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Concert Review

Show Review: Conor Oberst at the Warner Theatre

Sitting just three blocks from the White House in downtown D.C. is the extravagant and elegant Warner Theatre. Never had I imagined getting the chance to see the notable Conor Oberst, let alone at such a remarkable venue. This had to be one of the most memorable Thursday nights I have experienced in quite a while, which made the four and a half hour journey to get there all the more worth it.

Opening up for Conor Oberst was Daniel Johnston, a legend himself. A shaky performance by the well-known artist was much appreciated by the entire crowd. He ended his set with the great “True Love Will Find You in the End.”
Although best known for his band, Bright Eyes, Conor Oberst’s music career also includes Monsters of Folk, Desaparecidos, and Conor Oberst and the Mystic Valley Band. Even though on a solo tour, Conor played songs from almost every one of these bands. One might think that the lack of variety in instruments and voices that normally accompany him would take away from the overall quality of the show; however, none of these were really missed and it’s what made for a truly special performance. His emotional vocals filled the entire theatre as the audience sat and listened to songs such as “Milk Thistle,” “Land Locked Blues,” “June On The West Coast,” “Map Of The World,” and of course “Lua.” He would stop once in a while to explain how he wrote the preceding song when he was fifteen years old and how it made him feel slightly embarrassed. This made me remember an interview where he stated that he does not usually play these old songs, which made this particular performance even better.

Conor Oberst on stage

He also played a couple new songs. One he dedicated to his brother’s second child and the other told the story of an old friend. It was these personal connections and his lyrical improvisations that kept the crowd captivated creating a truly memorable night. His two-hour performance was all I had expected and more.

The good news is that everyone in the triangle can experience some Conor Oberst magic for them selves in February when he stops by the Cat’s Cradle on the 17th with his band, Desaparecidos.

Desaparecidos

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Concert Review

Show Review: A Very Sufjan Christmas!

Sufjan Stevens

Throughout the past decade Sufjan Stevens has cemented himself as one of the most talented and unique artists of our generation, with a diverse array of talents ranging from classically inspired folk pop to the aural adventures of the past few years with Age of Adz and BQE, it’s a toss up as to what direction any new music from Stevens is going to take.  When he announced his most recent release, Silver & Gold: Songs for Christmas, Vols. 6-10, I wasn’t too sure of what to expect…especially with the lead-off single of “Christmas Unicorn”.  The track was as bizarre as it was insightful and infectious (especially the seamless transition into Joy Division’s “Love Will Tear Us Apart”), which can pretty accurately describe the three plus hours of Christmas inspired material on Silver & Gold.  Shortly after the album announcement came news of the “Surfjohn Stevens Christmas Sing-A-Long: Season Affective Disorder Yuletide Pageant On Ice” tour, a string of shows which would feature good ol’ “Sufjy Pants” spreading Christmas cheer by way of his modern takes on Christmas classics as well as his incredible new holiday inspired originals.

While some of the Christmas inspired material is brief and zany, like “Happy Family Christmas” a jaunting yet melodic track wishing that “Just this once for Christmas I want us all to be like one great big happy family”, and while the holiday is exactly a month away, Sunday at Haw River Ballroom felt like a gigantic family Christmas gathering.  With hundreds of concertgoers decked out in festive sweaters and unicorn horns, Sunday provided one of the most unique and magical show experiences one could ever wish for.  While opener Sheila Sapputo (better known as singer-songwriter Rosie Thomas) donned a Santa suit for a quirky Portlandia-esque bit of dry comedy, the highlight of the show could be nothing other than the marvelous display put on by Sufjan and company.

The show was broken up into bits of Sufjan originals and highly enjoyable breaks for Christmas classics from the Wheel!Of!Christmas!, a Price Is Right style spin-wheel designed to randomize the carols we’ve all grown to know and love.  Upon entrance we were all given a songbook, endearingly referred to by Sufjan as our “book of hymnals”, and these carols provided for some of the most memorable concert moments in recent memory.  While Sufjan originals like “Sister Winter” and the aforementioned “Christmas Unicorn” stood out amongst the set, the true highlights came from the innovative takes on old classics.  An electronically driven version of “Do You Hear What I Hear?” was a show-stopping performance, featuring vocoded Sufjan vocals and spastic electronic melodies that excellently juxtapose the calm and soothing stylings of the original.  After the Wheel of Christmas selected “Joy to the World” early on in the set, Sufjan brilliantly transitioned into a refrain from “Impossible Soul”, a track from Age of Adz, inducing shouts of approval from the crowd.

Sufjan himself described the show as, “running the gamut of Christmas from the profane to the insane”, and with inflatable unicorns being thrown out at the same show as inflatable Santa’s I’d say it’s a pretty accurate description.  The end of Sufjan’s set was haltered by the second fire alarm of the evening, but the band took it all in stride and led the crowd in an a cappella rendition of “Silent Night” divided between males and females in the first two verses followed by a harmonious ending as monitors blasted back to life and the set came to a beautiful end.  A roaring ovation from one of the most dense crowds I’ve seen at Haw River resulted in a three song encore of Sufjan originals from Illinois and Michigan.  Starting off his encore with a beautiful take on “Concerning The UFO Sightings Near Highland, Illinois”, the crowds anticipation was rapidly rising and greeted with “For The Widows of Paradise” which started as a solo banjo track and blossomed into a full band performance.  Closing with fan-favorite, “Chicago”, Sufjan thanked the crowd for being so wonderful and patient, but all thanks is graciously pointed towards Sufjan, the band, and the fine folks of Haw River Ballroom for housing such a beautiful show.  It’s very rare to build a sense of community within a single show, but the “Surfjohn Stephenopolous Sing-A-Long” certainly achieved just that.

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Concert Review Local Music

Show Review: Local Band Local Beer – Phil Cook & His Feat w/ SumnerJames

Phil Cook & His Feat

Two side projects shone bright on Thursday at Tir Na Nog, as Phil Cook and James Phillips shed their usual full-time bands for a more stripped down and intimate performance for the weekly Local Band Local Beer.  James Phillips (of Bombadil) made his first solo outing with the help of Elyse Thebner (Some Army, JKutchma & The Five Fifths) to fully flesh out his minimalistic electronic act inspired by his stay in Oregon earlier this year.

A far cry from his work in the quirky folk act of Bombadil, Phillips’ set up consisted of a laptop from which to blast beats and an array of synths to produce the dense soundscape that sets the somber yet hopeful tone of his solo work.  Joined by fellow local musicians like Stuart and Daniel of Bombadil and Christy Smith of The Tender Fruit, Sumner James transitioned surprisingly well for a debut live act.  Closing with the album’s lead-off single of, “Home”, James was borderline shouting his heart out on “Losing his mind” in the state of Oregon.  These tunes can be just as therapeutic to the listener as it evidently was for Phillips, much like the deep emotion and soul poured into the mostly instrumental tunes of Phil Cook.

Phil Cook is usually just accompanied by his feet on percussion, but with the addition of Yan Westerlund (brother of Megafaun drummer Joe Westerlund and regular drummer for Bowerbirds) on drums, the fans at Tir Na Nog were treated to a tight and blues driven performance from a vastly underrated local act.  In a mostly electric set, Phil Cook jammed out on open tunings that were oozing with emotion, notes were being bent to his will and captivating concert goers to move and shake like an old revival show.  From instrumental blues jams to a rootsy lullaby sung for his young son, Phil Cook displayed his breadth of talent with dobro jams and a strong sense of musical connectivity with Yan who provided simplistic yet driving rhythms for songs he was mostly unfamiliar with.  For a low key show from local side projects, these two acts displayed vast amounts of talent and promise, making for a fantastic way to spend a Thursday evening.

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Concert Review

Friday Night Hardcore at Katmandu’s

Both touring bands and local ragers destroyed Katmandu on Hillsborough Street the night of November 9th. The bill for this devastating display of hardcore and grind madness was BrainXToilet (first show!), Mad Dog, Last Words, and Cheap Art, from Atlanta, Georgia.

BrainXToilet – Photo by Will Butler. Used by permission.

Opening this killer show was BrainXToilet, a refreshing mix of blistering, technical grindcore and crushing breakdowns from Greensboro, NC. This band features members of another grind band from Greensboro, Priapus. Jordan, also the vocalist of Priapus, stomped in a fit of rage, pushing bystanders away as he yelled into the microphone. Jeremy, guitarist of Priapus, blasted away on his drumset while the guitarist shredded with ease.

Mad Dog – photo by Will Butler. Used by permission.

Mad Dog made the crowd go wild as Ira, Mad Dog’s drummer, unleashed his raw, speedy drumming. Mad Dog is a high-energy powerviolence act from Raleigh, NC. Being a year since their first show, it’s great to see how much they’ve progressed musically. Ace, the guitarist, also plays bass in Abuse, another Raleigh powerviolence band. Despite minor technical difficulties, Eli’s harsh vocals were loud and clear.

Last Words – photo by Will Butler. Used by permission.

Another Raleigh favorite, Last Words, played yet another unforgettable set packed with high-speed riffing and crucial moshing. Marina, vocalist, made it clear that not moshing was absolutely not an option! For not a single second did the crowd go dull.

Cheap Art – photo by Will Butler. Used by permission.

Cheap Art, a ripping hardcore band from Atlanta, killed their set with poser-crushing, chaotic female-fronted fastcore/powerviolence. The songs were short and sweet. A 20-minute set of high-energy, crushing blasts riddled with mosh parts was all they needed.

Hopefully there will be more hardcore shows at Katmandu’s. Really enjoyed this one.

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Concert Review

Show Review: Dr. Dog brings the heat on a cold Monday in Saxapahaw

Dr. Dog

It’s a firmly held belief for me that Haw River Ballroom is the finest venue in the state, and each show I attend at the gorgeous venue drives that point further and further home.  Between the fine gas station dining of the Saxapahaw General Store (it’s not at all what it sounds like, incredible food with a diverse menu!) and the breath taking aesthetics of the ballroom, there’s nothing to dislike about this place.  The crowd got surprisingly wild for a Monday night, but when you’ve got an incredible act like Dr. Dog on the bill the date is really irrelevant…it’s gonna be a party either way.  Throwing in old favorites and plenty of gems from their latest album Be The Void, Dr. Dog had a little bit of something for everyone on Monday night.

Cotton Jones

Cotton Jones was the opening act, and while the band put on a great performance they suffered from a heart breaking condition that has been sweeping the nation for decades, OBS, or Opening Band Syndrome.  When you’ve got an act like Dr. Dog headlining it takes a lot to maintain the attention of a packed crowd, an opening act has to be bursting with energy to become a memorable part of the evening when you’re opening for a powerhouse.  While Cotton Jones’ folk pop tunes from Maryland blend rustic goodness with vivid lyricism, they lacked the presence needed to be anything other than an opening act.  In any other setting their charm may have shone through brighter, with a one man brass section playing tuba and trombone, the band certainly had the potential to be an incredible opener.  However, once Dr. Dog took the stage Cotton Jones’ laid back folk songs took a backseat to the raucous live act.

Dr. Dog

Allow me to preface this by saying I’ve already had a failed attempt at seeing Dr. Dog this year when I was stuck in a traffic jam on I-40 on my way to see the band at Music on the Mountaintop back in August, so my excitement for this show was through the roof.  Haw River was the PERFECT venue for this band, with fantastic acoustics and a wide open room the ballroom perfectly housed the heart warming sounds of Dr. Dog.  From open to close, Dr. Dog lead the crowd in a joyous singalong with a fantastic career spanning set.  While the bulk of the set came from Be The Void, with tracks like “How Long Must I Wait”, “Lonesome”, and “That Old Black Hole” standing out amongst the crowd, the band scattered in personal favorites from Fate and Shame, Shame like  "The Breeze", “Shadow People”, and set closer, “Jackie Wants A Black Eye”.

The band’s harmonies lived up to all of the high expectations I’d set for them, lead vocalists Toby Leaman and Scott McMicken put on dazzling performances filled with passion and energy.  While there wasn’t much stage banter, the band did plenty of interacting with the crowd, like Leaman grabbing a camera bag from the front of the stage and using their cell phone to make a phone call mid-song.  The band’s lyrical depth can easily define their music in the studio, but their live performance breathes vivacity into otherwise low-key songs.  Dr. Dog is a band like no other, they perfectly blend elements of indie rock with psychedelic folk to make for an array of beautiful textures that are perfectly suited for their devastatingly brilliant lyrics.

 

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Concert Review

Show Review: The Lollipops sweeten up a Thursday night at Kings

The Lollipops

Despite being a college student, I’m pretty much an old man.  I watch my Jeopardy every night and I’m usually nodding off during The Daily Show, but every now and then I’m compelled to drag my lazy ass out of the house on the weekdays.  Thursday was one of those fated days, with a handful of incredible acts playing in downtown Raleigh including a stellar lineup for GZA’s Liquid Swords tour, I chose the local route with DiggUp Tapes standouts The Lollipops and Jenny Besetzt.  While the initial showing was a bit lackluster, as the night went on the crowd got gradually larger and more raucous.  While Jenny Besetzt had a handful of swaying head-nodders, by the end of the night The Lollipops were leading Kings in a full on PBR-fueled dance party.

 

Jenny Besetzt

The night began with one of the most heavily lauded local bands of the year, Jenny Besetzt.  The band just made their way back to North Carolina for their tour after playing a bit further up north and what a homecoming it was.  The band recently added Justin Flythe (formerly of Lonnie Walker) as their new keyboard player, and while their regular drummer wasn’t playing on Thursday the band still proved to be incredibly tight and harmonious.  Blasting through favorites from their debut full length, Only, these songs shine in a new light during live performances.  The band packs a bit heavier of a punch with live performances, guitar lines feel less ethereal and more jaunting, but the vocals still perfectly counteract that added grit with raw intensity while maintaining it’s dreamlike aspects.  Jenny Besetzt continues to impress me with each show I see, they’ve made the leap that many can’t by transitioning their shoegaze-y sound into a driving and powerful live act that not only grasps your attention but leaves you speechless, thirsting for more.

Companion

After Jenny Besetzt was Companion, a stellar Brooklyn band that played with Jenny Besetzt in New York and made their way down the coast for their first official tour.  The band is relatively new but displayed a fantastic sense of self with entrancing three part vocal harmonies that counteracted their driving rhythms perfectly.  Fueled by a tasteful mixture of electronic beats and physical drums, the addition of an electronic percussion sound added an entirely new layer to this already dense and lush arrangement.  I must say I was thoroughly surprised by this band, and I think they were equally surprised by the Thursday night outing, as the band’s lead vocalist Pepi Ginsberg brought out a camera of her own to take a big family picture of the crowd.  This was the perfect band to transition from the depth and wonder of Jenny Besetzt to the simplistic yet equally invigorating bedroom pop sounds of The Lollipops.

As the band was taking the stage, brainchild Iggy Cosky was frantically writing out a setlist, an image that perfectly encapsulates the essence of The Lollipops.  Everything flows together wonderfully yet still feels spastic and urgent.  Painfully infectious pop melodies perfectly counteract the gritty lo-fi bedroom recordings and transition into one hell of a live show, Cosky leads the band with a commanding presence, Iggy seems genuinely excited to be on stage and that excitement permeated throughout the once spread out crowd of Kings.  The crowd condensed into one tightly packed dance party that was bursting with energy, bouncing along to favorites like “I Love You” and “Wolves”.  During the show Iggy announced a soon to be released album, making for their “third release in 8 months”.  To put it simple these guys go hard in the paint.  This lineup was excellent from top to bottom, and ending with the brilliant pop sounds of The Lollipops was the best way to go out.  An incredible way to spend a Thursday night!

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Concert Review

Show Review: El Ten Eleven at Kings Barcade

This was my first time seeing El Ten Eleven. The LA-based post rock (even though they hate being categorized) duo recently released its fifth full-length album Transitions, a fast-paced hypnotically layered ten-track.

Kristian Dunn plays a Wal fretless bass and a guitar/bass doubleneck, using multiple loop and effects pedals to create full sounds.  Tim Fogarty has his drum kit fed into some of the pedals, giving Kristian the ability to control loops on that as well. By the way – this is all done live. No samples, no pre-recorded loops. They made it a point to make sure the audience knew this. Without dropping names, they were able to subtly bash artist who essentially just hit the play button on their Mac.

As a matter of fact, when a mic went out on stage they decided to do an improv song. Kristian asked the audience for a key to play in, and major or minor. This led into an album-worthy rendition he dubbed “Raleigh in F minor.” This equated to the best stage banter I’ve heard, and compensated for when he tried to say something generic like “so how about that local sports team?” to the audience. Usually this wouldn’t have stricken a nerve, but he got booed for that comment. Apparently only NC State fans were at the show. (Our football team unfortunately lost to UNC for the first time in six years, and it was also their first in-state win of the season.) I forgive you, Kristian.

I couldn’t stop smiling or dancing the entire show. Seeing how the songs came together was incredible and added a lot to the experience of listening to them, live or at home. The projection panels behind them intensified the beats. Plus, being surrounded by zombies, mimes and a Bob Ross was great.

A little after 1:00AM, Kristian announced that they would be playing their final song – they’re “real” final song. He called other artists out for “faking” the encore, the say goodbye but let’s still leave our instruments on stage and walk back out after we let the audience tell us how much they love us for approximately 75 seconds. From the opener “Thanks Bill” (my favorite) to the last note of the last song, the band was on point and engaging. I’m looking forward to catching them again sometime.

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Concert Review

Suburban Nightmare Festival 2012

The Apex Masonic Lodge, although not your typical show space, had a great turnout Saturday, October 13th, for Suburban Nightmare Festival. This event was thrown by David Baird (of Asheville’s Drunk In A Dumpster) as his own pre-birthday gathering. Although this is the first time Baird has put on Suburban Nightmare fest, he wishes to make it a yearly event!

Raleigh’s Last Words opened with a display of their own brand of purely viral piercing screams and crushing high-speed hardcore punk riffs. This female-fronted act set the mood for the night as their mosh parts commanded a handful of the individuals present to stomp violently from one side of the room to the other.

After Last Words was Baird’s band, Drunk In A Dumpster, based out of Asheville. Their punk rock assault induced fear in the audience as David moved along the front of the crowd, pushing away anyone who dared stand in his path. I really enjoyed Baird’s stage presence.

Just Die! – picture by Alex Altgibers

Next was Just Die!, another band from Asheville. Just Die! plays melodic hardcore yet stays true to hardcore punk roots – a good mix of styles! The vocalist made a point to explain the meaning of each song before played. It was definitely inspirational, anything but preachy! Nice dudes playing good music – awesome! Really enjoyed their set.

After Just Die! were punk rockers Commonwealth of American Natives (Tennesse) and oldschool punk band Random Conflict (Alabama). Both played high-energy sets with decent crowd interaction. I unfortunately missed a large portion of C.O.A.N.’s set, but what I saw I enjoyed! As for Random Conflict, you’ve really got to respect them for still playing music after all these years.

Abuse – picture by Mike Deloatch

Raleigh’s Abuse unleashed hell with their brutal onslaught of truly devastating fastcore/power violence. These guys seriously get better each time I see them! Can’t get enough of their unforgiving blast beats and fresh riffs. They ended their set with their infamous Infest cover.

No Tomorrow (Wilmington) shed blood with their soul-churning d-beats and deep, groaning vocals. No Tomorrow’s absolutely filthy crust destructionwas relentless and crushing. After having seen them a handful of times, I can honestly say this was my favorite time seeing them!

Mutilation Rites – picture by Alex Altgibers

Last, but not least, was Mutilation Rites, a black metal act from New York.  The drummer’s blast beats did not cease for a single second. The vocalist’s high-pitched, strangulated vocals cast a grim shadow over the audience as a wall of tremolo-picked madness violently moved in on the crowd.

Overall, I had a great time at this festival! I’m glad so many people from Raleigh, and surrounding areas, made it out to Apex on a Saturday night. Would love to see shows at that space more. Let’s hope that Baird has another Suburban Nightmare fest next year with equally crushing bands!

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Concert Review

Show Review: Father John Misty woos the Cats Cradle

Father John Misty

Friday night proved to be another fantastic time at The Cat’s Cradle, as the freak-folk rock act of Father John Misty took the crowd by storm with their swagger and prowess.  Father John Misty is the moniker taken on by J. Tillman, former drummer of Fleet Foxes for his latest musical project.  Bored with the pedantic, sad-sack songwriting of many of his peers, Tillman took a road trip with no destination and a bag full of mushrooms, eventually leading him to Los Angeles in an unexpected turn of events.  Tillman hulled up and found himself writing with a new voice, one that’s filled with equal parts of self deprecation and self aggrandizement.  With a bit of snark and honesty, Tillman has created a unique and captivating sound that serves as the perfect outlet for his oftentimes poetic lyricism.

Fear Fun is the debut full-length from Father John Misty and it’s been filling my ears for quite some time now, but hearing the songs live breathes a new life into them.  Father John Misty is a refreshing take on the current folk music trend, the songs feel grounded with familiar themes, but explore content that contemporary folk artists wouldn’t dare.  If your average songwriter spends his albums licking his wounds, Tillman takes an approach of patching them up and raring past the bad times for a drug-filled haze of enlightenment and wonder.  Father John Misty feels like classic country clasping on to its rustic roots while adapting to the commercial and occasionally vapid world we’re surrounded with.  Tillman had a presence that I doubt anyone could have expected, he crooned and swayed across the stage for an enchanting and lively set that felt more like a rock n roll show than a display of one man’s lyrical prowess.  It’s always awesome going to a show where you can thoroughly enjoy all of the acts that you see, and The Cat’s Cradle usually provides just that.

I arrived just in time for the end of Jeffertitti’s Nile, placing myself dangerously close to the speakers.  Just my style.  The psychedelic sounds of Jeffertitti’s Nile swirled garage punk with folk for a brief yet welcome encounter.  I wish I’d gotten to see more than three songs from the band, their songs weren’t breaking the mold or anything, but I’ll be damned if they weren’t a blast to kick off the evening with.  As the bands loaded in and out I pondered upon the state of my hearing and found myself a bit taken aback by the off-kilt crowd at the Cradle.  Filled with chatter like, “Yeah, I don’t really go to shows anymore.  Nobody good plays around here!” and endless Obama/Romney chatter, I couldn’t have screamed louder when L.A’s La Sera took the stage.

La Sera

La Sera is a bright, upbeat pop act led by Katy Goodman of Vivian Girls.  Their songs were the spark of energy needed to get the crowd moving and as the set went on the crowd packed tighter and tighter.  La Sera’s music isn’t groundbreaking, but the trails that they blaze for themselves are certainly worth walking down.  Their lyrics are intelligent, yet approachable, never too dense to lose yourself in but with enough attention to detail to leave the listener satisfied and waiting for more.  Songs like “Please Be My Third Eye” display this perfectly, Goodman prefaced the track with a simple, “This song is about telepathy”, then jumped into another short blast of pop goodness.  With soaring vocals and a driving rhythm section, La Sera was a welcome addition to this diverse lineup and the perfect lead-in for Father John Misty.

 

Father John Misty

As Tillman and company took the stage I turned around to see a surprisingly dense crowd that was arguably more excited than me for this show, something thats always wonderful to experience.  The energy was palpable, and as “Fun Times In Babylon” kicked off the set it was clear that the crowd was in for a treat.  Tillman played perfectly off of the crowd, his stage banter opening the door for adoring shouts from the audience.  An obligatory “I love you” was shouted before the band even began and Tillman responded quickly, “Let me prove my worth first!”, setting the tone with his quick wit and obvious excitement.  Tracks like “Only Son of the Ladiesman” and “Nancy From Now On” were songs that took a brand new form on stage, Tillman opens up his soul as he glides across the stage often taking the mic stand with him wherever he pleased.  Through his smooth vocals and commanding stage presence, Tillman had the crowd in the palm of his hands.  Blasting through staples of the album, the show felt like it was over before it started simply because of how fun it is to watch this band perform.  As Tillman sang, “Look out Hollywood here I come” the crowd shouted with joy, and this line can perfectly sum up the new vibe of Tillman’s music.  Gone are the days of the sad, sappy songwriter and here’s a new headstrong, vivacious young man that is ready to take on the world in its fucked up glory.  As the show was coming to a close with the powerhouse “Hollywood Forever Cemetery Sings”, my ears rang loudly and my soar throat was begging me to stop shouting along.  The crowd sang along proudly to the helpless reprise, “Someone’s gotta help me dig!” and I couldn’t help but feel overwhelmed at how perfect the show was.

I weaved in and out of the crowd as the song was ending, evidently missing the tail end of the show and a bottle being thrown on stage.  Tillman apparently shrugged it off as excitement, an endearing snapshot of the character displayed by this act.  My old mannish tendencies were rearing their heads on the ride home, the yawns set in, my ears were ringing, and my back was aching…but I’ll be damned if it wasn’t worth it.  I know I for one will be making a point of seeing Father John Misty whenever they stop through the area, mostly because it would have been hard to walk away from that show without a smile on.  Another night at the Cradle filled with incredible tunes!

 

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Concert Review

Show Review: DASH, I’m into the sounds

 

It is a common belief that the more people you have on stage, the better the performance will be. Dash’s performance at Kings on Friday was probably a testament to that statement, in that upwards of a dozen performers were playing at Kings, complete with instruments of all varieties– but all in the sake of solid tunes. The Wilmington-based group, fueled by support from friends, had a packed show with wholesome fun. Hey Roccio and Rio Brave were great openers to the show, as they provided enough zeal to keep listeners wanting more.

The electronic pop, jumpy rock band had at least five violinists on stage. I was slowly reminiscent of Ra Ra Riot’s temperance to include classical strings to indie favors. Dash’s performance was rife with catchy melodies that had everyone in the audience dancing along, in a crowd where the typical representative only gets “jiggy wit it” at weddings and maybe private indoor functions. “Into the Sounds” the group’s most popular hit (and incidentally one that receives quite some airplay on WKNC) flickered with a slow start, and ignited the whole venue.

In between songs, DASH peppered their set with covers of Passion Pit’s “Sleepyhead” and Foster the People’s “Pumped Up Kicks”. It is always refreshing to see bands, especially ones that are locally based, to diversify their playlist from things that aren’t exclusively on their set.  With only a minor hiccups due to audio capabilities (forgivable for a band that large on stage), DASH were able to recapture the attention and fervor left by their other songs with a classical quartet performance in-waiting. Lead singer David Garcia smirked his way through his set, engaging and captivating as all performers are wont to be. A few head-nods and raised fist-pumps later, concertgo-ers were able to acclaim,  that they too, were “into the sounds”.