Tag: live show

LIVE REVIEW: Cardiknox @ Baby’s All Right

IMG_2608

Thursday, January 14 saw Cardiknox opening for The Knocks at Baby’s All Right, making for a poptastic, dance-worthy night. They took the stage with an energy that didn’t leave until the last song was done, and I have a feeling it probably followed them to the merch table, too.

The show had a mixture of the old with an emphasis on the new as their upcoming album, Portrait, just became available for pre-order. This show was the first of Cardiknox’s tour with The Knocks, and it looks like it’s going to be a pretty successful tour if Thursday was any indication.

Frontwoman Lonnie Angle bounced around the stage as Thomas Dutton jammed out next to her. She hit some impressive falsetto notes, and Dutton made sure to follow up with equally impressive riffs. When they played their latest single, “Into the Night,” the crowd lost their minds, jumping to rival Angle’s enthusiasm. They certainly gave everyone there plenty of reason to dance, so it only made sense to react appropriately. There’s not enough concerts that make getting down and boogying into a priority, and Cardiknox are proof enough that we need more of it.

IMG_2622

Until you can catch them on tour, listen to “Doors” below.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]

All photos by Nicole Ortiz for AudioFemme.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

LIVE REVIEW: Rubblebucket @ Brooklyn Bowl

IMG_2521

You probably won’t be surprised to hear that Rubblebucket completely rocked my and many other worlds on Friday, January 11 at Brooklyn Bowl. And you also probably won’t be surprised to know that attending one of their shows is an unrivaled live experience that stuck with me for days afterwards.

Opening with their slow yet jammy “My Life,” the group was greeted by jumping, dancing fans almost as soon as their fingers struck the first guitar chord. From there, people only proceeded to lose their minds in the best way possible. It was difficult to figure out who was having more fun at the show—Rubblebucket or their fans.

IMG_2358

Lead singer and saxophonist, Annakalmia Traver, knows how to get down. No, seriously. Not only can she belt out spine-tingling vocals, but she could probably also exhaust an entire class of kindergarteners with her seemingly endless supply of energy. There was also an incredible amount of synchronized dance moves, whether it was Alex Toth on trumpet and Adam Dotson on trombone getting down together or the entire band sweeping the stage in rhythm. It’s rare to find a band that grooves together so seamlessly, and Rubblebucket has got a serious connection to each other.

IMG_2403

Not only did they perform some fan favorites like “Origami,” “Shake Me Around,” and “On the Ground,” but they also regaled us with plenty of new music. Traver, Troth, and Dotson hopped off the stage during “Came Out of a Lady,” weaving their way through the crowd while keeping the song going. And during “Carousel Ride,” Traver donned a fluffy pink tutu and jumped around the stage, completely lost in the song. And that’s a perfect way to summarize pretty much the entire show: lots of singing, dancing, and an overall passion for music from both performers and fans.

IMG_2480

Now, I know what you’re wondering—was there confetti? Of COURSE there was confetti! And balloons! And balloons filled with confetti! And costume changes! And an inflatable raft carrying Traver across the crowd! It was ridiculous and amazing, and now I kind of want it to happen at every show I go to from now on.

IMG_2437

They closed out the set with their cover of Fugazi’s “Waiting Room” and “Hey Charlie,” making for a very ska-inspired, dance-worthy night. But it didn’t quite end there. Toth and Dotson walked off into the crowd where they jammed out a bit more with a robot that danced overhead. It’s almost hard to find the proper words to articulate the aura around Brooklyn Bowl that night, but I haven’t really stopped smiling since Friday.

IMG_2423 IMG_2559 IMG_2463 IMG_2473 IMG_2508 IMG_2453 IMG_2584

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]

All photos by Nicole Ortiz for AudioFemme.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

LIVE REVIEW: As Tall As Lions @ Webster Hall

As Tall As Lions

As Tall As Lions

The energy in Webster Hall for As Tall As Lions’ final reunion show on Wednesday, December 30, was palpable. Fans buzzed with excitement, squished together in the venue waiting to get a first glimpse of the boys they haven’t seen play together in five years. In the last couple of years, bands like The Starting Line, The Used, Motion City Soundtrack, and many others from my high school heydays are making their reunion rounds across New York. Nothing had me as excited as this one, though.

I had a few opportunities to see As Tall As Lions in the past, but they all fell through for various reasons. Then they split up, and I was left listening to their enticing falsetto and lulling rifts through my headphones during my morning commute, hoping for a chance to see them live. As soon as I saw their Facebook post announcing reunion shows in California and New York, I bought tickets immediately. It was probably the best way I could have ended 2015.

The second they took the stage, people erupted into smiles and cheers, and the positive vibes didn’t end until well after they took a bow and walked off. Performing for almost two hours straight, the show was a blur of reminiscence from a band that didn’t appear to change much after five years of not playing together. Frontman Dan Nigro and bassist Julio Tavarez complimented one another’s musical styles as well as their senses of humor—watching them perform alongside one another was akin to watching good friends just doing what they loved.

As Tall As Lions

As Tall As Lions played through their entire self-titled album, touching on favorites like “Stab City,” “Milk and Honey,”and, “Maybe I’m Just Tired.” When Dan took out his acoustic guitar to play “I’m Kicking Myself,” the only sound other than his entrancing vocals and his fingers dancing over the chords was the echo of everyone in Webster Hall singing along. And when they played their wildly popular single “Love, Love, Love,” a sea of smiling faces met you in every direction you looked.

As Tall As Lions

After playing through their 2006 full-length, they made sure to touch on a few of their other popular singles, including “Break Blossoms,” which is the point where I officially lost my voice. They also played “Acrobat” from album Lafcadio as well as the opening track from their last album, You Can’t Take it With You, “Circles.”

The night was a whirlwind of nostalgia, Dan’s sweet falsetto vocals, a spunky brass section, and more than a few goofy faces from Julio as he jammed out on bass. The Long Island boys posted earlier this week on their Facebook page about the shows and brought up the questions on everyone’s minds: What exactly does the future hold for ATAL? Right now it seems like it is relatively uncertain, but I’ve got my fingers (and toes) crossed for new releases and more performances.

As Tall As Lions

As Tall As Lions

As Tall As Lions

As Tall As Lions

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]

All photos by Nicole Ortiz for AudioFemme.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

LIVE REVIEW: Imelda May @ Irving Plaza

Imelda May radiates light when she’s on stage–and not just because of her bright red lipstick. The Irish rockabilly singer brought an ebullient grace to her set last Monday at Irving Plaza, beginning with the immaculate-as-always platinum blonde quiff set on top of her dark ponytail, and ending with the nuggets of adorable stage banter that peppered her set. “I want to thank The Bellfuries,” she said at one point, referring to the opening act, “because I’m, like, a huge fan of theirs–a follow-them-around-and-carry-their-bags kind of fan–and I hope I get the chance to open for them one day.”

It makes sense that she would make a special point to spotlight her opening band–May knows what it’s like to take the long road to success. As a young singer gigging around her hometown of Dublin, May had eclectic tastes, but always had a penchant for bluesy vocalists like Wanda Jackson. Her only training came from listening to the performers that she loved. Today, May’s many terrific covers–like “Tainted Love” on the 2010 album Mayhem–testify to how deeply those old records have sunk into her sound. In fact, the two encores she played without her band on Monday night were both covers: intimate, dramatic renditions of “Bang Bang (My Baby Shot Me Down)” and Blondie’s “Dreaming,” accompanied by ukelele.

Complete with cat eyes and a soul-singer piano bench perch, May slipped into the persona of the rock ‘n’ roll songstress as easily as if it were her favorite vintage sundress . But she rotated the spotlight between her bandmates, too, ushering her upright bass player, Al Gare, to the front of the stage for the bass-heavy number “Johnny Got A Boom Boom,” and flashing frequent smiles in the direction of her guitarist Darrel Higham, whom she married in 2002.

Most of the songs May performed that night came off of her new album Tribal, and, while just as energetic and old-school catchy as her previously released material, their themes tended towards joy over the gleeful darkness of older singles like the title track of Mayhem. More than ever, her performance felt celebratory. As evidenced in the bubbly and–even more than usual–aesthetically retro single “It’s Good To Be Alive,” May has plateaued in fun-loving rock ‘n’ roll stardom with ease and obvious delight.

Get down with this candy-coated jam below, and be sure to pick up your copy of Tribal, out via Decca Records, right here.

Live Review: SALES @ Comet Ping Pong

sales2

On June 18, Florida duo SALES played an intimate and charmingly awkward set at tiny venue Comet Ping Pong with local Maryland band Go Cozy as the opening act. The DC show was their second stop on their small east coast tour in preparation for the band’s debut album out later this summer. Their understated music fit perfect with the low-key atmosphere of the space.

I’ve been to my fair share of live shows in DC but this was my first time going to Comet Ping Pong, a full-time bar and restaurant known for its handmade pizzas. It was out of the way from my usual music stomping ground of U Street, tucked away in Northwest DC that was far from a metro stop but at least had one bus stop in front of it. The low-set stage was at the back of the restaurant, partitioned by a flimsy curtain. To say the area was intimate is an understatement; the exposed brick and open ceiling beams made me feel like I was catching a secret show in a hidden barn.

The band – comprised of Lauren Morgan and Jordan Shih – shuffled on stage with their equipment, setting everything up by themselves. There were some shy waves and forced small talk as the members tried to make themselves at home on the personal stage.

Both Morgan and Shih seemed uncomfortable in front of the modest crowd but at times, there were real moments of ease and calm that hit both musicians once they really got deep into a song. Unfortunately, their set was plagued by technical difficulties but they pulled on through, even if they had to restart some songs several times. The crowd was generous and forgiving, encouraging the band to keep going and dancing along.  Morgan’s pizzicato vocals matched her precocious guitar playing and were a joy to hear live, her notes flitting up and down erratically but endearingly. At times, their songs felt one-dimensional – there’s only so much you can do with pre-recorded beats and two guitars – but the pair’s personal approach to songwriting translated easily to their live performance, making each track a sort of precious event. Both performers were focused on their music rather than the audience but there were moments of playful banter that seemed genuine. It was only their second show on this brief tour, and it seems likely that SALES will get more comfortable with each experience.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]

Lauren Morgan of SALES before she does her “famous” guitar switch.
[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]