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Posts Tagged ‘concert’

I was lucky enough to see these two on tour. I wrote about it here. And now NPR has released video from that tour. You really need to watch it: http://www.npr.org/event/music/168888064/david-byrne-st-vincent-in-concert

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Today I am proud to bring you a review of the Killswitch Engage concert I attended at the Hawthorne Theater. I am really excited because this is our first guest review! Dylan DePriest kindly asked me along to the show and even more kindly agreed to write up the review! Oh, and when he talks about “the Reverend” that’s me and here’s why (<–follow link).


Killswitch Engage

Killswitch Engage concert review
28 November 2012
Portland, OR
It was a typical cold Wednesday night in Portland. For many it was the milestone marking the middle of the work week, but for metalheads it was the night that Acaro, Shadows Fall, and Killswitch Engage were performing in our great city. This show’s placement in the middle of the work week refined the crowd from people finding something to do on their day off to people who would risk their sleep schedules to see three amazing bands.
I’ve always found that waiting in line outside of the venue is a great start to a show because you get to hear what people say about the bands. The Reverend and I stood right next to someone who was less than affectionate for Shadows Fall; we noted this because her choice to use derogatory terms in her description of the band rather than her choosing to use a more logical and fact-based argument that other people would use. (editor’s note: she called Brian Fair, Shadows Fall’s lead singer “gay” and she didn’t mean he was homosexual, so clearly she is font of taste and discernment, or you know someone who needs to be made aware that is not cool) This conversation continued until we had finally passed Hawthorne Theatre’s security.
Acaro were the opening act for the night and they sounded great and performed great as well. Unfortunately the crowd was pretty weak at this point in the show because that the place wasn’t full and people weren’t warmed up yet. Two guys along with the Reverend and I were the only ones moshing which was fun, but it wasn’t super intense in terms of overall crowd intensity. Acaro’s set was great in terms of performance, but they only played about half an hour.
By the time Shadows Fall came on, the crowd had filled in significantly which brought along the 300 lb. moshers, which pretty much ruled my participation out. Shadows Fall were amazing performers, excelling significantly in their manipulation of the stage lighting and their ability to excite the crowd. Also, Brian Fair’s dreads were a great addition in terms of the visual aspect of the set. The crowd was great as well, people had started to stagedive and be more involved in the metal experience. (editor’s note: DD did plenty of stagediving his own self)
After two great acts, Killswitch Engage performed and did a damn good job of it too. Killswitch Engage started with some Howard Jones-era songs, which was really quite great to experience since Jesse Leach is the band’s vocalist again. The band then performed their entire “Alive or Just Breathing” record. I’ve listened to that record many times from start to finish and it never gets old, so having the live experience was absolutely amazing and, based upon the way the crowd acted, they felt largely the same too. After performing the entire record, Killswitch ended with two more Howard Jones-era songs, ultimately bringing their set to around two hours in length.
This concert was one of the greatest shows I have ever been to. After the opening, the crowd was intense, responsive, and fully engaged in the metal experience. While the show was at a small venue, which is a complaint from many people but not from me, the show was amazing and the music was loud. All three of these bands were great performers and even though I wasn’t completely familiar with all of the songs by the first two bands, they made an environment that was great for new fans and diehards alike. This will be a show that I will remember for many years to come.


I can’t thank Dylan enough for inviting me along and for writing this review.

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As you know I am a big fan of Uniform Victor and Mittens. They will be playing a show together and I really, really, REALLY wish I could make it. If you are in San Diego or near it you should go. PLEASE! And take pictures and videos and post them here. Or write up your own review/article and send it in to Some Kind Of Muffin. Actually let’s make an offer. If you go to the show and do take pics and do a write-up and submit it to SKOM, then the person who writes the published article gets a download of some kind of music!

The Tin Can Nov 23rd, 2012 9pm $5

Image

 

(Members of Uniform Victor and Mittens are NOT excluded from this offer)

 

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My sister, Mo, is in town. She’s in town because we are David Byrne-ing it up!(Byrne-ing down the house?) Tonight we get to see him talk about his book How Music Works with Carrie Brownstein, but last night we saw him perform with St. Vincent(Annie Clark) in support of their collaborative album Love This Giant

Intention. Beauty. Art. That is what we witnessed. I’ll be honest. I don’t really know how to write this review; how to properly convey the experience I had. Let me start with the basics and go from there.

There was a minimalist stage set up; just a few stage lights and a plain white backdrop. This was used to great affect when setting the mood. Byrne and St. Vincent both convey an amazing stage presence and are amazing vocalists and, as Mrs. Muffin said, St. Vincent has Prince-like chops on the guitar. The eight-piece horn section, drummer, and keyboardist were tight-every single one of them consummate musicians. Each song had it’s own choreography whether it was dancing, marching around the stage or even having the horn section and Byrne lie down so the attention was aimed at St. Vincent.

Everything was so focussed and thoughtful and every song was so good and every performer so on their game. And here is the part that is kind of hard to explain. I have been to many concerts and had an amazing time. There are times when the artist or band and the audience are so in sync that it becomes transcendent (Belly at LaLuna in ’95 comes to mind). While last night’s concert did not attain that kind of transcendence, it did offer something else-at least to me. About three songs in it all hit me: David Byrne, St. Vincent, the horn section, the drummer, the keyboardist, the amount of work, dedication, passion, talent, and the level of the craft that I was witnessing and then it happened. Bear with me here kids….my eyes watered…they teared up. I didn’t cry, but I would say I was moved to tears. I have heard people talk about being brought to tears by artwork or a piece of music and have never gotten it. I understand those things bringing out something that is already inside of a person, but never believed the art or music did it in and of itself. Maybe I had something inside me that recognized what was going on up on the stage last night, but it seemed bigger than that and it definitely didn’t feel like it was about me.


Of note:
They played three encores and when they introduced the members of the horn section they pointed out that each person had their own table in the lobby selling merchandise for their individual bands they are in outside of the Love This Giant project. That’s class, folks.

Every song was amazing. That is rare, but it’s true.

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One of my bands, Zombies Love Gizzards, will be playing at 10pm this Saturday Oct 13 at The Red Room located at 2530 NE 82nd Ave, Portland, Oregon 97220.
Please come check us out. It will look something like this…NSFW

We also have an album you can purchase here: http://zombieslovegizzards.bandcamp.com/

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Last night I got to see Ion Storm‘s inaugural show! They were amazing from the first song to the last. For those unaware I interviewed  them here. Go get acquainted with them and then come right back. It’s OK. I’ll wait.

Everything I’ve heard from them so far has impressed me, but those were only recordings. One really must see them live to get the full impact. First, amazing guitar tone and a pretty tight outfit. I know these guys practice up to 12 hours at a go and it shows. Their current bass player is a recent addition and it showed a bit, but overall he brought the low end. Drummer Tim was solid, fast, and interesting. I thought there was a moment when he was losing the beat, but it was just a part of a tempo change that was written into the song. Grady and Chris had some great harmonized riffage going on that seemed to focus around 4ths and it sounded great. My main complaint was the vocal levels. This show was at the Red Room and their vocals always seem low, but Grady represented growl well.

Oh, did I mention they have a Minotaur? His name is Drew. Look at him.

Do you have a Minotaur? No, you do not. I played bullfighter with Drew for a bit. It was good times.

This band has a lot to offer and brought the heat, which leads me to the title of this post. Look up there ↑ and read it again. At most there were three people up off their butts rocking out, including me and Drew. I wish that this was the exception rather than the rule. I know people want to blame smart phones etc, but it’s not that. In my estimation it’s our self reflective, self conscious society. To put it another way: we are afraid of having fun and looking like fools(Well, not me clearly. I played bullfighter with a Minotaur). It needs to stop now. Do it for yourself. Get up!! Dance! Bang your head!! Visibly enjoy yourself!!!

But also do it for that band up there on the stage or the one on the floor where the pool tables had to be moved to make room. They don’t spend 12 hours at a go writing and rehearsing so you can sit there drinking your PBR and golf clapping after every song. And I can guarantee you they didn’t do it for the money, because bands rarely get paid much if anything just starting out. This is a two way street. They are there for you and you need to be there for them.

Some pics from the show:

This slideshow requires JavaScript.

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This has been making the rounds and it’s just too cool not to post here. I did a review of Stop Making Sense, Talking Heads seminal and landscape changing concert film. Here we have them four years prior, live in Rome, full concert. Simply wonderful.

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So I was very lucky to see Eric Johnson last night thanks to my good friend, Ted (he’s also my step-father-in-law. What? that’s a thing.) I’ve only seen him live in concert once before. Eric Johnson, not Ted. I’ve seen Ted live lots before, though not in concert… I was 16 ( again referring to Eric Johnson not Ted), it was in San Diego at Symphony Hall, and an as yet unknown, at least to me, Sarah Mclaughlin opened for him. This time around it was at the Aladdin Theater in Portland, Or. First let me say it is a great venue. Everyone I talked to said a version of “not a bad seat in the whole place” and they are right.

It was a great show. Eric was backed by Chris Maresh on bass and Wayne Salzmann II on drums. Maresh and Salzman are amazing!  Really interesting thing, they seemed to be their own opening band. They played a 45 min set and then took a break and then came back for a full set. I almost wish I had written down their set, but honestly I was too engaged in just enjoying the show and letting it wash over me.

Eric Johnson was one of my early guitar heroes. He has it all. Amazing tone, great technique, dedication to writing songs that fit his perspective of what is great, and he also has one of the two right hands in guitardom that I would want, the other being James Hetfield’s. Seriously, EJ can pick like nobody’s business and finger pick, and do a combination of both.

Check out the Fenders and Marshall and EJ’s pedals!

The Show 

The opening 45 minute set was tight and rocking great energy with some crowd favorites. After the break EJ was solo on the stage with an acoustic and played a few songs that blew me away. His technique is insane. For those of you who do not play let me tell you it is easier to shred on an electric than an acoustic and EJ played flawlessly on his acoustic and did shred, but in a tasteful way. Yes, yes he did.
Maresh and Salzman came back out and the band got to rocking again. Then, about halfway through the second set they played “Nothing Can Keep Me From You” and this was the first wrong note for me. Now, let me be clear-I. Love. That. Song. But, it came after an incredible version of a Coltrane song that highlighted everyone’s talents. Side note: Salzman owned those drums and Maresh made me consider giving up the bass.

Chris Maresh’s pedal board

Back to my point. It may have been that “Nothing Can Keep Me From You” came after such an amazing performance, but EJ also seemed to be a little off his game at this point. His phrasing was a little stuttery. THAT may have been due to the fact that they just got back from Europe and had been awake since 6 a.m. But I think there is more to it than that. When they played some other songs off of “Ah Via Musicom” I noticed the same thing, but when they played newer songs or covers EJ seemed to be more on. To clarify, not bagging on him, it was still better than 95% of guitarists out there when EJ was off. So no “Eff you dude” and no “Yeah he sucks.”

There was one encore and it was great! They closed with “Wind Cries Mary.” And then it was over and I didn’t want it to be over. But I scrambled up front to get some pictures, which was difficult because there was still a grip of people at the front milling about.

Drums and bass rig

Final Thoughts

Eric Johnson is stil the man at 57. The newer material is stronger than one might expect and my observations on the “Ah Via Musicom” aside he is still vital. I look forward to seeing him the next time he comes around. Also, I still need this jacket ↓

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Stop Making Sense is, hands down, the best concert film I have ever seen. (Me, hyperbolic? never.)

Released in 1984 it was filmed over 3 nights in 1983 on the Speaking in Tongues tour. The movie opens with a shot of lead singer David Byrne’s shoes walking onto a bare stage. He sets down a boom-box and pushes play, a dramatic conceit, as a drum machine (a Roland TR-808, in point of fact) is actually pumping the beat through the sound system and Byrne performs Psycho Killer. More of the band and more of the set appear onstage with each song. The stage crew deserve big props for their hand in silently positioning risers and placing effects pedals. A descending backdrop completes the stage set about 17 min in.

Director Jonathan Demme uses long camera shots so that the viewer can truly take in all that the band has to offer. The lighting is subdued and straightforward so as not to detract from the band’s performance. One can really tell that Talking Heads and the additional backing band are enjoying themselves.

The sound and performance in Stop Making Sense are incredible. Every band member delivers the goods. Talking Heads are in top form and let the music stand on it’s own while eschewing between song banter. I have to admit I am always a huge fan of a band that gets down to business. The recording is superb. The sound on every song is mixed perfectly and is crystal clear due to the 24 track digital recording.

Stop Making Sense captures a point in time, but is still relevant today. All of the songs are solidly written and impeccably performed. The stage concept and directing mesh perfectly. This movie is a joy from beginning to end. It makes one feel a part of something bigger, something beautiful. Stop Making Sense is more than a concert movie, it is art.

One last thought. If a Talking Heads bio-pic is ever made I want Wil Wheaton to play David Byrne. Seriously. For reals. He would be genius.

Stop Making Sense: directed by Jonathan Demme; director of photography, Jordan Cronenweth; edited by Lisa Day; produced by Gary Goetzman; With: Talking Heads, David Byrne, Chris Frantz, Jerry Harrison, Tina Weymouth, Edna Holt, Lynn Mabry, Steve Scales, Alex Weir, Bernie Worrel

Resources:

Wikipedia

New York Times

TROZ

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