You’d think that when a band plays the first of two sold-out dates in its hometown, the crowd would be with them every step of the way. But that wasn’t necessarily the case at TV On The Radio’s show last night at the Brooklyn Masonic Hall. Perhaps the culprit was the unfamiliarity with the songs on the band’s excellent third album, Dear Science? Maybe everyone was still distracted from the onslaught of bad economic news? Or was it’s because the band’s songs in 6/8 don’t exactly engage you to boogie. Whatever the case, the audience didn’t give it up easily, despite the fact that TVOTR played their hearts out. The quintet, who was accompanied by a four-piece horn section, opened with “Halfway Home,” a brooding clash of dreamy pads and careening beats galvanized by singer Tunde Adebimpe’s sublime falsetto. Adebimpe’s frantic rap was again at the center of “Dancing Choose,” an uptempo number laced with horns and a subliminal underbelly of pop. When they launched into the party-perfect funkfest “Golden Age,” they finally elicited the response they so rightfully deserved. “Clap your hands if you think you’re in the right place,” cooed Adebimpe. And everyone did. For that fleeting moment, everything was finally in its right place.
Words & images: Darren Ressler
Live Reviews
Live review: Matter’s Opening Night
If you ever visited London superclub Fabric in the early days, you’ll have a deep understanding of just what a different experience they offered club-goers. All of a sudden the faux leather and sticky carpets of traditional British nightclubs had been replaced with clean, industrial lines, and an experience more in line with the love of sonic ear assaults than half a pint and a pickled egg. Fabric broke the mold for London’s late night crowd, and now they’re at it again.
Matter is their new venture, situated at the incredible o2 arena, and (so I’m told) the first purpose-built music venue in London since the Albert Hall. I’m not entirely sure that’s true, but it sounds good. Almost as good as the M Audio Soundsystem rigged throughout Matter’s impeccable three tier layout. Stunning views of the clubbing carnage that is their 2,000+ capacity dance floor are available from almost any angle, as is a solid view of the DJ booth and stage.
With only the crème de la crème signed up for events at Matter, I can confidently say that whenever you choose to visit this brand new venue, you’ll be offered a similarly impressive experience as I had on their opening club night with Carl Cox. Thanks, Fabric!
Words: Jeryl Wilton
Images: Tom Bunning
Live review: Motörhead at Roseland
Man can’t live on electronic music alone. On Saturday we checked out Motörhead at Roseland here in NYC. This review is to be read only by the headstrong!
English rock legend Lemmy Kilmister founded Motörhead in 1975 and remains a triple threat, even as he approaches his 63rd birthday in December. He can still sing (mostly), play a nasty fuzzed-out bass and rock a trademark moustache. Saturday’s show at Roseland was in support of the band’s twentieth studio album, Motörizer. But let’s be honest: nearly everyone was there to bear witness to one of the forefathers of heavy metal, not listen to songs from the new album.
Motörhead lived up to its reputation as one of the loudest, heaviest bands on the planet. For much of the show Lemmy stood stoically in front of his mic, attacking his bass with a pick as he belched out song after song (some were hardly four minutes long). Meanwhile, guitarist Phil Campbell continuously prowled the stage, while drummer Mikkey Dee pumped out beats that would make Animal from The Muppets blush.
When the new songs were met by polite applause from the audience, Lemmy chastised the crowd: “Don’t think you’re too cool, New York!” But it was all part of Lemmy’s masterplan, because the trio soon launched into classics “Killed By Death” and “Overkill.” Even the politically charged “Just ‘Cos You Got The Power (That Don’t Mean You Got the Right)” sounded fresh and relevant. The classic songs sent a mix of older rockers and younger fans into head-banging mode and bodies were flying in the air. All hell had broken loose!
The encore, the acoustic number “Whorehouse Blues,” was soon countered by a ferocious rendition of “Ace of Spades,” which nearly sent Roseland off its foundation. Just before the threesome launched into the final song, Lemmy addressed the crowd with his famous closing line: “Don’t forget us New York. We are Motörhead, and we play rock ‘n’ roll!” When the song was done, Lemmy propped up his bass against his amp stack so it could let out a ferocious din of feedback and exited the stage. He’ll do it all over again tomorrow night, just like he’s done for the last three decades. Could rock ‘n’ roll be a fountain of youth?
Words & images: Darren Ressler
Special thanks to Andrew and Eddie for the photo pass!
Live review: Midnight Juggernauts at Le Poisson Rouge
Australia’s Midnight Juggernauts’ are part of the growing global contingent of bands that embrace elements of rock and electronic music. But the key to their success is their impressive songwriting chops. Though they’re chart heroes back at home and have outsold Mariah and Madonna, the trio, who last toured in America opening for with Justice, are still a new proposition in the States. But judging by the turnout at Le Poisson Rouge (Bumblebeez were also on the bill), that’s about to change.
After an opening DJ set from hip-hop legend Grandmaster Flash, who cleverly dropped mainstream rock favorites by Nirvana and The White Stripes before he sauntered into a lackluster mishmash of schlocky hip-hop (why does every DJ want to hear some noise?), Midnight Juggernauts opened with their feisty “So Many Frequencies” from their debut album, Dystopia. The trio—keyboardist/singer Vincenzi Vendetta, bassist/guitarist Andrew Juggernaut and drummer Daniel Stricker—are a tenacious proposition. They’re loud, and they know how to rock. As Vandetta and Juggernaut prowl the stage and frequently trade instruments, they stomp around with the grace of a band who’ve been at it for much longer. Stricker pounds his skins with the audacious thump in the vein of John Bonham. When part of his drum kit fell apart during a song, he stood up and kept playing as a tech made a quick repair.
By the time the trio launched into “Tombstone,” they were in the zone. A hootchie jumped up on stage and started to gyrate next to Vendetta (who had donned a bass), but it didn’t even phase them. Did he even notice here? By the next song, the tall, lanky Vendetta returned the favor, bending down into crowd and pressing the flesh while he multi-tasked. Where Midnight Juggernauts were grossly overshadowed on their last Stateside outing with Justice, they’ve come into their own and proved they’re ready for the headlining slot.
Words & images: Darren Ressler