In my 30+ years of working in music, there have only been two shows I really wanted to see that I simply couldn't gain access to.* This isn't a humblebrag, it's a simple fact. I've been around so long that getting access to shows was never a huge concern if I really wanted to see the show.
But there were always two shows hanging over my head that showed the limits of my access! One was Miley Cyrus and The Flaming Lips at The Riv in 2015 on their brief tour as a collaborative unit. But I've seen both The Lips and Cyrus live, so it was more the moment than anyone's live prowess that I missed. So it felt like less of a void, to be honest.
But the other was Kylie Minogue at UIC in 2009. Longtime readers will know what a huge Kylie fan I am—like, MASSIVE. But she tours the U.S. so infrequently I had given up hope I'd even see her live after not getting into that show. I even considered going to her Vegas residency!
But next year, I will finally see Kylie! EEEEEEEEEEEEK!!!
Quite honestly, despite my live show attendance slowing to a relative trickle, I've been filling it with amazing concerts and feel like I'm an incredibly lucky boy right now.*
*Jeez, that really makes me sound old, doesn't it? Also, to be clear, by "access" I mean either being able to procure tickets or get on the guest list. But I have always been willing to pay for tickets to high profile, sold-out shows. Didn't want to give the wrong impression there.
**As an aside, if you'd asked me three years ago if I'd soon be seeing shows headlined by Blur, Pulp, and Oasis I would've laughed and called you cruel. And Kylie too? I would've probably turned bright red and scrunched up my face real good, thinking you were really yanking my leg. Now? Now I just consider myself incredibly lucky.
I have a draft of a really long post on a similar topic, but it keeps sitting there and staring at me as I ponder whether I reveal too much of myself in it. So, consider this a stop-gap effort to at least describe how I’m changing my process when it comes to listening to music.
In the past, I have listened to any album sent to me, always open to a new discovery, while simultaneously actively tracking down other new music I hear about to keep abreast of everything that’s happening.
This made sense when I was out and about multiple nights a week to take in shows and had a daily responsibility to find interesting things to write about for a mainstream audience. I no longer have that responsibility, and I have grown somewhat concerned about what my approach to ingesting music has done to me internally. I am always trying to catch up, rarely have time to listen new releases more than 2 or 3 times if I am in love with them, and I almost never get to listen to older albums, no matter how much they mean to me.
On top of this, since 2017 I have gone through a litany of life-events that I feel changed me so much that even some of my old faves no longer resonate, and I often find myself looking to listen to something reassuringly familiar, and then get lost in 30 minutes of trying to decide which comfort-food album will take up precious time I could’ve spent listening to “new” bands. It’s like trying a find a movie on a streaming service and being frozen by too many options and too little time. It's the opposite of rejuvenating or relaxing.
And, quite honestly, I no longer feel there’s as much interest in music writing like mine these days. Yes, I think it’s still valuable and yes, I believe there is a core group of folks who still actively seek out music beyond passive delivery via algorithms … but that group grows smaller and smaller.
So, I am pulling back and trying to make a concerted effort to adjust my music consumption. I am intentionally culling albums from my potential listening queue before they even make it to ye olde tankPHONE for listening. And I am trying to grow less concerned “I’m losing touch” just because I don’t listen to every single thing that comes my way.
Since my written output has grown more scarce—meaning all my opinions and thoughts just bounce around my head like an ever increasingly cacophonous echo chamber—it doesn’t seem prudent to keep cramming my head with new music at the same rate I have for decades and decades.
And I now realize this “stop-gap” post managed to be almost as long as the post I’ve been sitting on…so we’ll see how this goes.
I'm pretty excited for the shows, eager to see what the boys in the band have cooked up, and I am anticipating seeing LOTS of faces I haven't seen in years (and some, in decades(!!)).
But I also confess two shows in two nights is gonna be a lot for me. Especially when you factor in a third show on Sunday to see Pulp. Which is kinda hilarious if you've known me a long time, but also just the current state of things with me, and I am O.K. with that!
Y’know, the cats in The DIFF are looking awfully sprightly for a band whose debut album was recorded in 1979. This video was filmed last year at their album release show (I was there!) and lemme tell you, jaws DROPPED when that 8-Bit Girl showed up.
Weird to think that following the Republican convention in Milwaukee I had little hope for the political future of the U.S.A. Then, a month ago we were on vacation and had just learned Biden was dropping out and Harris was his hoped-for replacement. Then, two weeks ago, we all lost it in the greatest possible fashion as Kamala Harris announced her pick for Vice President.
And this week I find myself more hopeful for the future of my country than I thought was even possible at this stage of the game!
While I could do with a break from living in constantly "unprecedented times," at least this time the emotion this unprecedented time is filling me with is hope, instead of anxiety and despair. I'll take it!
Also, given how the last month has gone, I would argue we could all really benefit from an extremely truncated election season. Think of the difference it would make if most of our elected representatives could focus on doing their job instead of constantly campaigning to keep it!
How have I never, ever seen this amazing bit from the BBC of David Bowie discussing his alcoholism?! I think I would have found it really inspiring back in my darker days.
[If, for some reason it doesn't start there, fast-forward to about 4:54 in the interview for the content I'm talking about.]
What timing! I was literally listening to ht new album from musical duo The Cle Elum yesterday, and as a track titled "Old Folks" came on I started laugh-crying; the lyrics were playful and smart but also wickedly self-deprecating and rather spot-on.* I actually searched for a stream of that song yesterday—I was so impressed by it I wanted to share it immediately—but it was not yet available. Fast-forward a few hours to this morning and BLAMMO, there was an email in my inbox announcing the debut of The Cle Elum's video for said song.
More on this album to come from me on Third Coast Review closer to its release date, but I couldn't wait to potentially turn a few of you onto this tune. Enjoy!
*Inside baseball tidbit? Often when you get promos of new albums, the tracks still have the names from the mastering process, or from when there were different mixes still under consideration. So I think it's worth noting that in those files, the working title for "Old Folks" was "Old Fucks." Both titles perfectly capture the sentiment of the song.
Last weekend I turned another year older, and it was one of the best birthdays I've had in a very long time. It's not that prior birthdays were letdowns, but I think I've finally adjusted to accept my new interests, let go of some of my old hang-ups, and most importantly, I'm in my first real long-term adult relationship since I quit drinking in 2019. More precisely, it's my first long-term adult relationship where drinking never entered the picture. It would take me far more than the couple hundred words I intended to write today to go into what a profound difference that last point makes.
So, it was a wonderful day of food from my favorite places, new outdoor adventures, spending time with the person I love, and amazing gifts (the kind you didn't know you wanted until you open them up and realize how perfectly the other person "gets" you). It wasn't a day of wild events, but it was a day that wildly surpassed my previous expectations. I mean, who woulda thunk a few years ago my happy place today would be filled with plants and animals and not stage lights and rock and/or roll animals? But that's who I am now. And you know what? I dig it!
Last April, I was catching a friend’s band play an early set at Montrose Saloon, and the second band on the bill, Bur, blew me away with their energy. Bur’s set was short and sweet, but it left me wanting more. Exactly the sort of thing every music fan hopes for! And on a weeknight in an early slot? Double score!
As far as I can tell from the limited info they have online, Bur has been active in fits and starts since at least 2016 but seem to have hit a new groove since 2022, releasing material at a more regular pace. Last year’s No Brainer EP was a turning point (to my ears), locking more into the live sound I saw from the band at Montrose that night. And the group just released another live EP, Hey Now (Live On WZRD 88.3 FM), that its almost exact mirror of the set I saw!
The band's sound is aggressively tuneful, built on chords and guitar runs that feel like the group is always experiencing them for the first time, filling their delivery with an honest spur-of-the-moment energy that I find incredibly hard to resist. Give me a band that can sound loose while still charging forward with reckless precision, and I am hooked. On their hooks! So, I guess I'm now hooked on Bur.
Keep an eye out for Bur and catch them live whenever you can. But until then, digging backwards through their catalog has provided me a fair amount of pleasure over the last few months, and if you do the same, I expect you'll have a similar experience.
Funny. I used to be up in the early morning hours writing at my computer as soon as I woke up. These days I can’t seem to find that drive any more. And due to that, once I am ready to start writing I usually have a huge clog of thoughts that I don’t feel I can unravel quickly enough, with now festooned by years of detritus building up and adding complication to what were once simpler exercises.
I am trying to reconcile my newer world of trying to live in the moment, appreciate the unexpected, and delight in all the overlooked beauty in the world around me. I've always have a wide canvassing view of things and experiences, but in the years since I quit drinking, that world has grown even larger, leading me to discover countless moments of little wonder throughout my days. Sometimes it seems simpler, and other times it is unimaginably more complicated than my prior existence.
But I'm still adapting. Getting used to it. And growing.
I'm glad you're still around to grow along with me.
Continuing the recent trend of legendary Chicago groups getting back into the action, Fig Dish has announced the release of a bunch of material that's been languishing in the Million Yen vaults, and will be playing a show in September to celebrate that "new" LP!
After a looooooong hiatus Panther Style returns with their first new music since 2011's ¡Emergencia!. (Curious about what I thought of that album at the time? Be curious no more!) Continuing the tradition of long-running bands resurfacing older recordings that tragically never saw a release and cleaning them up for a new era, the Dynasty E.P. is a nice split of both old and new. The first two songs include the title track, a roaring banger of a tune, and rip-roaring cover of The Cult's "Love Removal Machine." Anchoring the EP are two new remixes of songs off ¡Emergencia! that beefs up the volume while clarifying the melodies underneath previously made more obscure in thicker walls of noice.
A few quick suggestions for this Bandcamp Friday! I had something different in mind, but some tech glitches are getting worked out ... hence a quick 'n dirty post here, just to get the word out!
Extra Arms is lead by Ryan Allen, but after hearing him on so many solo releases and side projects, this LP is clearly a group effort. Allen's impeccable pop smarts (and sharp lyrics) are a constant in all his work, but his compatriots in Extra Arms help add just a teensy extra oomph and clarity to his tunes. You literally can't go wrong choosing any project Allen is associated with, but RADAR is an excellent place to start if you're still unfamiliar with his work. For everyone else? You're gonna really enjoy this.
After seeing them play live at Lolla a few years ago, I fell in love with The Lemon Twigs. I'd heard their recordings earlier, but had unwisely written them off as paying homage to a past period of sound with little more to offer. But once I saw them live it was clear that the sibling duo at the core of the group are honest to gawd rock stars, living and breathing the music, with a stage show that left me gasping at the effort they were expending during an all too short set. Their last album—released last year—ventured more into the realms of sounds familiar to Laurel Canyon and softened their approach. But they return to some harder rocking tunes on A Dream Is All We Know, tempering it with a light psychedelic sixties approach, amped up by their ever-growing expertise keeping their tunes fresh while adding studio clarity that doesn't eat away at the energy in the music. It's a fun ride!
S. Raekwon's Steven features terrific vocals, an amazing live in the room feel, and while it's hard to pin down a single genre to describe the musical approach, I'd call it "singer/songwriter with a '70s R&B production mind, but not really R&B?" A really arresting listen though. Immersive, warm, and human. Give it a chance.
Despite attending around a bajillion festivals over the last couple decades, I’ve largely avoided livestreams of fests in progress. I know lots of friends prefer to enjoy Lollapalooza from the comfort of their couch, and given how their booking has devolved over the years it makes total sense to me that most people would want to tune in for the one or two acts that interest them instead of spending 4 sweltering days amongst adults who think spring break happens in the middle of the summer.
Is that too mean? These days, I don’t think so.
In fact, the festival scene is so glutted these days that I’m not certain why most fans of actual music would want to go … and I am someone who has greatly enjoyed a large portion of the fest I’ve attended! But the years have not been kind to the talent pool the majority of festivals have to pick from, so we now get a couple headliners you might be interested in (if you’re lucky) , supporterd by an undercard of acts who are either mostly unknown for good reason, or are currently enjoying a visibility bump via TikTok virality.
Again, I’m trying to be realistic, so I apologize if you’re reading even that as “mean.” But it does help explain how I found myself watching the Coachella livestream over the last 2 weeks, and discovered that those things are actually useful nowadays! My partner is a Coachella fan, having attended the festival for a few years with largely positive memories. I probably would have tuned in for the Blur sets no matter what, but I found myself watching (and enjoying) a few other acts via the livestream as we watched together.
For someone like me, it’s relatively easy to see a stage (even via video), scan the overall set-up, crowd, entrances and exits, estimate the environment, and create the “feel” of the total live situation in my head. So I’m not just watching video, I can imagine I’m there. (And in this case any questions I had about the set-up were swiftly answered by my partner's own experiences there.) As we flipped between sets it is true that many of them seemed pretty basic and boring. (You can dress up a stage all you want, but if the talent isn’t bringing it to the performance, that stage is only going to impress the people waaaaaaay back in the crowd.) But I did enjoy more sets than I expected, so I take that as a win!
So, here are a few random observations arrived at via the Coachella livestream over the last couple weeks...
The Last Dinner Party
I’ve heard so much about this band but was turned off by an album that felt a little flat, depending on its production to amp up melodrama instead of letting the songs themselves do that heavy lifting. But live? HOLY HELL! These cats can bring it, and yes, I now get it. They're fantastic now! They've clearly developed into a raucous and mesmerizing live act after getting some touring under their collective belt. And their drummer makes a HUGE difference to their live sound. It was a good reminder that sometimes when you can’t figure out why a band’s getting tons of buzz, you should keep space in your head to be swayed.
Blur
If you didn’t watch Blur’s week 1 set, and only read the frantic news coverage of about 45 seconds of the set where Damon Albarn discovered that perhaps U.S. audiences aren’t as familiar with “Girls And Boys” as he thought, you missed the bigger story. Blur has been playing a variation of their “greatest hits” set for well over a decade now, so it was a surprise to see set heavy on the guitars and devoid of most “hits.” Even I was thrown at first. But the band booked the gig after they decided to go on hiatus again—given their history, I think it’s silly to say they are truly breaking up .. .again—and my best guess is they either decided to play a set that made them happy or they thought something more BIG NOIZE guitar-centric would appeal to a U.S. Coachella audience more familiar with Gorillas than that “woo hoo” band.
The fact they doubled down, played the exact same set for week 2, and really threw themselves into it leads me to hope it was the set they really wanted to play, especially if they don’t get to play together again (for many years).
Tyler, The Creator
My experience goes far back to the early days of he Odd Future crew exploding onto the scene, but I haven’t seen any of ‘em live for a really long time, so I was curious to see how Tyler had evolved. And this was one set where the stage set-up AND performer were up to the task. The intro film was hilarious, and seeing Tyler explode out of the side of a trailer to start the set was amusing. I confess I didn’t stick through the whole performance, but I enjoyed what I saw.
Honestly? I really dug their coordinated Parisian Jetsons disco look.
Lana Del Rey
Another one where the stage was really cool! And since I find Del Rey’s music to be largely a snooze, I did really appreciate how much theatricality she put into her week 2 set. I do understand it’s her lyrics that are the main draw when it comes to her fans, but I have a hard time appreciating fine lyrics in a musical package I find mostly underwhelming. So that’s on me.
Bleachers
I like Bleachers, and have for a long time. And I like Jack Antanoff, despite the constantly shifting perceptions by the critical community over his production style. But this set was so similar in feel to the one he played at Riot Fest two years ago I was a little let down.
Gesaffelstein
I dug the dark beats and I really dug the silver mask/helmet they had going on. Definitely a groovy DJ set I enjoyed dipping in and out of. That said, am I the only one who thought he stole bits of the 1978 Superman Fortress of Solitude for stage dressing?
Clown Core
My partner made me watch them. She was greatly amused by their antics. But I have seen this kind of act SO many times over the years. In fact, are we sure these two aren’t also Lightning Bolt?!
Raye
Hey! It’s nice to see the label will spring for 20+ musicians to accompany her old-school jazzy pop!
Grimes
Whatever technical problems happened during week 1 were taken care of by week 2, and Grimes also had an incredibly funny, self-deprecating intro video to kick off her set, which was less a proper DJ set and more a performance with her doing live segues between preselected, prerecorded mixes of tracks. This is not a negative statement or criticism. In this, she is no different than the vast majority of people DJing shorter festival sets, but I give her credit for at least trying to be entertaining instead of pretending like she was "live mixing" in real time throughout the whole set. But it did look like it would've been a fun set to dance to in the crowd!
More to come, but I do finally understand why people travel all over the planet to see a totality when it comes to eclipse-viewing. It's just so ... different than I ever expected (or could have ever anticipated)!
Ne'er-do-well came across my radar as the one-man band of Bryan Rolli, displaying stunning talent and a masterful control of genre. Their debut was easily one of my favorite releases of 2022. Since then, Rolli has expanded Ne'er-do-well into a full band, now including guitarist Israel Doria, bassist Kyle Russell, and drummer Danny Farrington.
I've watched from a distance after the expansion of members as they've shared clips of their live shows in the Austin, TX area—serving to just increase my own appetite to see the band live at some point, should they ever venture farther north—and have enjoyed seeing the solo compositions take new shape under the influence of multiple musicians. And since then I've been patiently eagerly awaiting news of any new recordings.
Today the wait ends, as the band has released a video for the first song written and recorded as a group!
If I was worried the music would lose any of the magic created by Rolli's solo recordings, this song lays those fears to rest.* It's a raucous blend of (and I'm talking core components here) '80s metal licks mixed with sing-along hooks and choruses, driven by a health blast of that ol' punk rawk energy.
I'm also guessing once you hear it, chances are good you'll want to play the song on repeat, as you too eagerly await the next Ne'er-do-well release. So you can grab the track below, and since today is band camp Friday, every cent of the dough you spend goes to the band. Everyone wins!
*I said, "if." I wasn't actually worried. But sometimes you talk through hypotheticals to help anyone who might share a different mindset to walk along the path you're suggesting. Y'know?
DJ On in the one-man-band Non La, and their new album Like Before will be a direct hit for those whose hearts are targets for clear hooks bursting forth from its fuzzy bedroom production style. The lyrics are based in relationship-land and the difficulties oof traversing that terrain during new adventures in that realm.
But it's the sound that reeled me in first. On's songwriting is of the style that sounds simple, but that's only becasue the tunes are carefully constructed for maximum impact. The straightforward approach and ability to pop back and forth between tender moments of the low-key sort with big ol' waves of distortion that, when deployed, drop like a series of glorious guitar sledgehammers is a really satisfying listen.
Like Before is out today, so give it a spin below, and pick up an LP or cassette if it burrows under your skin like if has mine. If you dig lo-fi guitar pop that reaches for both the rafters and the heart, I think you're gonna enjoy this a lot.
So dig in and take a healthy bite as you consume her new EP below. I tick you'll find it quite filling and devoid of the empty calories that can plague some pop.
And if you do, I promise I'll stop making food metaphors if we ever talk about this EP in person.
Hopefully you will forgive my in-camera editing in real time as I shot this, but now you can stand where I stood last July and enjoy an explosive rendition of a classic track!
I am smiling widely yet again after watching this for the umpteenth time.
No I'm not in hibernation, and there are reasons for it being relatively quiet around these parts. However, I couldn't let last Sunday's Oscar. performance for Best Song candidate "I'm Just Ken," go by without marking it here. Why? Because I have a strong feeling that performance will become a permanent part of "best of" Oscar montages for the next 75 years, at least.
I mean, just watch it above. It's glorious!
And while I personally wanted "I'm Just Ken" to win for being so fun, I think the Billie Eilish number "What Was I Made For?" was the correct choice to take home the statue. While the Gosling performance will become a part of Oscars history, I think Eilish's song is on a fast path to becoming a permanent standard in the great American songbook.
