live shows Archive
Like the first two nights of Yep Roc 15, the third and final night was loosely organized around a theme. Consistent with the previous nights, the proceedings – again ably and winningly emceed by John Wesley Harding – got underway right on schedule. This night’s theme was Americana, and in light of that, my comments
In some ways, Night #2 of Yep Roc 15 might have been dubbed Night of the Loop. While several of the artists would fall into the singer/songwriter classification, there was extensive (and inventive) use of looping pedals. Perhaps the most well-known early example of the approach is KT Tunstall‘s “White Horse and Cherry Tree” performance
Note: many more photos from this night are in my previous post. The first night of Yep Roc 15 was superby stage-managed: with the program slated to start at 8pm, master of ceremonies John Wesley Harding strolled onto the stage right on time. And within four minutes the music began. Harding’s witty banter (much of
YepRoc 15’s opening night was fantastic. I’ll have plenty to say about it soon, but in the meantime, some photos from last night will tell a lot of the story. Follow “the_musoscribe” on Twitter and get notified when new features, reviews and essays are published.
In one sense, the Long View Center is an ideal venue to catch a show: unobstructed lines of sight, comfortable seats, and – best of all – a building purpose-built for good acoustics (it was originally constructed as a church). However, it’s certainly not the most rock’n’roll of places: the lighting is designed to provide
I had hoped to catch a few minutes of Yo La Tengo‘s 11:30 set at Memorial Auditorium, but (a) that venue was in the wrong direction and (b) The dB‘s were going on at the Long View Center at midnight. And more than any other act, The dB’s were my reason for going to Raleigh.
A bit after 9pm, The Jesus and Mary Chain took the stage. Though I bought Psychocandy on vinyl upon its original release (1985), this was another band I had never seen live. I knew enough about their sound – it hasn’t changed much in the ensuing quarter-century – to expect their signature approach of melody
The Hopscotch Festival was a three-day event (September 6-8, 2012), but my schedule only allowed me to make a single-day trip to the festival in Raleigh, NC. I made the four-plus hour drive drive east, checked into my hotel and made my way downtown in time for the first show at the main stage, the
Live performance and studio output are two wildly different things. Some bands are adept at crafting carefully-put-together studio albums, but when they take to the stage, they’re lifeless and stiff (or worse, show to be incompetent on their instruments). Other acts are engaging onstage, but seem never able to capture the excitement of live shows
A lot of what passes these days for new and cutting-edge (i.e. “indie”) music has among its hallmarks a breathy, somewhat emasculated vibe. As I like to say, it Does. Not. Rock. Or, it’s such a mishmash of previous styles that it ends up with little personality of its own. Yes, I know that my