Last week, Texas’ indie folk-pop darlings Wild Child brought their End of the World tour to NYC’s newest concert venue, Racket. The tour, named after their first new album in five years, End of the World (Reba’s Ranch Records), finds Austin natives and founders Kelsey Wilson and Alexander Beggins reuniting after exploring some side projects. While some time has passed, you’d think they’d been jamming all along based on their performance that night, backed by some incredible musicians/friends for the tour.
Wilson was clearly having a great time, taking advantage of the stage as she walked it (barefoot) from side to side making sure everyone in attendance was having a good time. Just to be sure, she took the show in to the crowd where she joined the audience on the floor and treated them to a truly intimate mid-show interlude. Beggins and the band put on a solid set that was fun and upbeat and explored songs from their previous album, Expectations and as well as the rest of their catalog. Highlights included the title track to their 2011 debut Pillow Talk, as well as “Sinking Ship,” “Alex,” and a poignant “The One” as they simultaneously sang, “You’re not the one for me, you’re just the one that I choose.”
Opening the night were the California natives and college friends that make up Proxima Parada. And like their home state, they brought the sunny vibes and feel-good grooves of their distinct brand of R&B and soul. Lead singer Nick Larson, who has a smooth voice and goes between keys and guitar, radiates good vibes. So, it was no surprise that he was a high school Spanish teacher who left it behind to pursue his dreams of music. And apparently, it’s paying off as the audience was there for them, singing along to every song in what was one of the best pairings of opener and headliner I’ve seen in some time.
This tour takes Wild Child and Proxima Parada all around the States so try and catch a show so you can forget your worries for a few hours and enjoy the good vibes of both bands.
Scroll down for pics of the show (photos by Kevin McGann)
This past week, Miami’s Seafoam Walls brought their self-described brand of Caribbean jazzgaze to Webster Hall for four nights. I was lucky enough to catch the first night for FTA and get lost in the chill electronic, dreamy soundscape that was equally matched by the hazy, smokey vibe at Webster that night.
Founded by Jayan Bertrand, the music incorporates the sounds of his Haitian heritage along with elements of jazz, R&B, indie rock and dream pop and layers them in a way that’s genre defying. Their full length 2021 debut, XVI (Daydream Library Series), perfectly illustrates that with songs like “AI” and “You Can’t Have Your Cake and Ego Too (Happy Birthday)” and their dreamy vocals, syncopated beats, and flange-tinged guitar.
Joining Bertrand onstage were Josue Vargas working the electronic drum pads, Dion Kerr on guitar and multi-instrumentalist Koa Ho on bass (filling in for original bassist, Joshua Ewers). Each of them—having had years of writing, producing, and playing experience—put on a show that was tight, yet also fun, funky, and loose. Another highlight was single “Dependency,” reminding us that “the only thing definite is that we’re not infinite,” a sentiment that always lights a fire under my ass; Bertrand and company were there to remind me of it.
Seafoam Walls are enjoying an extended run of shows opening for Unknown Mortal Orchestra so look up dates for this tour and don’t miss an opportunity to check out Miami’s best.
Scroll down for pics of the show (photos by Kevin McGann)
One of my highlights of 2022 was covering the NYC debut of caroline at Le Poisson Rouge for FTA (coverage here). This past weekend, those of us lucky enough to be in attendance were treated to another great show just six months later. Bringing their unique mix of sounds and styles, the show featured tracks from their brilliant 2022 debut album, the self-titled caroline (Memorials of Distinction).
Like their performance in the round at LPR, caroline was once again centered in the room in a circle that allowed the English octet to really play off each other. Not that they need to as founding members Casper Hughes, Jasper Llewellyn, Mike O’Malley, Oliver Hamilton, Magdalena McLean, Freddy Wordsworth, Alex McKenzie and Hugh Aynsley have been perfecting their style ever since their 2017 incarnation.
caroline at National Sawdust
While their sound at times can seem improvisational, it stays very close to the recorded versions of the songs found on their debut. But this night would also feature a second circle of chairs that had all of us guessing what was planned. Towards the end of their set, caroline welcomed a number of guest guitarists to fill the chairs in that second circle for what would in fact be a completely improvised performance. The night’s guests were to join Llewellyn in that empty circle and play along to a song they had never heard, never played.
Among the random selection of guitarists was Gus Green from Geese who seemed as intrigued as the other 10 or 11 musicians who joined him. Like any caroline song, it was a slow cooker that started with some simple acoustic guitar lines that grew over time and was accompanied by vocals that also flourished as the song went on. Before it was over, the rest of caroline was performing from their own circle and I wound up between both with a combined 20 or so musicians all playing along to this improvised on the spot song and it was truly magical.
Opening the evening was vocalist and multi-instrumentalist Wendy Eisenberg who was accompanied by drummer, Ryan Sawyer. Like caroline, Eisenberg’s music incorporates a more experimental style where her guitar at times is used to unusual effect and creates a unique sound to her less traditional brand of avant folk rock found on albums like 2021’s Bent Ring. It was the perfect pairing between both hers and caroline’s approach to creating some of the most innovative music out there today.
Scroll down for pics of the show (photos by Kevin McGann)
Before a recent opening slot for Geese, singer/guitarist Judson Kolk came out and announced that Godcaster was “the greatest band in the world” and they immediately launched into a fierce set that quieted anyone questioning such a bold claim. Last week, Godcaster once again came out to stake their place in not only NYC’s indie music scene but everywhere as they launched their new self-titled album, Godcaster (Ramp Local). The fact that it is the album shows that their confidence extends from the stage to the album where the music can speak for itself.
The first time I caught a Godcaster show a few years back, I was immediately drawn to the eclectic mix of music and revolving leads during their set. Along with Judson Kolk on vocals is Von Kolk on vocals/guitar/keyboards, David Mcfaul on vocals/piano/organ/guitar, Bruce Ebersol on guitar/bass, Jan Fontana on bass and Sam Pickard on drums. And depending on who is front and center, each lead lends their own style and influence on the song. Whether it’s Judson Kolk on blistering album opener “Diamond’s Shining Face,” Mcfaul on the 10-minute opus “Didactic Flashing Antidote,” or Von Kolk on the fragile “Pluto Shoots His Gaze Into the Sun,” each song showcases another side to the band. And performance-wise they leave nothing on the stage—you can imagine them near collapse after a set.
Godcaster at Union Pool
Opening the night was FTA’s favorite identical siblings, Venus Twins. Like every show of theirs we cover, it’s a heady mix of noise rock, experimental sounds, crazy energy, and a taking-it-to-the-crowd performance that finds lead vocalist/bassist Matt Derting stretching the limits of his guitar cables as he stalks the crowd, climbs a wall or is on top of the bar. This night was slightly different however as Matt along with brother Jake Derting on drums were joined by fellow identical twins in Disaster Artist who were onstage to sketch the mayhem as it unfolded. Truly one for the books.
Following the Twins were Dirt Buyer who started as a more emo-folk band, like on their self-titled album Dirt Buyer (Danger Collective). Their sound has definitely evolved though into a more hard-hitting rock sound as evidenced on single “On & On.” Lead singer-songwriter/guitarist Joe Taylor Sutkowski (Jotay) puts on a show as wild as his bright red locks and seems to get lost in between verses as he shreds on his guitar. If this is what lies ahead for Dirt Buyer, this more sonically adventurous and aggressive sound, then I cannot wait to hear what’s next.
Make sure to check out Godcaster’s new album and if you’re in NYC on April 26th you can try and grab a free ticket to their record signing at Rough Trade.
Scroll down for pics of the show (photos by Kevin McGann)
Last week’s killer performance from Dublin’s The Murder Capital was three years in the making for many of us in the room. The last time they placed NYC was literally the last of any shows that would happen that year. It was March 12th 2020 and the following day the city and most of the country went into lockdown. I wound up not going as I was starting to get sick myself and didn’t want to be the guy that took out one of his favorite new bands.
In the three years since that epic show, which was at the now shuttered Knitting Factory, TMC’s debut album When I Have Fears (TMC’s own Human Season Records) has been on heavy repeat for me. That Flood-produced banger of an album encapsulated the emotions of the post-pandemic world and I felt it, from first track to last. So, when they took the stage at Music Hall of Williamsburg last Tuesday there was no more perfect opener than “For Everything.” With its stark sound, thunderous drums and almost chant-like “For everything, for nothing” conclusion, it set the tone for a blistering set to come.
The other thing that happened since TMC’s NYC debut was the release of their sophomore album, Gigi’s Recovery. Released on January 20th of this year, it expands on the sound and themes of When I Have Fears. It’s an album that shows their growth as songwriters yet sonically it blends so well with the songs from Fears. Standouts from Gigi during last week’s set included “Crying,” “The Stars Will Leave Their Stage,” “A Thousand Lives,” and “Ethel” which has a surrealist video.
The band, with James McGovern on vocals, Damien Tuit and Cathal Roper on guitars, Gabriel Paschal Blake on bass and Diarmuid Brennan on drums, were clearly having a good time and killed it from start to finish. Other highlights included bangers from Fears, like “Green & Blue,” “More Is Less,” and “Feeling Fades,” and the title track from the brand new record.
Opening the night was Boston’s Pet Fox, a three-piece band made up of Theo Hartlett on guitar and vocals, Morgan Luzzi on bass and Jesse Weiss on drums. They released their self-titled debut album back in 2018 and their most recent album in June of 2022, the stellar A Face In Your Life (Exploding In Sound Records). A fun, upbeat, yet heartfelt performance, Pet Fox puts on a great show, and I look forward to catching them again.
Anyone who has a chance though to catch The Murder Capital, make sure to grab a ticket and catch one of Ireland’s best on this tour. And make sure to give Gigi’s Recovery a spin.
Scroll down for setlist, pics of the show (photos by Kevin McGann)
Setlist: For Everything, Return My Head, More Is Less, The Stars Will Leave Their Stage, Green & Blue, Crying, A Thousand Lives, Gigi’s Recovery, Slowdance I, Slowdance II, We Had to Disappear, Feeling Fades, Only Good Things, Don’t Cling to Life, Ethel
