Concerts
There used to be a time when I had the energy to do detailed write-ups of the shows I attended. That time has apparently passed, but here are some notes on concerts I have been to recently (where "recently" ranges from "last night" to "fucking ages ago").
Tom McRae + Brian Wright @ the Academy, Bristol
The thing these three shows have in common, btw, is that I arrived late to each one. Apparently I am an indie kid in my soul and I am thus surprised when any concert starts before 9, no matter what it says on the ticket.
Anyway, as a result of my lateness, I missed all but two of Brian Wright's songs -- a new one I didn't recognize and 'Falls County', which seemed like a hella weird song to end on. I love Brian Wright on record (I actually started listening to him after seeing him on tour with Tom McRae last time -- the Hotel Cafe UK tour, which apparently Tom lost masses of money on... *nervous laughter* :/), but acoustically, sans-band, he seemed a little weak. He also seemed to have some attitude going on -- not sure if it was because he was drinking or because he was pissed off by the unenthusiastic crowd (dude, you're the support act, suck it up).
However, Brian played guitar as part of Tom's band for the main act, and he was probably the most enthusiastic one up there. I just kind of wish he'd brought that kind of energy to his own act, y'know? I still really, really love him on record, though, and I urge you to d/l the song rec below.
Tom is a reliably great performer and a very funny man to boot, so I definitely wasn't disappointed by the show. However, the night was coloured by two facts:
(1) He didn't play my favourites. Which is basically the most damning review you can ever give -- I know I am not a special snowflake. But, nonetheless, I would have loved to hear 'How the West Was Won' or 'Sao Paulo Rain' or 'For the Restless' or... or... or.
I will say, though, that 'Walking to Hawaii' was exquisite live, despite not being a song I ever give much thought to. 'Silent Boulvard' was also a real highlight, despite not being a particular favourite of mine.
(2) He talked about his money woes. A LOT. Of course, it was all in jest and he was amusingly self-deprecating, but. It sort of reached the point where he talked about it so much that it became clear he wasn't joking anymore. And... jeez, we're in a recession and you're an artist. What do you expect, Tom? At least you're successful and on the road. Some of us are artists stuck in dead-end jobs that they hate.
Anyway! Don't want to end on a sour note. I always enjoy Tom's shows, and I'm also intrigued by how seeing him live changes the way I listen to his records afterwards. The sense of irony and humour always sharpens in his songs after I've seen him, whereas I usually just take them at face value.
Song recs:
Brian Wright and the Waco Tragedies - Morning Cigarettes
Tom McRae - Silent Boulevard
IAMX @ ULU, London
Ahhh, IAMX. You've gotta love an electro band that has a violinist in its live band. (Also, snaps to Chris Corner for having a live band that was 3/4 female, including a female drummer.)
I've been to some random London venues (Islington Academy "cunningly hidden inside a shopping centre" springs to mind), but this venue, the University of London student union, was odder than most. You entered through a side door to the building; there was no sign indicating it might be a music venue. There were also no tickets, just hand stamps -- so it was fun when my stamp immediately rubbed off. *eyeroll* Also, while I'm bitching, the lights in the bar area stayed on throughout the gig, so the room never really got properly dark. It killed the mood just a little. :/
This also seemed like a noticeably smaller venue than the last two times I'd seen IAMX in London. However, it's hard to infer much from that, since Chris Corner is off marching to the beat of his own drum these days, and very much based in mainland Europe, besides. Hrm.
Anyway!
I had been too, too long since I'd been to an IAMX gig. The people-watching opportunities alone are worth the price of admission. Most indie shows just don't have the same commitment to pierced punk-goth fabulousness from the audience. Also, when it comes to the people proferring flyers outside the venue, I much prefer to be given something advertising a kink club (as was the case here) than an ad for a mediocre band I'll never listen to. :D
James Cook (not that one -- the one who used to be part of the IAMX live band) was the support, but I completely missed him. Uh, oops.
The first half of the IAMX show was very heavy on Kingdom of Welcome Addiction, which kind of -- eek -- never really took off for me. Now, let me explain: I LOVE this album -- I think it's nuanced and beautiful and a massive progression from The Alternative. But the thing is, it's an album that works because it's intensely personal (Chris/Sue OTP RIP :() -- and Chris, as he inhabits his bombastic stage persona, is not quite believable as a guy who sings about loneliness and heartache. There was just a disconnect between Chris's " escaped mental patient attends a masquerade ball" stage persona and those heartwrenching songs.
(The exception, incidentally, was 'I Am Terrified', where Chris just stood still at the microphone and stared down the crowd and metaphorically gutted himself. It was incredibly moving.)
The second half (the show was epic -- you thought it was ending... and then it just kept on going!) was heavy on the older material and it was exactly as jubliant and overwrought as I'd come to expect from an IAMX show. I was sorry to see Chris had taken 'The Clash' out of his set list, but otherwise, he hammered out all his best songs about sex and recklessness, and it was perfect perfect perfect.
Song rec:
IAMX - I Am Terrified
Rufus Wainwright @ the Colston Hall, Bristol
I am, in truth, kind of a fakey Rufus fan. I bought Poses when I was a teenager, because it was a hipserish thing to do and, at that time, I thought I was headed down the hipsterish music fan route. (FUNNY STORY: I started listening to Brand New when I was 20 and look what happened.) I lost track of Rufus upon discovering other, similar artists that I liked more. I only rediscovered him with the UK commerical success of Release the Stars.
Anyway! You need that background to understand that I arrived at the concert thinking there was going to be a hipsterish crowd and AHAHAHAHA... no. This just in: OLD PEOPLE REALLY LIKE RUFUS. I would say that 80% of the crowd was over 40, and 40% of the crowd was over 60. There was a woman who couldn't have been younger than 80 sitting two rows in front of me.
I... really? You all came to hear a faggy hipster dude play piano...?
(Clearly I do not give old people enough credit. I am sorry. In my defense, my grandmother died because she wouldn't let an Asian doctor examine her. TRUE STORY. I just kind of assume that old people are bigoted.)
Anyway, anyway.
The first half of the show was -- sorry, Rufus -- SUPER WEIRD. The audience weren't allowed to applaud. Rufus sat at his piano, barely lit, with a black screen filled with blinking eyes behind him, and played an endless succession of depressing piano ballads. It was very funereal.
(A sartorial note: Figure Skating fandom has ruined me, so when Rufus appeared to be wearing a black get-up with a big, sparkly collar, I was all, "pssshaw, it's not gold lamé, is it?" But, at the end, I realized that attached to his outfit was a 8ft-long train. IT WAS AMAZING. *__* I take it all back, Rufus, you win.
During the second half, he wore a stripy shirt with suspenders and a sparkly tie. He looked very jaunty.)
The second half was filled mainly with mid-tempo/upbeat songs, along with a few ballads, and we were actually allowed to clap, and it was ALL GOOD. Rufus was very self-deprecating and thanked us for playing along with his first-half "endeavour". Objectively, I can see his reasoning: it must be easier to concentrate on sad songs and really pour out your soul when you don't have to worry about the distraction of applause inbetween songs. (I also wonder if this performance choice had something to do with his mother dying earlier in the year.)
I much prefered jaunty!Rufus, however. He talked about how Bristol made him want to be kidnapped by a pirate. :D! In general, I also think uptempo songs are more forgiving of limitations of Rufus's voice, whereas he can begin to sound strained during ballads.
He went through his family tree, singing 'Little Sister' about Martha and 'Dinner at Eight' about Loudon. I found it quite charming how he felt the need to update us on their lives and what they're up to, as if they were old friends of ours ("Martha and the baby are doing fine, they're living in Brooklyn and gardening a lot" and "dad's living in Long Island and goes sailing all the time"). He also noted that because his family is all busy and off on tour, they never have time for therapy. "So -- songs!" he said dryly, leading into 'Dinner at Eight'.
'Cigarettes and Chocolate Milk' was the last song, with an encore of 'Poses' and 'Going to a Town' (a perfect contrast, which moved me to tears).
For his final song, he sang a song his mother wrote about his father, during the brief time they were happily married. He was crying as he sang it, and it was incredibly sad, but a beautiful finale.
Song recs:
Rufus Wainwright - Poses
Rufus Wainwright - Going to a Town
Tom McRae + Brian Wright @ the Academy, Bristol
The thing these three shows have in common, btw, is that I arrived late to each one. Apparently I am an indie kid in my soul and I am thus surprised when any concert starts before 9, no matter what it says on the ticket.
Anyway, as a result of my lateness, I missed all but two of Brian Wright's songs -- a new one I didn't recognize and 'Falls County', which seemed like a hella weird song to end on. I love Brian Wright on record (I actually started listening to him after seeing him on tour with Tom McRae last time -- the Hotel Cafe UK tour, which apparently Tom lost masses of money on... *nervous laughter* :/), but acoustically, sans-band, he seemed a little weak. He also seemed to have some attitude going on -- not sure if it was because he was drinking or because he was pissed off by the unenthusiastic crowd (dude, you're the support act, suck it up).
However, Brian played guitar as part of Tom's band for the main act, and he was probably the most enthusiastic one up there. I just kind of wish he'd brought that kind of energy to his own act, y'know? I still really, really love him on record, though, and I urge you to d/l the song rec below.
Tom is a reliably great performer and a very funny man to boot, so I definitely wasn't disappointed by the show. However, the night was coloured by two facts:
(1) He didn't play my favourites. Which is basically the most damning review you can ever give -- I know I am not a special snowflake. But, nonetheless, I would have loved to hear 'How the West Was Won' or 'Sao Paulo Rain' or 'For the Restless' or... or... or.
I will say, though, that 'Walking to Hawaii' was exquisite live, despite not being a song I ever give much thought to. 'Silent Boulvard' was also a real highlight, despite not being a particular favourite of mine.
(2) He talked about his money woes. A LOT. Of course, it was all in jest and he was amusingly self-deprecating, but. It sort of reached the point where he talked about it so much that it became clear he wasn't joking anymore. And... jeez, we're in a recession and you're an artist. What do you expect, Tom? At least you're successful and on the road. Some of us are artists stuck in dead-end jobs that they hate.
Anyway! Don't want to end on a sour note. I always enjoy Tom's shows, and I'm also intrigued by how seeing him live changes the way I listen to his records afterwards. The sense of irony and humour always sharpens in his songs after I've seen him, whereas I usually just take them at face value.
Song recs:
Brian Wright and the Waco Tragedies - Morning Cigarettes
Tom McRae - Silent Boulevard
IAMX @ ULU, London
Ahhh, IAMX. You've gotta love an electro band that has a violinist in its live band. (Also, snaps to Chris Corner for having a live band that was 3/4 female, including a female drummer.)
I've been to some random London venues (Islington Academy "cunningly hidden inside a shopping centre" springs to mind), but this venue, the University of London student union, was odder than most. You entered through a side door to the building; there was no sign indicating it might be a music venue. There were also no tickets, just hand stamps -- so it was fun when my stamp immediately rubbed off. *eyeroll* Also, while I'm bitching, the lights in the bar area stayed on throughout the gig, so the room never really got properly dark. It killed the mood just a little. :/
This also seemed like a noticeably smaller venue than the last two times I'd seen IAMX in London. However, it's hard to infer much from that, since Chris Corner is off marching to the beat of his own drum these days, and very much based in mainland Europe, besides. Hrm.
Anyway!
I had been too, too long since I'd been to an IAMX gig. The people-watching opportunities alone are worth the price of admission. Most indie shows just don't have the same commitment to pierced punk-goth fabulousness from the audience. Also, when it comes to the people proferring flyers outside the venue, I much prefer to be given something advertising a kink club (as was the case here) than an ad for a mediocre band I'll never listen to. :D
James Cook (not that one -- the one who used to be part of the IAMX live band) was the support, but I completely missed him. Uh, oops.
The first half of the IAMX show was very heavy on Kingdom of Welcome Addiction, which kind of -- eek -- never really took off for me. Now, let me explain: I LOVE this album -- I think it's nuanced and beautiful and a massive progression from The Alternative. But the thing is, it's an album that works because it's intensely personal (Chris/Sue OTP RIP :() -- and Chris, as he inhabits his bombastic stage persona, is not quite believable as a guy who sings about loneliness and heartache. There was just a disconnect between Chris's " escaped mental patient attends a masquerade ball" stage persona and those heartwrenching songs.
(The exception, incidentally, was 'I Am Terrified', where Chris just stood still at the microphone and stared down the crowd and metaphorically gutted himself. It was incredibly moving.)
The second half (the show was epic -- you thought it was ending... and then it just kept on going!) was heavy on the older material and it was exactly as jubliant and overwrought as I'd come to expect from an IAMX show. I was sorry to see Chris had taken 'The Clash' out of his set list, but otherwise, he hammered out all his best songs about sex and recklessness, and it was perfect perfect perfect.
Song rec:
IAMX - I Am Terrified
Rufus Wainwright @ the Colston Hall, Bristol
I am, in truth, kind of a fakey Rufus fan. I bought Poses when I was a teenager, because it was a hipserish thing to do and, at that time, I thought I was headed down the hipsterish music fan route. (FUNNY STORY: I started listening to Brand New when I was 20 and look what happened.) I lost track of Rufus upon discovering other, similar artists that I liked more. I only rediscovered him with the UK commerical success of Release the Stars.
Anyway! You need that background to understand that I arrived at the concert thinking there was going to be a hipsterish crowd and AHAHAHAHA... no. This just in: OLD PEOPLE REALLY LIKE RUFUS. I would say that 80% of the crowd was over 40, and 40% of the crowd was over 60. There was a woman who couldn't have been younger than 80 sitting two rows in front of me.
I... really? You all came to hear a faggy hipster dude play piano...?
(Clearly I do not give old people enough credit. I am sorry. In my defense, my grandmother died because she wouldn't let an Asian doctor examine her. TRUE STORY. I just kind of assume that old people are bigoted.)
Anyway, anyway.
The first half of the show was -- sorry, Rufus -- SUPER WEIRD. The audience weren't allowed to applaud. Rufus sat at his piano, barely lit, with a black screen filled with blinking eyes behind him, and played an endless succession of depressing piano ballads. It was very funereal.
(A sartorial note: Figure Skating fandom has ruined me, so when Rufus appeared to be wearing a black get-up with a big, sparkly collar, I was all, "pssshaw, it's not gold lamé, is it?" But, at the end, I realized that attached to his outfit was a 8ft-long train. IT WAS AMAZING. *__* I take it all back, Rufus, you win.
During the second half, he wore a stripy shirt with suspenders and a sparkly tie. He looked very jaunty.)
The second half was filled mainly with mid-tempo/upbeat songs, along with a few ballads, and we were actually allowed to clap, and it was ALL GOOD. Rufus was very self-deprecating and thanked us for playing along with his first-half "endeavour". Objectively, I can see his reasoning: it must be easier to concentrate on sad songs and really pour out your soul when you don't have to worry about the distraction of applause inbetween songs. (I also wonder if this performance choice had something to do with his mother dying earlier in the year.)
I much prefered jaunty!Rufus, however. He talked about how Bristol made him want to be kidnapped by a pirate. :D! In general, I also think uptempo songs are more forgiving of limitations of Rufus's voice, whereas he can begin to sound strained during ballads.
He went through his family tree, singing 'Little Sister' about Martha and 'Dinner at Eight' about Loudon. I found it quite charming how he felt the need to update us on their lives and what they're up to, as if they were old friends of ours ("Martha and the baby are doing fine, they're living in Brooklyn and gardening a lot" and "dad's living in Long Island and goes sailing all the time"). He also noted that because his family is all busy and off on tour, they never have time for therapy. "So -- songs!" he said dryly, leading into 'Dinner at Eight'.
'Cigarettes and Chocolate Milk' was the last song, with an encore of 'Poses' and 'Going to a Town' (a perfect contrast, which moved me to tears).
For his final song, he sang a song his mother wrote about his father, during the brief time they were happily married. He was crying as he sang it, and it was incredibly sad, but a beautiful finale.
Song recs:
Rufus Wainwright - Poses
Rufus Wainwright - Going to a Town