Now It's On

Concert Review: The Lonely Forest - The Pike Room, Pontiac, Michigan, 5/25/11

I caught The Lonely Forest for the first time in September of last year, opening for Margot And The Nuclear So And So's at the Blind Pig in Ann Arbor. It was the first I had ever heard of the Anacortes, Washington based band and I instantly fell in love with their music. Their latest album, "Arrows", is one of my best of 2011 so far. So I was certainly excited to see they were coming to the Metro Detroit area for a headline show in between opening for indie legends Death Cab For Cutie.

I've seen many a show at The Pike Room, above the Crofoot in Pontiac. It is one of my favorite small local venues, great sound in this place as well. Unfortunately, there were a few factors not working in the band's favor for a decent turn-out. Yes it was a Wednesday night, not the greatest night for a band making their first stop in the area. But Mother Nature dumped rain on the area all day, massive storms that had streets flooded and the roads backed up messes. We even briefly considered not going but carried on, even though I figured there would be a small turn-out.

I was anticipating maybe 100-120 people to be in attendance, but sadly there couldn't have been more than 30 people in the room. A good portion of them seemed to be friends of the opening act, The Blue Anthems. Based out of Royal Oak, the four piece consists of brothers Brandon and Brad Benvenuti, along with friends Jeremy Hager and Greg Morris. The band plays straight forward rock, but with a melodic edge which is right up my alley. Their set left me impressed and they'll definitely be a local band to keep an eye on. Supporting the local music scene is extremely important to me, even if I can't make it out to as many shows as I'd like. Happily for me, The Blue Anthems had some free sampler CD's pressed featuring two of the songs they performed, including my personal favorite from the set, "Bigger Than The Music." You can also download these tracks on their official website.

The Lonely Forest were up next and I do like the fact lead singer/guitarist John Van Deusen made light of the situation as he looked from the stage at the small gathering, chuckled and dropped a few comments during their set, asking those who were there if they were enjoying themselves. It had to be disheartening but the band carried on and delivered an energetic set as if they were opening for thousands at a Death Cab show. It would have been easy to pout and deliver a half-assed, going through the motions set and, to their credit, they did the exact opposite. Van Deusen was bouncing all over the stage practically every song.

They opened with one of my favorites off "Arrows", the rollicking "Woe Is Me...I Am Ruined", followed by "(I Am) The Love Addict", and what was nice about seeing them this time was knowing all the material. It was fun discovering a new band to follow at the Margot show, but even better hearing personal favorites now.

A nice surprise was the inclusion of "Let It Go", which did not make it to "Arrows", but appeared on their self titled EP that was released last year, which I picked up at the Blind Pig show. Up next was the song they opened with in Ann Arbor that instantly made me take notice, "Turn Off This Song And Go Outside". Another of the new album's best, "Coyote" followed before they closed the set with "Tunnels" and the new single "We Sing In Time", which Van Deusen introduced by discussing the video they had just shot for the song. There were a few others in attendance who caught the band at the Blind Pig show and Van Deusen asked for their opinion on the new video as they were clearly fans.

I made a point to introduce myself to drummer Braydn Krueger and Van Deusen after the show, just to let them know there were others in the crowd who had come specifically to see their band. I had to compliment Krueger, he is an amazing drummer, and ask about their shows with Death Cab For Cutie. Van Deusen was in good spirits, despite the small crowd, and described it as a "weird night". He seemed to have a good attitude about it, I'm sure every band has stories to tell about that night they played for a handful of people, and thanked my brother and I for showing up and buying a shirt as well. He could not have been nicer about the whole thing and to us, which just impressed me all the more. Hopefully this will not keep the band from returning to the area, maybe a return to the Blind Pig would be a better venue in the future.   

It really was a crime a band as good as The Lonely Forest played to so few, especially when you add the solid opener, the Blue Anthems, to the show. But seeing how they soldiered on just reaffirmed my belief in this band all the more. 

Concert Review: Adele - Royal Oak Music Theatre, Royal Oak, Michigan, 5/23/11

There are standard concerts and then there are "Events". Adele at the Royal Oak Music Theatre qualified as an "Event". After all, it is not often you get to see someone riding the wave of millions of record sales, the Number One album in the country and rising super-stardom in such an intimate setting. I was lucky enough to purchase tickets as soon as they went on sale for this show, before Adele's new "21" really took the world by storm, and it is a good thing I did. Ticket brokers were asking between $200-400 PER TICKET for this long sold-out show. It felt awesome standing in the long line to get in knowing we were amongst the "lucky ones", as the demand for this show was incredible.

The only downside of the night was being told in line that no cameras would be allowed "at the request of the artist", as well as per venue policy. Although I should have known better having attended the George Clinton show here earlier this year, I took the threats of cameras being confiscated to heart and dropped ours off in the car. Of course, as soon as the show started there were cameras as far as the eye can see. I've learned my lesson for the next time I see a show here. I want to give a HUGE thanks to Matthew Johnson for allowing me to use some of the pictures he took at the show. I always like to include some shots from the concerts I attend in my recaps, so thank you so much Matt for sharing.

Opening for Adele was British singer/rapper Ben Drew, who records under the name Plan B. The early part of his set focused on material from his 2010 release "The Defamation Of Strickland Banks", a throwback soul album. Although his band was tight, I couldn't help thinking I have heard this throwback genre done to death lately, and better at that. It seemed an appropriate opener for Adele stylistically but then Drew threw in some of his harder material, with occasional raps thrown in, and the whole thing seemed to wear out its welcome. The crowd around me was getting restless as Plan B's set seemed to go on and on. Especially funny to me was him bitching how radio won't play him, considering his album debuted at Number One in the UK, I had just seen him recently with a prime U.S. TV performance on Conan O'Brien's show and he is opening for one of the hottest acts in the world right now. I understand he has met with some record company resistance for wanting to return to his hip-hop roots, but he's hardly a struggling artist.

So that brings us to Adele's set. By the time she was ready to go, we were packed on the main floor like sardines.  There was very little room to move but you could feel the excitement and an incredible vibe in the room. Everyone knew what they were about to witness. The show started with the piano notes from my favorite song off of her 2008 debut "19", "Hometown Glory". The stage set-up was just the piano, a stool and a microphone in front of a curtain and Adele started to sing from backstage, appearing as the song reached its first chorus to an unbelievable roar from the audience. The performance was exquisite, by the first song all the proof we were in the presence of a REAL singer, not a studio creation, was there.

Attention was quickly turned to her smash album "21" with the next song, "I'll Be Waiting" which saw the curtain drop to unveil her full backing band and singers. In fact, with the exception of "He Won't Go", every song off "21" was played. Things slowed down for "Don't You Remember" and the achingly beautiful "Turning Tables", with Adele belting the song out while sitting on the stool. I can't emphasize enough how wonderful it was to be in the presence of a truly great singer in this day and age of auto-tuned bullshit and record label creations.

Besides her gifts as a songwriter and vocalist, Adele also has the gift of a warm, bubbly stage personality. Most songs were introduced with little anecdotes about their origins or inspirations, and her frequent cursing only added to the charm. Introducing "Set Fire To The Rain", one of the many high points on "21", she said the idea for this song came from attempts to light her cigarette of all things. The performance then set fire to the stage, that soaring chorus gets me every time. A cover of The SteelDrivers song "If It Hadn't Been For Love", which was released as the B-Side to the UK single for "Rolling In The Deep", was next before she returned to "19" for "My Same".  

The set alternated between the more stripped down songs and full band performances. Sometimes Adele was accompanied just by piano or played her acoustic guitar for songs. "Take It All" was as sparse as it is on record but it was followed by the stomping "Rumour Has It" for example. The closing of the main set was heavy with the more popular tracks off "19" starting with the soulful "Right As Rain". She did return to the new album for another of my favorites, "One And Only", followed by her sensual interpretation of The Cure's "Lovesong". The set closed with the song that first broke her in the States, "Chasing Pavements", with most of the audience belting it out with Adele, and her cover of Bob Dylan's "Make You Feel My Love." Adele introduced the latter as the "last song of the night...wink wink", leaving no doubt she would be back.

As I had hoped, the encore started with the song I absolutely had to hear at this show, the show-stopping, emotional bomb shell that is "Someone Like You". I've seen Adele fight tears numerous times in early performances of this song, it is that much of a heart breaker. She started it with just that voice and her acoustic guitar, performing the entire first verse solo before the standard piano intro of the studio version kicked in and the song was performed as it is on record. It sounded as amazing live as I had hoped, she even let the crowd sing the chorus a few times, perhaps making it easier for her to get through. 

Not surprisingly, Adele closed the night out with her smash hit "Rolling In The Deep", which had the crowd singing along for one last time. I've been to concerts where it gets annoying hearing every woman around you try to perform the entire show along with the artist. The Imogen Heap show I saw at this venue a few years back comes to mind. But there was so much genuine love being directed at the stage from those singing along, somehow it seemed fitting. And Adele certainly basked in the adoration being thrown her way, cracking jokes, cackling at herself and sending genuine appreciation and love back at the sold out audience.

Although Adele has gone on record that she does not wish to perform at arenas and festivals, as she feels her intimate, emotional music would not translate, I highly doubt we'll see her at a venue like the Royal Oak Music Theatre again anytime soon. At this stage of her career, with "21" flying high, I am sure she could sell out the Fox Theatre in downtown Detroit. That just added to this memorable night, much like when I saw Coldplay play the then State Theatre on their first U.S. Tour. You just knew you'd never see this rising star again in this type of setting. I'm grateful I was there to see it. Adele brought the house down. Do not miss this tour.

SETLIST:

1. "Hometown Glory"
2. "I'll Be Waiting"
3. "Don't You Remember"
4. "Turning Tables"
5. "Set Fire To The Rain"
6. "If It Hadn't Been For Love"
7. "My Same"
8. "Take It All"
9. "Rumour Has It"
10. "Right As Rain"
11. "One And Only"
12. "Lovesong"
13. "Chasing Pavements"
14. "Make You Feel My Love"
15. "Someone Like You"
16. "Rolling In The Deep"

Again, major thanks to Matthew Johnson for allowing me to use his photos.

Album Review: Spokes "Everyone I Ever Met"

Spokes is another in the long line of bands I had never heard of that I took a chance on and am glad I did. Based out of Manchester, England the quintet's debut full length "Everyone I Ever Met" blends varying influences, from acoustic folk to guitar charged shoegaze, to make for an intriguing listen and ensure this is a band to keep a watchful eye on. 

Things get off to a rollicking start with my favorite track on the album, opener "345". If Arcade Fire can get radio play, this is more than worthy of it. Electric guitar and booming drums play a role here, but a tender violin runs throughout as well, just an example of the different styles Spokes can mix within the same song. Choir like vocals propel this one along, a great song all the way around. 

Other highlights include the title track which soothes along before slowly simmering into a post-rock-like middle section. It then breaks down into a solo violin before the vocals finally enter nearly five minutes into the track. It's quite the dazzling performance. "Sun It Never Comes" is a brief, but lovely acoustic guitar ballad, "Give It Up To The Night" is another ballad, this time with piano and strings leading the way, and "Happy Needs Colour" boasts the prettiest melody on the album, again with prominent piano and strings.

In a musical landscape dotted with bands that ply their trade in music that covers these genres, it says something that Spokes still easily captured my attention. No, they're not inventing a new form of music here, but they keep things compelling throughout, a very consistent record from start to finish.

"Everyone I Ever Met" was released in the U.S. February 1, 2011 on Counter Records. 

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Concert Review: The Flaming Lips - The Fillmore, Detroit, Michigan, 5/13/11

There really is no other way to say it, there is nothing like a Flaming Lips concert. Part spectacle, part circus, part religious revival, part psychedelic freak-out, if you love music, especially live music, your life is not complete if you have yet to see them live. If ever a concert was a life affirming experience, theirs is. And I am not the least bit concerned with sounding corny, cheesy or what have you. No matter what kind of shit you may be going through personally, for a couple hours, a Flaming Lips show is an escape from troubles, worries and sadness. I have seen them four times now (with many more times hopefully to come), and the sea of smiling faces and happy people at every show never ceases to amaze me.

With no new studio album to promote (their last full length was 2009's "Embryonic"), I was curious what type of setlist would await us. With all that is going on around you and on-stage at a Flips show, I think they could get away with playing anything and I'd still enjoy myself, but there were plenty of old favorites I was hoping to hear and I was not disappointed.

Opening on this night was Sean Lennon's new project, The Ghost Of A Saber Tooth Tiger. I don't think a lot of people there even realized this was Sean Lennon's band, now performing as a four piece, but their brand of psychedelic rock was a perfect opener for the Flaming Lips and the crowd responded in kind. I have to be honest, I had no idea Sean Lennon was this good a guitarist, he absolutely killed it during their set. I can't even imagine how hard it has to be to play music in the shadow of such a famous father, but this is a project that suits Sean's skills perfectly. I was really impressed.

The Flaming Lips were up next and, as always, the band helped set up their own equipment and get things exactly how they wanted. Every time front man Wayne Coyne came on stage, the crowd squealed in delight and he even fired off some streamers to get them further excited. After the stage was pretty much set, Coyne came out to address the crowd and explain the intense laser light show that was about to ensue, as well as give tips for how to handle his surfing the crowd in his plastic bubble. 

The stage was set-up with a huge video screen all along the back which the band eventually entered from one by one through an eyeball that was being projected onstage. Once everyone was in their place, Coyne entered inside his plastic bubble which slowly "came to life" before he headed out into the crowd to surf over the main floor.

Once Coyne returned to the stage, the Flaming Lips live experience truly began. Balloons, confetti, streamers, lasers and more shooting out everywhere, in every direction, into the crowd. It's a New Years Eve celebration every night at a Flaming Lips concert. Unlike the other times I have seen them, they did not open with "Race For The Prize" which, to me, is the ultimate way to open their shows, but it did not deter from the craziness going on. A couple of "Embryonic" tracks were played at the start of the set, "Worm Mountain" and a searing version of "Silver Trembling Hands" that featured Coyne singing on the shoulders of someone in a giant bear costume. Makes perfect sense at a Flaming Lips show, much like the giant inflated catfish off on the side of the stage (do they need a reason for this? NO!), and the folks dressed as characters from The Wizard Of Oz. 

The first real sing along of the night was next as they played their biggest hit, "She Don't Use Jelly". It was the first of many songs with heavy audience participation including "The Yeah Yeah Yeah Song" and a stripped down acoustic version of "Yoshimi Battles The Pink Robots pt.1".   

Another highlight of the early part of the set was a performance (I believe the live debut?) of the new track "Is David Bowie Dying?" from their extremely limited 12" vinyl collaboration with Neon Indian. This live version completely blew the studio version out of the water, calling to mind classic "Soft Bulletin" era Flips. The recorded version is good, but oh how I wish they'd put a live version out as well, it was that incredibly done. 

The second half of the set featured a couple other "Embryonic" tracks, "See The Leaves" and "The Ego's Last Stand" and another show stopper, "Laser Hands" with Coyne bringing his famous 'Giant hands' onstage and shooting lasers from them, quite the sight to behold.

The main set closed with still more jaw dropping performances, first one of my favorites from 2006's "At War With The Mystics", the Steven Drozd led "Pompeii Am Gotterdammerung", and "What Is The Light?" with "The Observer" back-to-back just like on "The Soft Bulletin" to end things.

The band returned for their first encore and, much to my excitement, kicked into "Race For The Prize". This worked just as well as an encore as it does an opener, such a joyous celebration, and to me the band's signature song. After another short break they returned to close the night out with their 'other' signature song, the legend that is "Do You Realize??" with everyone singing along as one last round of confetti, smoke and streamers blew everywhere. I know there were more than a few in attendance with tears of happiness in their eyes, this song and this show has that effect on you. Don't believe me, you need to attend a Flaming Lips show and I dare you not to be moved. If you can't enjoy yourself at one of their shows, you're a miserable SOB, that is all there is to it. 

It's tough to describe the high you are on after a Flaming Lips concert. It can last for weeks. And it isn't even a chemically induced high, though there was surely plenty of that on display in the audience. I've seen this band shortly after losing a close family member, I've seen this band when things are going great in my life, no matter what is going on personally, you lose yourself in those two to three hours you are at their show and realize all there is to be thankful for and happy about in life. I really don't give a shit how that sounds, it's the truth. If you don't think music can have that type of effect on people, you're not trying hard enough to allow it to. Music makes the world a better place, and the world is certainly a better place with The Flaming Lips in it.   

Album Review: Steve Kilbey & Martin Kennedy "White Magic"

Steve Kilbey and Martin Kennedy follow-up last year's U.S. release of "Unseen Music Unheard Words" with "White Magic", another collection of atmospheric tracks mixing Kennedy's electronic soundscapes with Kilbey's pop/rock background as one of the driving forces behind The Church. 

"White Magic", much like its predecessor, is another relaxing listen from start to finish. These songs would work on their own as instrumentals there is so much lush beauty going on underneath Kilbey's vocals. The prominent use of acoustic guitar certainly calls to mind some of The Church's classics, especially on tracks like "Unfocused", "Intense" and "Hope".

Favorites here include album opener "The Demo" which starts with spacey keyboards before a slowed down beat and guitar pattern carries the song along, the lovely mix of piano and acoustic guitar in "Mountain" and album closer, the sparse but gorgeous "The Broken Sea". 

This is a collaboration I hope we continue to see more of. For two straight years, Kilbey and Kennedy have produced an engaging and enchanting album. "White Magic" certainly won't get any attention from commercial radio, this is one you'll have to seek out and it is worth the time to do so. A hypnotic listen.

"White Magic" was released in the U.S. February 1, 2011 on Second Motion Records.

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Album Review: Bell X1 "Bloodless Coup"

I've been championing the music of Bell X1 since I came across the U.S. release of "Flock" in 2008. Now that I've seen them live twice, and caught up on their earlier work that was not released Stateside, they've become one of those essential bands for me whose every new release is met with great anticipation. They've rewarded my enthusiasm with "Bloodless Coup", their fifth, and finest, studio album to date.

Bell X1 enjoyed their biggest success in the U.S. with 2009's "Blue Lights On The Runway", spurred on by the hit single "The Great Defector" which scored them their first major radio play in America. The song brought calls of comparison to Talking Heads, something the band acknowledges, but Bell X1 have also been mentioned as similar to Coldplay and even Radiohead.      

Some of the tracks on "Bloodless Coup" did immediately make me think of some of Thom Yorke's solo material on "The Eraser", with the heavy use of glitchy electronics. Make no mistake, this is a different sounding album from their first four. They've taken the blueprint from the previous album's "How Your Heart Is Wired" and expanded it here, with many songs featuring electronic beats, fuzzed out keyboards and all manner of electronic effects. But Bell X1's penchant for pop perfection still lies at the heart of these songs.

The album impresses right from the start with my favorite track here, "Hey Anna Lena". Opening with a rolling drum loop and electronic blips and bloops, the song is sparse at first but starts to build at the halfway point with atmospheric keyboards, heavy live drums and Paul Noonan's soaring vocal work. It joins the ranks of the band's finest tracks to date. 

First single "Velcro" features a buzzy keyboard and killer bass line and more of Noonan's sharp lyrical wit. "Watching a six year old on YouTube/Playing drums to Billie Jean/This is the stuff that binds us/This and all those Dairy Queens", he sings, shining his light on our social media age. On "Haloumi", Noonan goes to his falsetto to call out how "we feed the machine/Buying all this shit that nobody needs", then he mocks complacency and mediocrity, while simultaneously celebrating them, on "4 Minute Mile".  

"Sugar High" also follows the blueprint of opening with glitchy electronics and a drum machine beat but quickly evolves into the album's most danceable track. The only real mis-step is "Safer Than Love", a fully electronic track which leans towards the dull side with a repetitive keyboard riff and drum machine claps.

For those looking for songs more along the lines of the "old" Bell X1 sound, there is "Nightwatchmen", a more standard guitar/bass/drums ballad that shines beautifully. Once again ballads are a strong point  as on past releases. "Built To Last" is a sparse acoustic number with a quiet pumping drum beat while "The Trailing Skirts Of God" boasts a gorgeous melody driven along by a prominent piano. And I can't leave out album closer "74 Swans" either, another quieter, standard ballad that would have fit on earlier Bell X1 releases.    

Bell X1 have found a loyal fan base in the States, although as is the case with so many bands, they deserve an even larger listening audience. "Velcro" is as radio friendly as "The Great Defector" was, it would be nice to see radio continue to give the band support here. Even if it doesn't find a lot of radio airplay, "Bloodless Coup" is worthy of your attention. I can't wait to hear this material performed live. The mixture of tracks with the classic Bell X1 sound and the newer direction they've taken makes it their best full length so far.