Canada’s favorite punk trio METZ returned to NYC this weekend for a blistering show in support of their latest album, Up On Gravity Hill (Sub Pop). It’s their first album of new material in four years and fans packed NYC’s Bowery Ballroom to hear some of those new tracks along with past favorites. And while the new material is a bit of a departure, likely owing to the recent power pop influence of singer/guitarist Alex Edkins’ other project, Weird Nightmare, it is in the best sense, and their punk rock roots are still strong. The energy in the bands delivery made the new songs blend seamlessly with their older material.
Opening the night was Florida-based Gouge Away who share a hardcore punk affinity with METZ and made for a great pairing for this tour. Lead singer Christina Michelle is a force of nature who works the stage like she’s stalking prey. And the crowd was there for it, from the mosh pit to the stage as they screamed along. A lot of the set came from their stellar new album, Deep Sage (Deathwish) which has broadened their sound as well as Michelle’s vocals. What’s most amazing is that the band nearly called it quits during the pandemic when they put the album on hold and temporarily went their separate ways.
By the time METZ took the stage the crowd was primed and ready. From the opening notes the floor erupted and crowd surfers started getting passed around. And bandmates Alex Edkins on guitar/vocals, Hayden Menzies on drums, and Chris Slorach on bass gave them plenty to mosh to as they ripped their way through tracks from Gravity Hill. Highlights included “99”, “Entwined (Light Street Buzz)”, and album opener “No Reservation/Love Comes Crashing”. When it seemed like the mayhem had finally ended and the house lights came on and the Twin Peaks theme which proceeded the show started playing, the crowd just wouldn’t accept it was over. And the band, hearing the non-stop chant of METZ! wound up coming back and closing the show with an unexpected encore of “Wet Blanket” from their 2012 self-titled debut. It was the perfect ending to an amazing show and an amazing night for both bands.
Scroll down for pics of the show (photos by Kevin McGann)
This past weekend saw the return of Irish political hip hop group Kneecap to NYC, playing to a packed room at Brooklyn’s Warsaw. The Belfast trio—made up of Mo Chara, Móglaí Bap and DJ Próvaí—brought their blend of beats, rhymes, politics, and humor to the States at a time when tensions are riding high with ongoing events in the Middle East. The night was fun but still politically charged—Mo Chara took time between a few songs to call for human rights and to stop the genocide of the Palestinian people; the crowd responded in kind chanting “Free Palestine” as the band came to the stage to start the show and several more times throughout the evening. Many fans also donned gear bringing attention to the Palestinian struggle as well as calling for a united Ireland which is a central theme of the group’s work. And while Chara also commented that it was tough to have such a serious message and then launch into a song, they managed to pull it off seamlessly and the crowd was there for it.
I first caught Kneecap—who rhymes in both the Irish language as well as English—this past November at the Iceland Airwaves festival in Reykjavik and it was a standout performance among many great acts that week. Like that night, Mo Chara got the crowd pumped Saturday to open the floor and create a pit that was safe and inclusive. He reminded everyone that they were there to have a good time, so no elbows or fists and when someone falls down, you pick them up. And to make sure it wasn’t a “sausage party” he pushed for the crowd to let the women come up front and join in the mayhem.
The trio brought their all to the performance, despite Chara wearing a boot for an ankle injury. While introducing some new songs from their upcoming album, the set included fan favorites “Your Sniffer Dogs Are Shite,” “Get Your Brits Out,” and of course “C.E.A.R.T.A” which had the sold-out crowd chanting along. Móglaí Bap worked the stage while DJ Próvaí alternated between mixing from his table to going centerstage to whip up the crowd. The stage setup itself included some eye popping visuals thanks to a video screen with constantly changing graphics to help illuminate the action on the stage.
Opening the night was Atlanta hip-hop duo Revival Season, which is made up of Brandon “Bez” Evans and producer Jonah Swilley. With a sound that’s rooted in a more traditional approach to the genre it sounds familiar and fresh at the same time. They list Outkast and Beastie Boys among their many influences and you can hear it in singles like the infectious “Pump.” Their album, Golden Age of Self Snitching, dropped last month and it’s a banger.
Kneecap’s full length album Fine Art (Heavenly Recordings) is scheduled to be released on June 14th and if the new tracks they debuted at Warsaw are any indication, it’s going to be the album of the summer.
Scroll down for pics of the show (photos by Kevin McGann)
This past weekend, Love and Rockets made their long-awaited return to NYC’s Kings Theater after a 24-year absence. The group, made up of Daniel Ash on guitars and vocals, David J on bass and vocals, and Kevin Haskins on drums, have embarked on what they’re saying is their final tour as Love and Rockets and if so, it will go down as one of the best reunion tours in history. They sound great, the songs still hit decades later, and the stage production made for some eye-popping visuals.
They kicked off the night with the atmospheric “‘I Feel Speed,” the stage a smoky landscape with both Ash and J silhouetted by spotlights shone through the unlit concentric circles of LED lights behind them. From there they kicked into an amped up version of “No Big Deal” as the stage lit up and both band and audience alike showed they were there to rock. Especially when they went straight into the rollicking “Kundalini Express” with its sing-along “Doot Doo!” that could be heard across Kings Theater.
The former Bauhaus members at times could be found in the smoky, hazy silhouettes that opened the night, but this was no goth show. Love and Rockets bring a more 60’s psychedelic sound and the visuals projected on the huge screen behind them would be welcome to any number of current psych bands on tour. The ever-changing colors emitted from the circles that were the backdrop to each member added the overall effect, especially in tracks like “Judgement Day,” “The Light” and “No New Tale to Tell.” Their biggest US hit, 1989’s “So Alive,” came mid-set with its video as the backdrop and was followed by the band’s own deep cut choice, “Deep Deep Down.”
Of course, there were the trademark visuals of their early albums with their red, black, and white artwork that were on random display for early tracks like “Yin and Yang (The Flowerpot Man)” as well “Holiday on the Moon,” and “Love Me” which were played during the first of two encores which also included ‘”Ball of Confusion (That’s What the World is Today).” They closed the night with the title track of their 1996 album, Sweet F.A. which seemed like the perfect night cap for this triumphant return. Hopefully they rethink this being the end of the road and make a go of it again in the future—NYC will be ready for them if they do.
Opening the night was the terrific multi-disciplinary, Vinsantos DeFonte. Part cabaret, part Liberace torch bearer, part stand-up comedian, and all heart. Behind the make-up and the fashion and the jokes lies a gifted singer-songwriter and pianist telling his tales of growing up and dealing with bullying and abuse. But he’s also quick to remind those listening that it does get better and remind them that he’s the one on stage, in the spotlight, sharing his gift of song, and not them. Truly a special performance.
Scroll down for setlist, pics of the show (photos by Kevin McGann)
Setlist: I Feel Speed, No Big Deal, Kundalini Express, The Dog-End of a Day Gone By, Judgement Day, Haunted When the Minutes Drag, An American Dream, No New Tale to Tell, So Alive, Deep Deep Down, My Dark Twin, The Light, Mirror People, Yin and Yang (The Flowerpot Man) Encore: Holiday On The Moon, Love Me, Ball of Confusion (That’s What the World Is Today) (Temptations cover) Encore Two: Sweet F.A.
This past weekend, Fenne Lily and Christian Lee Hutson brought their co-headlining tour to Brooklyn’s Music Hall of Williamsburg. The two have worked together before, including their recent cover of the Go-Go’s “Vacation” that preceded the tour kickoff.
First up was LA native Hutson who released his critically acclaimed fourth album Quitters (Anti-) in 2022. His set was a mix of heartfelt songs, sung in an almost whisper-like vocal styling, along with hysterical stage banter and self-deprecation. One minute Hutson could be standing silent and still behind his mic and the next, down on the ground jamming with bassist, Kaylee Stenberg. And while his lyrics can certainly tug at your heartstrings, he could then follow up with a story that would make you almost cry laughing. That’s not an easy feat yet Hutson manages to do just that. And judging by the silence during the quieter moments of his set, the audience understood and appreciated what he was conveying.
Next up was British born but now NYC-based singer-songwriter Lily who hit the road to support her third album, Big Picture (Dead Oceans), which was released in April. It’s a beautiful album that deals with heartbreak and working through it, and songs like “Dawncolored Horse,” “Map of Japan,” and “Red Deer Day” fit nicely with her previous work. Other highlights included “Birthday” and “I Used to Hate My Body But Now I Just Hate You” from her 2020 album, Breach. Joining Lily for the show were Work Wife’s Meredith Lampe and Isaac Stalling, both of whom toured with Hutson and Lily in May, and Hutson himself who joined for a few songs. And pulling double duty was Stenberg who played bass for both sets. It was like one big family affair between like-minded musicians who share a knack for sad songs and big laughs in between them.
Opening the night was Texas’ Why Bonnie who are touring in support of their wonderful 2022 debut album, 90 in November (Keeled Scales). Lead singer-songwriter Blair Howerton relocated to Brooklyn around the time of the pandemic and while the album was mostly written in NYC, the themes are rooted in her Texas upbringing. Their set was a fun lively affair, even when the subject matter wasn’t and found Howerton looking back at small town life. And while it can be introspective, even melancholy, it’s never with despair. More a journal entry on a fun cross country road trip, which I imagine is exactly the point.
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Last week, NYC based June McDoom treated those of us at Brooklyn’s Baby’s All Right to her unique brand of singer-songwriter folk musings three different ways: as a solo artist, backed by a band, and then backed by a string ensemble. It was a beautiful night of music to celebrate the equally beautiful clear with green high-melt colored vinyl release of her stunning 2022 self-titled EP.
While “folk” and “singer-songwriter” are terms often used to describe McDoom’s music, they also feel too limited in their description. There are so many elements to her music that reveal themselves through repeated listening. From the dreamy indie pop of “Babe, You Light Me Up,” the spacey atmospheric sounds of “Piano Song,” and the haunting beauty of “By June,” there’s a deceptive complexity to her songs. Hearing them fleshed out by both band and strings really highlighted just how good a writer McDoom is. And her performance last Tuesday was just as gentle and nuanced as you find on her EP.
Opening the night was Miami’s Seafoam Walls. Well rather, half of Seafoam Walls. It was a stripped-down version of the band featuring its founder, Jayan Bertrand, and guitarist Dion Kerr playing an intimate set of Wall’s signature Caribbean Jazzgaze sound. While the layered sounds and beats from their 2021 debut, XVI (Daydream Library Series) create this beautiful landscape, it was nice to hear and appreciate these songs in a totally different way.
Scroll down for pics of the show (photos by Kevin McGann)
