungrateful toward those who put them where they are. These are your fans.
Even Warfield’s dancing and the way he moved on stage was always at a distance from the audience. Part of that I know is the "indier than thou," posh style he was presenting. However, that’s no excuse to be rude. Even the poshest people in existence know how to be grateful.
On the other side of the coin, Justin Warfield’s lyrics are a lot of fun and very articulate, if dominated by one subject: seduction. His songs are full of flirty, almost too deliberate lyrics, which are regrettably not sung from the heart. He doesn’t even manage to be cheeky in his dispassion.
There is centrally talent in the music, especially the vocals and the keyboard. Keyboardist Adam Bravin had the most passion of the entire group and it showed in his wonderful performance. I would that the front man had that kind of passion.
The Crowd: (2/5). Ugh. A too small crowd that kept staring at the stage wondering when their song/ band would come on. A little better for the opener but frankly, bored.
The First Opener ( The Tenderbox )(2.5/5)-- This little band tried very hard, and put fourth a lot of effort to get the crowd (which was having none of it) moving. They put forth a good effort. However, they were only all right in terms of talent and had no stage presence to speak of. I think they'll probably get better, but at this point in time they fell flat. I can't really comment on their lyrical content, as I cannot find their lyrics online and don’t feel they’re worth purchasing the album at this time.
The Second Opener (Kill Hannah)(4/5) Despite Kill Hannah being the band I came for I had relatively low hopes going in as electronically driven music often doesn’t translate well to stage. From the moment front man Mat Devine ran out onto the stage he gave 110%. Devine was full of energetic dancing, all but leaping into the crowd. I think he even got some of the stubborn She Wants Revenge fans moving. I could tell that this show meant absolutely the world to these guys (that its their home city and nearly coincides with their album release was really something). These are Chicago boys, and it shows.
I gravitate toward strong lyrics and Kill Hannah is no exception. They have some very intense songs, and you can feel the passion in them. The lyrics have the same intensity their performance does. Whether it be the almost flirtatious daredevil song "Lips like Morphine,” or the pained but still energetic "Unwanted," Kill Hannah brings a very strong, heartfelt lyrics and a fast no-fear energy that stays strong even after they’ve left the stage.
One of the first things that struck me about Mathew Devine was his effeminate voice, which could have sounded shy with tamer lyrics. The voice fits the man-- a slight, archetypal pretty boy. Devine’s quavering tone is complemented nicely by fierce lyrics and powerful energy. This surreal dynamic creates something truly unique
The Main Act (She Wants Revenge) (3/5): Admittedly, it’s hard to impress me when I only know one or two of your songs and I’m already tired from dancing my legs off to the opener, but I like to give it my all even for artists I’m not that familiar with. I have some of She Wants Revenge’s albums so I was familiar with their sound and a couple of their songs.
I danced merrily but I caught myself yawning, which is unusual for me, as I tend to get a buzz off the energy at a good show. So, I thought about it a little as I danced, and sure enough I yawned again. I focused my attention trying to discern what was causing this.
And then it hit me.
Despite the energy of the crowd, which had picked up substantially by that point and Front man very articulate singing style and smooth voice. Front man, Justin Warfield had very dull energy and he absorbed the energy the crowd generated but gave nothing back. It took me just another moment to determine that he was also quite arrogant.
His attitude was effectively demonstrated when a fan tossed an obviously hand painted graffiti style hat onto the stage. Warfield picked it up. Now I’ve seen artist show what I call the "gift face" when they receive something they're not sure what to make of, but they tend to be gracious and flattered. Not so here. Warfield looked at it, made fun of it briefly, and tossed it back into the crowd.
One of the things I have very little patience for is people being ungrateful toward those who put them where they are. These are your fans.
Even Warfield’s dancing and the way he moved on stage was always at a distance from the audience. Part of that I know is the "indier than thou," posh style he was presenting. However, that’s no excuse to be rude. Even the poshest people in existence know how to be grateful.
On the other side of the coin, Justin Warfield’s lyrics are a lot of fun and very articulate, if dominated by one subject: seduction. His songs are full of flirty, almost too deliberate lyrics, which are regrettably not sung from the heart. He doesn’t even manage to be cheeky in his dispassion.
There is centrally talent in the music, especially the vocals and the keyboard. Keyboardist Adam Bravin had the most passion of the entire group and it showed in his wonderful performance. I would that the front man had that kind of passion.
Concert review: You Me At Six, Secret Handshake, Mayday Parade, and The Academy is..(8/28)
Note: Sorry for being absent, my personal life exploded.
I almost didn't make it to this show, I ran late and nearly forgot what day it was on. I went alone, a personal first for me and it confirmed everything I thought about myself.
The Venue- (House of Blues, Chicago)(5/5): I've been itching to review this place since I started this blog. It’s my second home and the first venue I ever went to in Chicago. The House of Blues is connected to its own restaurant, which has decent enough food and they keep the policy that if you eat there, you get to skip the line with a receipt. On the outside it looks nice enough. But when you walk through the doors, you're met with ornate carvings, wooden walls, and hand painted signs. Its three levels, not counting the balcony. The first being the main bar area’ the second being wooden stools and small tables, the last being, of course, the dance floor itself. Hardwood floors and décor with colorfully painted walls with hosts of odd little statues, the balcony and the frame of the stage are beautifully decorated and across the top of he stage are various religious symbols and a phrase that temporarily escapes me regarding unity through music. There is always something new to look at, for example the ceiling by the sound booth is decorated with hand painted bottle caps and repurposed ashtrays.
Four bars (three main ones and one little kiosk) line the dance floor with sections for people who are under age and want food or water and people who have wristbands to prove they are old enough to drink. The bar staff has always been extremely friendly and are very good at making out what you’re shouting to them over the music. THe security, while tight at all ages shows, is very polite.
There is an equally beautiful little back hallway for merchandise and two gorgeous bathrooms. The Ladies at least has an attendant, mock marble counters, and wood slatted doors. I could even get a hairbrush and deodorant if i needed them.
Not have time to skip the line and get a sit down meal? No problem! They have a variety of bar foods (pizza, sliders, fires and so on) that are as good as the restaurant itself.
Which brings us to the show itself:
First Frontliner (Youmeatsix)(3.5/5): I confess because of how late I was running I didn't really settle in till about half way through their set so some of it was a little more preoccupied with texting and eating, which made me all the more impressed that it was as enjoyable as it was. An obviously UK based, punk-pop band with a distinctly punkier flavor than much punk-pop. In true punk spirit they were a bit inarticulate, though they didn’t scream as often as pure punk. Their energy was surprisingly good for a first in four show. They even got a mosh pit going and got the crowd to join in singing a few of the numbers. Not a band who's album I bought that day but a good opener, lots of fun energy and a cute front man, which didn't hurt things.
Second Frontliner (Secret Handshake) (1.5/5)-- I think I'm being generous with that. 5 because I'm nice to fontliners. They sounded atrocious. I was hoping they were better recorded, but I checked and they're not. If I were to give one piece of advice to them: Turn of the vocoder, it sounds broken. The front man certainly gave a good effort but I spent most of the show wondering if the mike was supposed to sound like that, and trying not to restlessly tap my feet waiting for The Academy is... I try hard not to pity clap often, but I did for them.
The First Main Act/ Last Frontliner (Mayday Parade) (4/5) Hello, pleasant surprise. I hadn't heard anything of theirs when I first came to the show (I came for The Academy is...) With what I saw of the openers and the crowd, I wasn't expecting much out of Mayday Parade, only hoping they'd live up to You Me at Six and not be atrocious like Secret Handshake. I was delighted by the energy Mayday Parade brought and the talent they had. While not mind blowing, they did quite well. I got a few of their albums and I'm starting to enjoy them quite a bit. They brought a strong energy, a verity of songs both slow and fast, mostly in the "teenage" vein-- love/ breakup songs and a couple of songs about clandestine romance. I have to say they might have gotten a little extra love from me for the song "Miserable at Best" I'm recovering from a break up and this song struck me as rather sweet. Mayday Parade brings above average lyrics, and a fun sound, with a little of that bitter twist that a lot of us can identify with.
The Second Headliner(The Academy is...)(4.7/5): I have a hard time giving out fives unless they' really earned it. I've seen The Academy is... now for I believe the third or fourth time and they put on a great show every time. Its a very different animal from other shows i've reviewed in that it’s essentially fun. I've come to expect front man and lyricist William Beckett’s spirited dancing and defiant lyrics as par for the course with his shows.
Beckett seems to truly enjoy himself without a lot of the gravity that many artist bring to the stage. At the same time it is obvious that he puts a great deal of passion, energy and time into his work. He's out there to enjoy himself and give his fans a truly good time. I have to say having met Beckett, you could not ask for a more friendly, gracious person. He's quiet startled by all the adoration fame's brought him but he still takes the time he can to talk to his fans. Despite his bolder stage persona he's soft spoken and shy. This genuineness comes out on stage tenfold, there is no doubt that Beckett sings from experience and while there are hints that he’s finally growing used to fame, Beckett still has a great deal of heart.
Beckett's lyrics have become a little less bold as The Academy Is…has grown in fame, however there is no doubt he still believes every word of "Black Mamba"(from their debut album Almost Here)in which Beckett declares “Oh, Mr. Magazine/I never wrote one single thing for you/Or your so-called music scene/Don’t mean a thing to me.” He remains loyal to his defiant roots. While, Fast times at Barrington High is certainly in a less toothy vein, catering a bit to the teenage audience, Beckett keeps his lyrics cheeky and elegant with the occasional slower song for variety.
Musically the entire band has talent, however, Beckett shines just a shade brighter than the others. The band plays off each other quite nicely, however and certainly should not be discounted as a lesser part of the group. The balance is quite strong over all.
Vocally, Becket is a surprise in a genre that often gets away with sub-par vocals. He has a very soft voice despite being loud enough to be heard across the room. He sounds young and I feel that much what makes him who he is musically is in that voice. Distinctive, enough to be recognized completely out of context, his voice speaks (or should I say sings?) of a young man searching for himself under the limelight while still being very much young at heart. You can hear the smile in his voice in many of his songs and seeing that smile in person confirms how much this young man has to offer. I have a feeling we have not yet seen what he's truly capable of.
Overall, I am exceedingly glad to have gone to this show. Well done all around, in a favorite venue of mine a favorite band, as well as a few new discoveries.
Bravo.
I almost didn't make it to this show, I ran late and nearly forgot what day it was on. I went alone, a personal first for me and it confirmed everything I thought about myself.
The Venue- (House of Blues, Chicago)(5/5): I've been itching to review this place since I started this blog. It’s my second home and the first venue I ever went to in Chicago. The House of Blues is connected to its own restaurant, which has decent enough food and they keep the policy that if you eat there, you get to skip the line with a receipt. On the outside it looks nice enough. But when you walk through the doors, you're met with ornate carvings, wooden walls, and hand painted signs. Its three levels, not counting the balcony. The first being the main bar area’ the second being wooden stools and small tables, the last being, of course, the dance floor itself. Hardwood floors and décor with colorfully painted walls with hosts of odd little statues, the balcony and the frame of the stage are beautifully decorated and across the top of he stage are various religious symbols and a phrase that temporarily escapes me regarding unity through music. There is always something new to look at, for example the ceiling by the sound booth is decorated with hand painted bottle caps and repurposed ashtrays.
Four bars (three main ones and one little kiosk) line the dance floor with sections for people who are under age and want food or water and people who have wristbands to prove they are old enough to drink. The bar staff has always been extremely friendly and are very good at making out what you’re shouting to them over the music. THe security, while tight at all ages shows, is very polite.
There is an equally beautiful little back hallway for merchandise and two gorgeous bathrooms. The Ladies at least has an attendant, mock marble counters, and wood slatted doors. I could even get a hairbrush and deodorant if i needed them.
Not have time to skip the line and get a sit down meal? No problem! They have a variety of bar foods (pizza, sliders, fires and so on) that are as good as the restaurant itself.
Which brings us to the show itself:
First Frontliner (Youmeatsix)(3.5/5): I confess because of how late I was running I didn't really settle in till about half way through their set so some of it was a little more preoccupied with texting and eating, which made me all the more impressed that it was as enjoyable as it was. An obviously UK based, punk-pop band with a distinctly punkier flavor than much punk-pop. In true punk spirit they were a bit inarticulate, though they didn’t scream as often as pure punk. Their energy was surprisingly good for a first in four show. They even got a mosh pit going and got the crowd to join in singing a few of the numbers. Not a band who's album I bought that day but a good opener, lots of fun energy and a cute front man, which didn't hurt things.
Second Frontliner (Secret Handshake) (1.5/5)-- I think I'm being generous with that. 5 because I'm nice to fontliners. They sounded atrocious. I was hoping they were better recorded, but I checked and they're not. If I were to give one piece of advice to them: Turn of the vocoder, it sounds broken. The front man certainly gave a good effort but I spent most of the show wondering if the mike was supposed to sound like that, and trying not to restlessly tap my feet waiting for The Academy is... I try hard not to pity clap often, but I did for them.
The First Main Act/ Last Frontliner (Mayday Parade) (4/5) Hello, pleasant surprise. I hadn't heard anything of theirs when I first came to the show (I came for The Academy is...) With what I saw of the openers and the crowd, I wasn't expecting much out of Mayday Parade, only hoping they'd live up to You Me at Six and not be atrocious like Secret Handshake. I was delighted by the energy Mayday Parade brought and the talent they had. While not mind blowing, they did quite well. I got a few of their albums and I'm starting to enjoy them quite a bit. They brought a strong energy, a verity of songs both slow and fast, mostly in the "teenage" vein-- love/ breakup songs and a couple of songs about clandestine romance. I have to say they might have gotten a little extra love from me for the song "Miserable at Best" I'm recovering from a break up and this song struck me as rather sweet. Mayday Parade brings above average lyrics, and a fun sound, with a little of that bitter twist that a lot of us can identify with.
The Second Headliner(The Academy is...)(4.7/5): I have a hard time giving out fives unless they' really earned it. I've seen The Academy is... now for I believe the third or fourth time and they put on a great show every time. Its a very different animal from other shows i've reviewed in that it’s essentially fun. I've come to expect front man and lyricist William Beckett’s spirited dancing and defiant lyrics as par for the course with his shows.
Beckett seems to truly enjoy himself without a lot of the gravity that many artist bring to the stage. At the same time it is obvious that he puts a great deal of passion, energy and time into his work. He's out there to enjoy himself and give his fans a truly good time. I have to say having met Beckett, you could not ask for a more friendly, gracious person. He's quiet startled by all the adoration fame's brought him but he still takes the time he can to talk to his fans. Despite his bolder stage persona he's soft spoken and shy. This genuineness comes out on stage tenfold, there is no doubt that Beckett sings from experience and while there are hints that he’s finally growing used to fame, Beckett still has a great deal of heart.
Beckett's lyrics have become a little less bold as The Academy Is…has grown in fame, however there is no doubt he still believes every word of "Black Mamba"(from their debut album Almost Here)in which Beckett declares “Oh, Mr. Magazine/I never wrote one single thing for you/Or your so-called music scene/Don’t mean a thing to me.” He remains loyal to his defiant roots. While, Fast times at Barrington High is certainly in a less toothy vein, catering a bit to the teenage audience, Beckett keeps his lyrics cheeky and elegant with the occasional slower song for variety.
Musically the entire band has talent, however, Beckett shines just a shade brighter than the others. The band plays off each other quite nicely, however and certainly should not be discounted as a lesser part of the group. The balance is quite strong over all.
Vocally, Becket is a surprise in a genre that often gets away with sub-par vocals. He has a very soft voice despite being loud enough to be heard across the room. He sounds young and I feel that much what makes him who he is musically is in that voice. Distinctive, enough to be recognized completely out of context, his voice speaks (or should I say sings?) of a young man searching for himself under the limelight while still being very much young at heart. You can hear the smile in his voice in many of his songs and seeing that smile in person confirms how much this young man has to offer. I have a feeling we have not yet seen what he's truly capable of.
Overall, I am exceedingly glad to have gone to this show. Well done all around, in a favorite venue of mine a favorite band, as well as a few new discoveries.
Bravo.
September 10, 2009
September 8, 2009
Album Reviews: Our Lady Peace(Burn Burn) and Shinedown(Sound Of Maddness[delux edition])
Album review: Our Lady Peace—Burn Burn (3.5/5)
Brent Smith has a sharp tongue and eloquent lyrics. In looking at the bio for this little Florida band, I discovered ,quiet by accident that part of the inspiration for this album was a visit to Iraq. As a result, lot of the charge and anger prevalent I this piece was given a whole new light. This album almost got a 5/5 as many of the songs on this album hit a chord in my personal life very hard.
In addition to the powerful lyrics, this album was also nicely balanced between melodic, in some cases gut-wrenching, slow songs and songs whose crashing drum pulse compel the listener to jump or at the very least headbang. I find some albums sound redundant as an artist focuses on a certain sound style. While there is no mistaking Shinedown’s sound, the tracks are distinctive from each other, even in the numbers that are the same tempo. “Sin with a Grin,”for example, is a completely different animal from “Devour.” Similarly “Second Chance” is a completely different, more hopeful creature, from the tortured “Call Me.”
All told this is a very strong album, from both a lyrical and musical standpoint and I’m very much looking forward to seeing what they do next.
Our Lady Peace’s album, Gravity turned me on to them. Once I’d heard “Innocent” and “Somewhere Out There,” I got a hold of Naveed, Clumsy Happiness is not a Fish You Can Catch, and, of course, Gravity. Having just seen them live and fallen in love I waited eagerly for Burn Burn.
Burn Burn is a solid album, Our Lady Peace continues to put out inspirational songs, though they’ve lost a little of the edge they had in Happiness is Not A Fish You Can Catch. Madia’s vocals, while still impressive, tend to linger in their safe range and he doesn’t push the envelope lyrically as much as he did on previous albums.
While there are a few songs that lean toward the mainstream, front man Raine Madia’s lyrics are still delightfully quirky. Reminiscent of their older work, "Monkey Brains” remains one of Our Lady Peace’s stranger numbers. This album feels like the end of a long struggle, a thank you note kicks off the album in “All You Did Was Save My Life” In a simlar finality, we hear “Signs of Life,” though there is a little flash of the teenaged yearning seen in other albums with “Paper Moon.”
Overall, it feels like they’ve grown through their adolescence without loosing their drive the way that many do. Great album, though would have been even better if not held to the high standards other Our lady Peace albums set.
Shinedown: Sound of Madness
This was the album that brought Shinedown to my attention; it was the only album I had of theirs for the longest time. Naturally, I am a little biased toward this wicked little album.
Brent Smith has a sharp tongue and eloquent lyrics. In looking at the bio for this little Florida band, I discovered ,quiet by accident that part of the inspiration for this album was a visit to Iraq. As a result, lot of the charge and anger prevalent I this piece was given a whole new light. This album almost got a 5/5 as many of the songs on this album hit a chord in my personal life very hard.
Ignoring the personal, because you, dear reader, are not me. This album was lyrically sharp and obviously came from a deeply personal place for front man Brent Smith. However, it is obvious both from their bio, and from listing to their work that the band is cohesive in its artistry. The band works together with Smith’s vocals creating a sound that is distinctly Shinedown’s own. Unlike many artists whose newer albums are not as strong as their previous albums, Shinedown keeps pushing themselves to be better, and keep the edginess alive. They are very much still passionate, which may not seem to be much of a feat after only four albums, but I’ve seen other bands cave to mainstream pressures faster.
I have gushed in previous entrees about Shinedown’s lyrics, they remain evocative and hard edged. Smith’s eloquence is a wonderful to hear. In a genre dominated by screaming and grunting, Smith’s diction is a welcome pleasure. Whether it be a haunting melody like “The Crow and the Butterfly” or pleasantly malicious “Sin With a Grin,” Smith brings evocative lyrics and genuine emotion, to an already powerful band.
In addition to the powerful lyrics, this album was also nicely balanced between melodic, in some cases gut-wrenching, slow songs and songs whose crashing drum pulse compel the listener to jump or at the very least headbang. I find some albums sound redundant as an artist focuses on a certain sound style. While there is no mistaking Shinedown’s sound, the tracks are distinctive from each other, even in the numbers that are the same tempo. “Sin with a Grin,”for example, is a completely different animal from “Devour.” Similarly “Second Chance” is a completely different, more hopeful creature, from the tortured “Call Me.”
All told this is a very strong album, from both a lyrical and musical standpoint and I’m very much looking forward to seeing what they do next.
August 29, 2009
Staind with Shinedown, Chavelle and Halestorm
The Venue (Congress Theater, Chicago IL; (3/5)— A little out of the way of where most concerts are, my friend and I wound up taking a cab for fear of getting lost. Though it’s only a few blocks from a blue line stop.
Upon entering, it feels like you’ve stepped into a theater, rather than a concert venue. While the first “seating tier” has been gutted to accommodate a dance floor/pit area, the rest of the building still looks and feels very much like a theater complete with marble floors and a huge domed ceiling reminiscent of the pantheon in Rome. The balcony levels even still have red carpet. The stage also has some odd left over aspects of its theater days including the lighting system, which could be lowered after the show for easy adjustment/ clean up.
One thing that, I felt was interesting and kind of nice is that both the seated areas (balconies and what would be the “second tier”)and the dance floor were covered by “general admission” price (40$) so that if you want a place to sit or stash your merch, you can do so without shelling out extra money.
The floor itself is a little less nice than other places. It consists concrete floors and a shoddily carpeted sound booth made of untreated wood and duct taped in places.
The bars while lower contents than some of the concert hall bars I’ve seen they were clean and the tender friendly. I never buy more than water and often that comes in an awkward plastic cup, which you still have to pay four bucks for, or a small bottle. I was pleasantly surprised when I got two nice twenty-ounce bottles for fewer than five dollars.
The sound system, oh, the sound system. The first thing I noticed was it was nice and loud, which is quite frankly a must for a metal show (or any rock show for that matter) and the volume had little if any effect on the sound quality. There was still a little trouble with the voice to music ratio but not as much so as at the Vic.
I did not get to the bathrooms at this place, no report there. This was largely due to the fact that I did not want to leave the floor (see reviews below)
The crowd: (2/5 for most of the show 3/5 for Staind itself). This show illustrated the problem of being an opener, or going to a show explicitly for one of the openers—bored crowds. There’s a certain kind of attitude that happens in many concertgoers, which I find rather rude. They still and emanate boredom while very clearly thinking “Oh god, when is my band/ song coming on.” It’s an understandable, even forgivable, occurrence when the band is not that great, or it’s a band that truthfully has only one or two good songs. Despite understanding, I find it obnoxious that people don’t at least put a little effort forward for someone who is putting their life’s work out there and exposing raw nerves, for your entertainment.
However, the crowd seemed to slowly wake up as the night progressed, despite the first opener being far better than the second. When it came time for Staind, as is typical of the main act coming out, the crowd lit up substantially.
Which brings us to the acts themselves.
The First Front Act (Halestorm): (4/5). They had a hard slot to play the first of four bands the opener for the people opening for the opener; it’s no easy task to wake up the audience. As if that wasn’t enough, they are a female lead band in a genre that is still largely male dominated. It takes a very strong, often brazen, woman to get to break the genderwall and really rock out like she did. From the first second Lzzy (sic) Hale opened her mouth I was struck by her powerful chest voice which I am convinced , had it not been for the loud guitars, would have been able to reach the backmost section of the balconies without a microphone. Her appearance gave no indication that she possessed this capability; Hale had a slight frame, and a childlike face. The phrase that came to mind was from an old Meat Loaf number: She had “a heart of chrome and a voice like a horny angel.” Metal needs more women like Hale. While the band behind her was still a little green, I have confidence that they will grow into a very good band. I look forward to seeing them headline.
The Second Front Act (Chavelle): (3/5) Another hard slot to play for these guys. An avrage metal band. Chavelle was what I’d call a good opener, but not worthy of buying the CD (even if it was only 10 dollars) but a fun listen. A little more of the traditional “cookie-monster” voice and thrash guitar. However I felt they needed fewer seizure lights and more talent.
The third front act (Shinedown): (4/5) I had the same potential problem with Shinedown as I did with Our Lady Peace. I had been previously blown away by their performance when I saw them in July and had very high expectations. Shinedown was my impetus for attending so , in fact. Despite the crowd’s general ennui, front man Brent Smith brought a commanding performance and even got the majority of the crowd moving.
Smith’s graciousness and almost regal presence isn’t all he brings to the stage. He engages the audience constantly with direct crowd interaction and commanding vocals. Smith puts a lot of power behind his work and you can tell that this isn’t just for show. Genuine emotion comes through in his music despite his professional behavior. Smith also clearly loves his fans like his own family and, while he oozes confidence from every pore, he also is very sincere when thanking his fans. Unlike many metal vocalists, he is also incredibly articulate both in his performing and when speaking between numbers.
In addition to how the treatment of the fans, I feel you can tell a lot about a performer by how they treat their band mates. Smith’s dynamic with his band mates was very strong both in sound and in physical interaction. He often sang face to face with his guitarist or bassist. The strong relationships on that stage were nearly palpable in the audience. Equal parts bond and talent these interactions were as powerful as the show itself.
Smith’s lyrics are hard edged, and emotionally charged while still eloquent and sincere. Instead of using his music as a vent for depression as many artsist do, Smith's uses his songs to inspire confidence. Instead of licking wounds, he encourages listeners to take the grievances visited upon them and use that pain to push forward and become stronger. This is particularly notable in “Sin With a Grin” and “Devour.” However, Shinedown is not a one trick pony, Smith’s slower(including "45" and "Second Chance") songs evoke genuine pain and a vulnerability not common in metal.
The Main Act (Staind) (3.5/5): I confess, going in I did not have high expectations for Staind. I hadn’t heard more than one or two songs of theirs since their 2001 album “Break the Cycle” They have always been in my head a touch whiney and “teenager music” for lack of other descriptor. However, I positively adore their slower songs, and Halestorm was signing afterward so I stayed. With a low bar, set I was pleasantly surprised when Staind brought a decidedly more metal edge to the stage than anticipated. They grew up from a whining, but marginally talented band to a genuinely good metal band. I was very tired at this point having been jumping and head banging for approximately 3 hours prior, so many of the songs I wasn’t as familiar with blended together so parts of the show felt a little hazy. Then towards the end of the show, something snapped into place and the crowd sparked with a new life hitherto unseen. (It didn’t hurt that it was catalyzed by one of my favorite guilty pleasure songs entitled “For You,” whose lyrics, I think, prove that front man Aaron Lewis has some severe mommy/daddy issues to work out.) The crowd was on fire.
Then for two of the last three numbers Lewis moved from the front stage to a “stage” in the sound booth, which was right behind where my friend and I stood. From here he talked about, and sang the two songs that put stained on the map (“Outside” and “It's Been a While”) With just him and his guitar I was able to see what I had mistaken for simple whininess was, in fact, genuine emotion. Every single person in that room was singing along during those two numbers. It was almost like it was a different show—it was very powerful. Lewis’ face also showed a genuine surprise and gratitude at the amount of love coming from the fans. That kind of reaction goes far for me, proving that you haven’t, in your climb to fame, forgotten who put you there.
Good show on Staind’s half, however, I have to agree with the analysis of a fellow fan, Shinedown belonged in the front line space at this show, with Staind as an opener. Not the other way around.
Upon entering, it feels like you’ve stepped into a theater, rather than a concert venue. While the first “seating tier” has been gutted to accommodate a dance floor/pit area, the rest of the building still looks and feels very much like a theater complete with marble floors and a huge domed ceiling reminiscent of the pantheon in Rome. The balcony levels even still have red carpet. The stage also has some odd left over aspects of its theater days including the lighting system, which could be lowered after the show for easy adjustment/ clean up.
One thing that, I felt was interesting and kind of nice is that both the seated areas (balconies and what would be the “second tier”)and the dance floor were covered by “general admission” price (40$) so that if you want a place to sit or stash your merch, you can do so without shelling out extra money.
The floor itself is a little less nice than other places. It consists concrete floors and a shoddily carpeted sound booth made of untreated wood and duct taped in places.
The bars while lower contents than some of the concert hall bars I’ve seen they were clean and the tender friendly. I never buy more than water and often that comes in an awkward plastic cup, which you still have to pay four bucks for, or a small bottle. I was pleasantly surprised when I got two nice twenty-ounce bottles for fewer than five dollars.
The sound system, oh, the sound system. The first thing I noticed was it was nice and loud, which is quite frankly a must for a metal show (or any rock show for that matter) and the volume had little if any effect on the sound quality. There was still a little trouble with the voice to music ratio but not as much so as at the Vic.
I did not get to the bathrooms at this place, no report there. This was largely due to the fact that I did not want to leave the floor (see reviews below)
The crowd: (2/5 for most of the show 3/5 for Staind itself). This show illustrated the problem of being an opener, or going to a show explicitly for one of the openers—bored crowds. There’s a certain kind of attitude that happens in many concertgoers, which I find rather rude. They still and emanate boredom while very clearly thinking “Oh god, when is my band/ song coming on.” It’s an understandable, even forgivable, occurrence when the band is not that great, or it’s a band that truthfully has only one or two good songs. Despite understanding, I find it obnoxious that people don’t at least put a little effort forward for someone who is putting their life’s work out there and exposing raw nerves, for your entertainment.
However, the crowd seemed to slowly wake up as the night progressed, despite the first opener being far better than the second. When it came time for Staind, as is typical of the main act coming out, the crowd lit up substantially.
Which brings us to the acts themselves.
The First Front Act (Halestorm): (4/5). They had a hard slot to play the first of four bands the opener for the people opening for the opener; it’s no easy task to wake up the audience. As if that wasn’t enough, they are a female lead band in a genre that is still largely male dominated. It takes a very strong, often brazen, woman to get to break the genderwall and really rock out like she did. From the first second Lzzy (sic) Hale opened her mouth I was struck by her powerful chest voice which I am convinced , had it not been for the loud guitars, would have been able to reach the backmost section of the balconies without a microphone. Her appearance gave no indication that she possessed this capability; Hale had a slight frame, and a childlike face. The phrase that came to mind was from an old Meat Loaf number: She had “a heart of chrome and a voice like a horny angel.” Metal needs more women like Hale. While the band behind her was still a little green, I have confidence that they will grow into a very good band. I look forward to seeing them headline.
The Second Front Act (Chavelle): (3/5) Another hard slot to play for these guys. An avrage metal band. Chavelle was what I’d call a good opener, but not worthy of buying the CD (even if it was only 10 dollars) but a fun listen. A little more of the traditional “cookie-monster” voice and thrash guitar. However I felt they needed fewer seizure lights and more talent.
The third front act (Shinedown): (4/5) I had the same potential problem with Shinedown as I did with Our Lady Peace. I had been previously blown away by their performance when I saw them in July and had very high expectations. Shinedown was my impetus for attending so , in fact. Despite the crowd’s general ennui, front man Brent Smith brought a commanding performance and even got the majority of the crowd moving.
Smith’s graciousness and almost regal presence isn’t all he brings to the stage. He engages the audience constantly with direct crowd interaction and commanding vocals. Smith puts a lot of power behind his work and you can tell that this isn’t just for show. Genuine emotion comes through in his music despite his professional behavior. Smith also clearly loves his fans like his own family and, while he oozes confidence from every pore, he also is very sincere when thanking his fans. Unlike many metal vocalists, he is also incredibly articulate both in his performing and when speaking between numbers.
In addition to how the treatment of the fans, I feel you can tell a lot about a performer by how they treat their band mates. Smith’s dynamic with his band mates was very strong both in sound and in physical interaction. He often sang face to face with his guitarist or bassist. The strong relationships on that stage were nearly palpable in the audience. Equal parts bond and talent these interactions were as powerful as the show itself.
Smith’s lyrics are hard edged, and emotionally charged while still eloquent and sincere. Instead of using his music as a vent for depression as many artsist do, Smith's uses his songs to inspire confidence. Instead of licking wounds, he encourages listeners to take the grievances visited upon them and use that pain to push forward and become stronger. This is particularly notable in “Sin With a Grin” and “Devour.” However, Shinedown is not a one trick pony, Smith’s slower(including "45" and "Second Chance") songs evoke genuine pain and a vulnerability not common in metal.
The Main Act (Staind) (3.5/5): I confess, going in I did not have high expectations for Staind. I hadn’t heard more than one or two songs of theirs since their 2001 album “Break the Cycle” They have always been in my head a touch whiney and “teenager music” for lack of other descriptor. However, I positively adore their slower songs, and Halestorm was signing afterward so I stayed. With a low bar, set I was pleasantly surprised when Staind brought a decidedly more metal edge to the stage than anticipated. They grew up from a whining, but marginally talented band to a genuinely good metal band. I was very tired at this point having been jumping and head banging for approximately 3 hours prior, so many of the songs I wasn’t as familiar with blended together so parts of the show felt a little hazy. Then towards the end of the show, something snapped into place and the crowd sparked with a new life hitherto unseen. (It didn’t hurt that it was catalyzed by one of my favorite guilty pleasure songs entitled “For You,” whose lyrics, I think, prove that front man Aaron Lewis has some severe mommy/daddy issues to work out.) The crowd was on fire.
Then for two of the last three numbers Lewis moved from the front stage to a “stage” in the sound booth, which was right behind where my friend and I stood. From here he talked about, and sang the two songs that put stained on the map (“Outside” and “It's Been a While”) With just him and his guitar I was able to see what I had mistaken for simple whininess was, in fact, genuine emotion. Every single person in that room was singing along during those two numbers. It was almost like it was a different show—it was very powerful. Lewis’ face also showed a genuine surprise and gratitude at the amount of love coming from the fans. That kind of reaction goes far for me, proving that you haven’t, in your climb to fame, forgotten who put you there.
Good show on Staind’s half, however, I have to agree with the analysis of a fellow fan, Shinedown belonged in the front line space at this show, with Staind as an opener. Not the other way around.
Audience Survey.
But, again, I'd like your input:
when reviewing would you like me to add things like ticket price and accessibility via public transport?
(Prizes for responding)
when reviewing would you like me to add things like ticket price and accessibility via public transport?
(Prizes for responding)
August 28, 2009
Audience poll:
I don't expect much of a response being as this is a fairly young blog. However, I don't want to alienate the few followers I do have so:
Being as even an avid audiophile like myself cannot go to concerts every week, in between shows what would you like to see?
a) older music reviews, albums that I'm fond of etc.
b)ramblings of mine on music in general, and the politics that surround it.
c) all of the above
d) snowflake answer, comment below.
Being as even an avid audiophile like myself cannot go to concerts every week, in between shows what would you like to see?
a) older music reviews, albums that I'm fond of etc.
b)ramblings of mine on music in general, and the politics that surround it.
c) all of the above
d) snowflake answer, comment below.
August 25, 2009
Our Lady Peace with Meece at the Vic Theater (Chicago, IL)
The Venue(Vic Theater-- Chicago, IL):(3/5 stars) The venue was very much designed to be a concert hall. (as opposed to many venues which are no more than bars with a stage stuck in the back) It seemed to want to be like The House of Blues on a low budget, fused with a traditional bar. Neon signs indicated the location of the bathrooms(I'll get to those) there were three bars: one to either the side and back of the floor as well as a waitress that roamed the floor. There were several booth-style benches, which was a nice change from the standing room only tradition of many venues in this price range. The ceiling and balcony were decorated with mock-gilded carvings and small candelabras that stayed lit during the show, which was a very pretty touch, save for those with burnt out bulbs. The otherwise predominantly black decor made it feel bar-like.
The audio equipment, while far from the worst I’ve heard, was not as good as other venues. Especially, with regard to the sound balance between the vocals and the instruments.
Word to the wise about this place: the bathrooms are, sketchy to say the least. Being female bodied, I didn't see the men's room. The "coat check" outside the bathroom held no attendant and some rickety racks, and stools. The women's restroom had mirrors designed for people who are either under five feet tall or would rather stare at their own breasts than their faces. Broken cherubs dangled between said mirrors over a long broken paper towel holder that is now simply a steel box with several rolls of paper towel stashed in them. There were four graffiti coated stalls, some of which didn't even close. I managed to find the one with the most functional lock; it had no knob, I had to stick my finger in the mechanism to "lock" it, and even then the bolt didn't line up.
The crowd(3/5): while not something you can control as an artist or a venue, I find that the energy dynamic of the crowd can often make or break a show.
This crowd was odd. Initially, they were a decent crowd but something felt a little off about them. They seemed to be putting up with the music in places. Once the band played "Innocent," however, a lot of people left and the crowd improved tenfold.
The Front Act(Meece):(2.5/5) They were decidedly "meh." Neither good nor bad, if dull. It felt like they were trying to be Heartstop, (Warning: Audio embedded) and falling short. Some of their songs were catchy, however. One thing that lost them points in my book is that the front man Patrick Meese only introduced the guitarist, his brother.
The Main Act (Our Lady Peace) (4.5/5):A favorite of mine. This was the second time I saw Our Lady Peace in concert, the first being this past Summerfest. They put on a breathtaking performance there, so the bar was set high for this show, which often leads to some disappointment. So, i expected a little let down.
The audio equipment, while far from the worst I’ve heard, was not as good as other venues. Especially, with regard to the sound balance between the vocals and the instruments.
Word to the wise about this place: the bathrooms are, sketchy to say the least. Being female bodied, I didn't see the men's room. The "coat check" outside the bathroom held no attendant and some rickety racks, and stools. The women's restroom had mirrors designed for people who are either under five feet tall or would rather stare at their own breasts than their faces. Broken cherubs dangled between said mirrors over a long broken paper towel holder that is now simply a steel box with several rolls of paper towel stashed in them. There were four graffiti coated stalls, some of which didn't even close. I managed to find the one with the most functional lock; it had no knob, I had to stick my finger in the mechanism to "lock" it, and even then the bolt didn't line up.
The crowd(3/5): while not something you can control as an artist or a venue, I find that the energy dynamic of the crowd can often make or break a show.
This crowd was odd. Initially, they were a decent crowd but something felt a little off about them. They seemed to be putting up with the music in places. Once the band played "Innocent," however, a lot of people left and the crowd improved tenfold.
The Front Act(Meece):(2.5/5) They were decidedly "meh." Neither good nor bad, if dull. It felt like they were trying to be Heartstop, (Warning: Audio embedded) and falling short. Some of their songs were catchy, however. One thing that lost them points in my book is that the front man Patrick Meese only introduced the guitarist, his brother.
The Main Act (Our Lady Peace) (4.5/5):A favorite of mine. This was the second time I saw Our Lady Peace in concert, the first being this past Summerfest. They put on a breathtaking performance there, so the bar was set high for this show, which often leads to some disappointment. So, i expected a little let down.
I was pleasantly disappointed.
From opening number to encore, Our Lady Peace pulled off a fantastic show, that a lesser band could not have done on the equipment at The Vic. Front man Raine Madia's unique voice carried strongly through the shoddy microphone, demonstrating good range, vocal control and the ability to use these talents to make an engaging sound that fit the tone of the songs played. If his talent weren’t enough by itself, Madia's presence demands the eye's attention, and his gracious, charismatic demeanor makes him a striking performer.
Madia wasn't the only one on that stage whose abilities, frankly, blew my mind. Guitarist, Mike Turner (no relationship to Tina and Ike)'s brilliant handy work complemented Madia's vocals with jagged riffs and smooth undertones.
Let me just add a note about Madia's lyrics, they strike a cord with the inner teenager without coming across as shallow and childish. Instead, they remind you what it felt like to be seventeen (this sentiment is especially evoked in "Innocent"). Even if your inner teenager has grown up, Madia's lyrics have a lot to offer anyone who's had to push through pain. Rebirth seems to be a subtle theme in a lot of his work.
This lyrical enchantment was balanced with a mix of songs from all of their albums so that fans of any era of their music could enjoy the show.
Overall, it was an amazing show, and I can only wonder what this fantastic band will do next.
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