by Kevin McGann | Sep 12, 2022
Black Country, New Road at Bowery Ballroom (photo by Kevin McGann)
Last week Black Country, New Road made their US debut at NYC’s very own Bowery Ballroom. The show sold out so fast that they added a second performance for earlier in the day and that matinee gig sold out just as fast.
Fortunately, I was able to get tickets to both performances after having missed them as the result of the cancelled North American dates this past winter. At that time, co-founder Isaac Wood announced he would be leaving the group and the band made the decision to cancel all tour dates and regroup. In fact, they wound up making just about the hardest decision any band can make, especially on the heels of their much-anticipated sophomore album, Ants From Up There (Ninja Tune). BCNR would reschedule their tour and play an entirely new set of songs and nothing from their two studio albums. Which also meant actually writing a whole new set of songs in a matter of months before hitting the road without Wood.
Even without knowing what to expect, other than YouTube clips circulating around, the crowd lined up outside Bowery an hour before the 3pm door time. (The same crowd would immediately get back on line afterwards and wait another two hours for the 8 o’clock show). When the time finally arrived and BCNR took the stage, the place erupted before a single note was even played. I’m sure the current members, May Kershaw, Charlie Wayne, Luke Mark, Tyler Hyde, Lewis Evans, and Georgia Ellery were anxious going out there, but that thunderous applause must have given them the adrenaline shot they needed. They kicked off the set with the high-octane energy of “Up Song” and had the whole room chanting “Look at what we did together!” by the end.
Black Country, New Road
From there the set was a mix of sad and sadder songs which was their joke when introducing each song. I didn’t have the time to take in or digest the lyrics as I watched and captured what was happening of course, but I can certainly speak to the music. With such a varied selection of instruments, including sax, flute, violin, and keyboards alongside the more traditional guitar, bass and drums, the sound was always organic and at times rich. And at other times it was subtle, even fragile, with sparse use of any instrumentation. They would slip in and out of rock beats, jazz stylings, even a waltz – sometimes within the same song. These different elements were highlighted in the syncopated beats of “The Boy” and “The Wrong Trousers,” the melancholy of “I Won’t Always Love You,” and the swell of “Across the Pond Friend,” and especially “Turbines/Pigs” which builds to a huge climax after a subdued first half.
BCNR left nothing on the stage, and as they informed the crowd, left no new song unsung as they didn’t have enough new material to keep playing. But while the matinee and evening sets mirrored each other, they did have one surprise for the later show. Ending with a cover of Billie Eilish’s “Happier Than Ever,” they were joined onstage by opener Horsegirl for one last kick-in-your-face jam that shows the dynamic range of this band.
Speaking of Horsegirl, the three-piece Chicago band has gotten a lot of buzz the past few years and I can see why. Fellow guitarists Nora Cheng and Penelope Lowenstein, along with drummer Gigi Reece blazed through a rocking set that included songs from their 2022 album Versions of Modern Performance (Matador Record). Highlights included set atmospheric opener “Electrolocation 2,” “Ballroom Dance Scene,” “Option 8,” “Beautiful Song” and the 2021 single “Billy,” which closed the set.
I for one cannot wait to see, hear and experience what lies ahead for BCNR as they just accomplished one of the best reboots of a band I’ve ever witnessed. Make sure to catch them on their North American tour with fellow greats black midi.
Scroll down for setlist, fan shot videos and pics of the show (photos by Kevin McGann)
Setlist: Up Song, The Boy, I Won’t Always Love You, Across the Pond Friend, Laughing Song, The Wrong Trousers, Turbines/Pigs, Dancers, Happier Than Ever (Billie Eilish cover with Horsegirl)**
**Late show only
HORSEGIRL
BLACK COUNTRY, NEW ROAD
by Kevin McGann | Sep 7, 2022
Native Sun at Our Wicked Lady (photo by Kevin McGann)
Last week, New York’s Native Sun brought their epic live show to Our Wicked Lady’s rooftop as part of their Sunday Soul Scream showcase. The Brooklyn based four-piece has been rocking the NYC scene for years now and followed up this show with news of their new EP for Grand Jury Music, Off With Our Heads, which will be released on October 14th.
Opening the night was Brooklyn’s Namesake who got the roof jumping from the first chord. OWL was actually the place they kicked off their vinyl release show for their full-length debut, Redeeming Features, back in February. It was a fun energetic set that had the space packed out by the end of their set.
After a short break, Native Sun emerged from a wall of smoke and unleashed a barrage of guitar, drum, and bass assaults while vocalist Danny Gomez whipped the crowd into a frenzy. While the stage at OWL was not very high and there was only a simple metal barricade separating band from audience, halfway through the show the crowd had enough and that barricade was lifted and carried off. From that point on, the line between stage and floor blurred as audience members climbed up and dove off, and by the end Gomez himself was surfing the crowd while continuing to perform. Anyone who sees Native Sun perform leaves feeling like they were really a part of the show and this performance was the epitome of that.
Native Sun
Make sure to pickup a limited vinyl release, cassette, or download of Off With Our Heads which is up for pre-order on their Bandcamp and look for upcoming dates so you can catch one of the best live acts out there today.
Scroll down for pics of the show (photos by Kevin McGann)
NAMESAKE
NATIVE SUN
by Kevin McGann | Aug 25, 2022
Spoon at Baby’s All Right (photo by Kevin McGann)
It’s been three days since I got a text from a friend that said Spoon was playing at Baby’s All right and to get on it. And three days later I still can’t believe I saw them at such a small, intimate space. The surprise show on Tuesday 8/23 at Baby’s (right before they officially kicked off their tour with Interpol) was one for the books and one that the lucky few of us will never forget.
With no opener, the crowd grew more anxious as we waited for Britt Daniel (lead vocals/guitar), Jim Eno (drums), Alex Fischel (keyboards/guitar/backing vocals), Gerardo Larios (guitar/keyboards/backing vocals) and Ben Trokan (bass/keyboards) to hit the stage. Shortly after 9pm the lights when down, “Be-Bop-A-Lula” came on through the sound system, and Spoon took the stage. And it’s safe to say they were as excited to be playing to a small crowd as were those of us in the room were to see them. They played with the kind of raw, fun energy you would expect from a local band just starting out and not one that can play to a room ten times the size.
The setlist pulled from various albums released over their two-decades plus long career, including Kill the Moonlight which is celebrating its 20th anniversary this year. Highlights included “Small Stakes,” and “Jonathan Frisk” from Moonlight, “The Way We Get By,” “The Underdog,” newer singles “The Hardest Cut” and “Wild,” “Don’t You Evah” and “Do You.” The entire four song encore was a highlight with “The Mystery Zone,” “I Turn My Camera On,” “Feels Alright,” and “Rent I Pay.”
It’s rare a band’s newer material is as welcomed as their older well-known songs, but tracks from Spoon’s recently released 10th studio album for Matador Records, Lucifer on the Sofa, were a natural fit to their current setlist and speak to the strength of the album. I expect to see it on many Best Of lists come the end of the year.
Don’t miss the next slew of dates along with Interpol and Water from Your Eyes or you’ll regret it. Not as much as missing this once in a lifetime gig at Baby’s, but still.
Scroll down for fan shot videos, setlist and pics of the show (photos by Kevin McGann)
Setlist: Small Stakes, The Way We Get By, Something To Look Forward To, Got Nuffin, Lines in the Suit, Wild, Metal Detektor, The Underdog, My Babe, The Hardest Cut, Lucifer on the Sofa, My Mathematical Mind, Inside Out, Don’t You Evah, Do You, Jonathon Fisk Encore: The Mystery Zone, I Turn My Camera On, Feels Alight, Rent I Pay
SPOON
by Kevin McGann | Aug 23, 2022
Murder By Death at Knockdown Center (photo by Kevin McGann)
This past Friday, Knockdown Center in Maspeth, Queens played host to a great night of music from Samantha Crain, Amigo the Devil, and Murder By Death. Music that’s been described as alt-country, gothic country, and dark folk due to its roots in country western and folk mixed with a darker sound and subject matter.
Opening the night was Oklahoma native, Samantha Crain, who has laid down vocals for MBD in the past and toured with just about everyone. While she has a decidedly country-western influence, her music at times has a darker, moody vibe. Like you could picture her playing a few tunes at Twin Peaks’ Roadhouse bar while the Log Lady watches on. And while she’s clearly a beautiful singer-songwriter with a voice to match, she’s pretty funny and had more than one person googling “fluffer” before her set was over.
Next up was Amigo the Devil, and from the get-go it was a raucous, funny, rockin’ set that had the crowd chanting along. If Ms. Crain brings Twin Peaks to mind, then ATD takes you down to the Titty Twister in From Dusk til Dawn albeit without the bloodshed. Amigo is Danny Kiranos and his influences range wide, from southern fried country rock to heavy folkin’ metal that finds him going from banjo to electric guitar. Subject matters can be dark but it’s always with a wink and a smile and if you’re unsure you can just look at the backdrop of cats or Kiranos’ Home Alone 2 t-shirt and realize he’s not taking himself too seriously.
Amigo the Devil
Moving from a backdrop of cats, the stage transformed to a cactus filled desert landscape at night as Murder By Death took the stage. Currently on tour to support their recently released ninth album, Spell/Bound, the night mixed songs from their now two-decade long career. While the guitar ferocity at times matches that of Amigo, MBD also fills out their sound with cello, violin, keyboards, and trumpet. That mix allows for a broad range of songs from whiskey-soaked “Until Morale Improves, the Beatings Will Continue” to the marching band drums of “Foxglove” to gorgeous violin/cello/piano lead-off single “Never Be.” And not to be outdone in the we-don’t-take-ourselves-too-seriously department, the crowd was treated to a “Pizza Party! (at Gloria Estefan’s House).” If I ever do actually get to spend a night in the desert, I think Friday’s setlist would be the ultimate soundtrack.
Murder By Death
MBD and ATD still have more shared dates in August and September so throw on your black eyeliner and cowboy hat and join them.
Scroll down for pics of the show (photos by Kevin McGann)
SAMANTHA CRAIN
AMIGO THE DEVIL
MURDER BY DEATH
by Kevin McGann | Aug 14, 2022
Trash Moth at Purgatory (photo by Kevin McGann)
On August 19th Brooklyn’s Amelia Hazen will be releasing her latest project, Trash Moth, an album she describes as “garbage indie power pop.” It’s been a labor of love as she’s written, composed, recorded and mixed it herself in true DIY fashion.
For the album release, Hazen asked friends from various bands around the country to join her at Purgatory and they all wound up playing to a packed house. It was important for her to have a like-minded group of people who she says are some of the hardest working musicians and beautiful lyricists she’s had the pleasure to meet. And while it was an eclectic mix of styles, there was definitely a guitar driven thread that ran through the show.
First up was The Dearlys from Chicago who kicked the night off with a fun set. Upbeat alt rock ‘n pop vibes as demonstrated by their recent single and video for “Bender” which musically makes me think of The Cure’s Robert Smith when he says it’s Friday and he’s in love. And while the band members—Will Mackie Jenkins (guitar/vocals), Jordan Dismuke (bass/vocals) Mason McIntire (drums) and Ben Kissinger (keys)—are clearly having a good time, they also let their inner rockstar out when they hit the stage.
Next up was FLKL from Richmond, VA whose self-described style is as a “folk punk glory band bringing you sweet ass harmonies.” And they did just that— hit you upside the head with a guitar solo and an aggressive beat, only to soothe you with beautiful four-part harmonies. Like someone asked Crosby, Stills & Nash to play CBGB’s and they nailed it. And one of the most interesting instruments I’ve seen lately was their modified banjo which had me looking for who was shredding a couple of times.
Following FLKL was one of NYC’s own, The Grasping Straws fronted by Mallory Feuer. Raw, emotional, lo-fo art rock that really drew the crowd in. And with wide ranging dynamics, Feuer could be soft and subdued one minute and then release an angst ridden banshee wail the next. Instrument wise she’s as eclectic as the sound, playing guitar, violin and keyboard at various points.
Last but not least as they say was Hazen who came out with a smile a mile wide. She was clearly happy with a great night up to that point but also excited to let Trash Moth fly. She’s been on the scene since 2013, writing and recording, but like everyone else saw the rug pulled out from under her in early 2020. And also like everyone else, she felt the isolation and frustration of not seeing friends let alone seeing and hearing live music. With Trash Moth she was able to capture those feelings and in a purposely heavier way than she had before with a nod to 90’s indie rock and grunge. She attacks her guitar when she plays, like she’s exorcizing her demons and yet is soft spoken and funny with her between song stories. With this project Hazen was able to prove to herself that she could rise above the fray to write and record an album that really encapsulates who she is as an artist and maybe more importantly as a person in 2022.
Scroll down for pics of the show (photos by Kevin McGann)
THE DEARLYS
FLKL
THE GRASPING STRAWS
TRASH MOTH
