Matthew Houck, a native of Athens, Georgia, is Phosphorescent. His music can be described as indie country and it has drawn favorable comparisons to Bob Dylan, with publications like the London Evening Standard declaring him “the most significant American in his field since Kurt Cobain” (source: Allmusic.com).
His last album, “Muchaco”, was released in 2013 was critically well received and perhaps a bit more experimental than his earlier output. Americana sounds incorporating electronic instrumentation doesn’t necessarily seem to a logical fit, but it works. Backed by a full band, the instrumentation didn’t obscure the singer’s voice, which can be described as “soulful folksy” and seemed to inflect a deep rooted emotional history of life spattered with hardship.
I’ve read that his songwriting, especially his lyrics, is superb. Since I was consumed with adjusting settings on my camera throughout his performance, I frankly couldn’t focus on the stories being sung. But based on what I heard, I’ve definitely earmarked his music to listen to in the future.
Kyle Field is Little Wings. He’s been called a “musician’s musician” and his music has influenced a lot of popular artists (i.e. Feist’s named her film, Look At What The Light Did Now, after a Little Wings song). Continue reading →
I’m a sucker for new R&B music. When I heard KCRW play Shy Girls’ Shy Girls’ “Voyeur’s Gaze” on Morning Becomes Eclectic in 2013, I was hooked. When I saw that they were opening for a band named Phosphorescent, I immediately bought a ticket. I had no idea about the headlining act, but that didn’t matter. It had been close to a year since I saw them perform, and I was jonesing to see them perform again.
The performance was short, but it was everything that I anticipated: smooth vocals over a tight knit band playing music with an 80s and early 90s R&B vibe.
The first two times I saw Shy Girls perform live, they didn’t play the song that hooked me in the first place, “Voyeur’s Gaze”. When I had asked them about why didn’t perform that song since it was the song that KCRW decided to spin, they indicated that the arrangement was a bit too complex for them to play live. They remedied the omission this time around and it was, to my complete satisfaction, performed as a song in the middle of their set.
Apparently, I was the only one in the audience excited to hear the tune. Instinctually, I yelped out a very audible, “Yes,” when the opening vocals and keyboard chord progression were played. I got a few giggles from some of the audience members around me, and under my breath, but audible, I felt it necessary to qualify my blurt with, “Can’t help it, it’s my favorite song of theirs.”
I soon realized that the crowd wasn’t here to listen to Shy Girls smooth R&B jams. I further deduced that headlining act’s style of music was at the opposite side of the spectrum because if the audience wasn’t feeling what Shy Girls was putting forth on stage that night … well, they were here for something else.
And it’s a bit of a shame. Shy Girls is a Red Bull Sound Select artist. I would have thought that Red Bull, the host of the concert series, could have done a better job at procuring a line-up that was more consistent. I went to the Chet Faker 30 Days In LA show later in the month, and I can easily say that Shy Girls would have KILLED IT if they were one of the opening acts for that evening’s music. In fact, switching James Supercave from the Chet Faker night, with Shy Girls would have been my choice.
The highlight of the evening was when Shy Girls’ covered Brandy’s “Sittin’ Up In My Room” (a demo recording of which is above). It was simple and sublime. It was a performance of an R&B classic that anybody with an inkling of appreciation for type of R&B music would have loved. I just wish more people could have truly appreciated it.
VIDEOS:The Instagram videos that I uploaded somehow got corrupted. 😦
For the past several years, Adidas Originals and Cashmere Agency has hosted an annual, private artist showcase titled “Respect The West”. This year it was held at The Well in downtown Los Angeles on 11/22/14, and featured the performances of YG, Hit-Boy, Audio Push, Nipsey Hussle, BJ The Chicago Kid, Thurz, R.J., and Raven Felix. The evening was hosted by Fuzzy Fantab and Rikki Martinez and was one of the better hip-hop shows I have seen in a while because it had a veritable vibe compared to most shows. It was a fantastically organized and designed event! It was authentic hip-hop in an unaffected setting, a tight designer sneakers exhibition and a chill crowd past the ropes.
The Respect The West showcase was held in conjunction with Adidas Originals’ pop-up store, at the same location, giving shoe hawks the opportunity to check out adidas new line of ZXFLUX shoes with the aptly titled exhibit “The ZXFLUX Experience”. Our favorite shoe? The LA ZXFLUX Clippers design (editors note: The founder of MusicOfMyMind14 is a longtime, diehard Cippers fan…).
On this Downtown LA night, guests were lined up down the block to walk through the double glass doors with the Adidas logo at The Well. On other side of the glass doors you entered into a mahogany paneled exhibition room with white benches accenting the concrete floor and the ZX Flux line on display on the walls – dope sneakers! From the exhibition, down a short hallway, it changed from mahogany and white to an intimate warehouse music venue.
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I arrived during sound check to see a complete, but refreshingly unpretentious stage, white brick walls that looked like they had stories to tell, a concrete floor and double white steel doors to the outside.
My favorite spot was right in the front, stage right. From that vantage point, I could see each of the artists getting ready to take the stage. There were only about 5 minute breaks between sets which made the vibe even better because the artists were just being artists, flowing over with natural energy – no over-the-top production, no problem – guests were all in and responsive to the vibe. The bass was loud, the vocals were clear and the rap, and some R&B, was on!
The night’s first performance was Raven Felix, a female MC from The Valley. Raven Felix has clear, rapid rhymes and her beats and vocals range from an ingénue tenor to commanding M.I.A. tones. Her lyrics, “I’m 16 and my sh*t’s clean. . . ” and it’s kind of true. I don’t know what her future holds but I liked her voice, awesome beats and confident performance. Her debut mixed tape is called “Valifornia,” how dope is that? I don’t know what sets her apart from other MCs, but she certainly has personality, a voice and talent and her delivery is clean.
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Raven Felix was followed by RJ. I don’t know too much about him, other than he is an artist signed to YG and DJ Mustard’s record label, Pu$haz Ink. Rj definitely brought serious energy to the stage, jumping on top of the speaker system, getting the crowd hyped.
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Next up was Thurz. Thurz is so unique right now. This rapper throws down lyrics over beats that are funk and disco sounds. I think when his set started, people stopped a beat and turned to see what was going on and then got into the dance vibe. He also reminds me of The Roots, circa, “The Seed,” and his “Right Now” lyrics remind me of growing up in LA, “like the alley near Rosewood and Fairfax.” It’s really cool how he can rap clear, modern, relatable lyrics on an unexpected style of beats – dare I say there is a poet’s attitude in that?
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Wow, ya, Bj The Chicago Kid. I love this artist’s clean, muscular vocals and his classic R&B sound is commanding. When I listen to him do his thing, I don’t even feel time passing. The son of choir directors from Chicago, this kid has collaborated with artist such as Kendrick Lamar, Schoolboy Q and Ab-Soul. His style is full of Motown sounds with a modern perspective and modern collaborative beats. His voice is big and I don’t think he needed a microphone for this venue. I just wrote this and I’m going to listen to him again right now. “Good Luv’n,” “Real Love Never Dies,” “Go Girl, “Can’t Hold My Liquor.” Are you kidding me!? He’s soooooooo freakin’ goooood!
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Audio Push’s energy in all of their performances is unmatched. I have seen this rap duo twice and this performance was even better than the last one. Oktane and Price are Audio Push and I think style, rap and rhythms are the words I think when I want to describe these artists. They are in the studio now working on their next album and they performed tracks from their up-coming album, including a new track with Wale.
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This is the first time I saw Nipsey Hussle perform- I had even bought tickets once and had to miss the show, so I was looking forward to this one. Nispey is, after all, a prolific, successful and consistent rapper who embodies everything you would expect from the Southern California West Coast hip hop sound, so I had some expectations. He played a short, 3 song set, which was fine but it’s hard for me to really guage his performance based on such a short set. I expected him to want to own the stage, but this being my first time seeing him perform, I really couldn’t get any sense of his personality.
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Hit-Boy brings hits! Polished beats and rap sounds is what this man is about. He’s a sharp producer and he knows what he’s doing. You can tell by his laid back but powerful performance. This night he brought his HS87 crew up on stage to perform, as well, a showcase within a showcase of talent. He has produced for some of the biggest and most successful artists in hip hop and I love that he can perform, too. His performance was smooth and oozed laid back confidence. If you haven’t heard his tracks, listen, he’s so great if you can’t vibe to his sounds, I don’t know what to say.
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YG! Everyone who knows me, knows I love YG, and his performance had the hype I feel for him. He was authentic and he was in the moment with the crowd . . . . or maybe that was me thinking he was talking to me when he asked, “B*tch, who do you love?” Um, you, YG! Seriously, he was in the moment because I was there to witness him bringing the crowd into his rhythm, lyrics and energy. It was so easy to get lost in his performance in this unaffected setting. At times he rapped without beats behind him and that was mad awesome to hear! He performed his hits “My N*gga,” and, “Who Do You Love,“ and more. The YG and DJ Mustard collaboration (My Krazy Life) is about West Coast rap a with mainstream turnt up beats and you could really hear them this night. YG released his debut studio album this year, My Krazy Life, and followed it up with his first movie, a 30 minute short film and soundtrack, Blame it on the Streets, which recently screened at L.A.’s Chinese Theatre. I knew nothing about RJ of Pushaz Ink when he took the stage, but I am glad he took the stage twice. Why? Because I was fascinated by him and because his deep, clear, articulated vocal quality is easy to listen to and I think this quality is good for rap and I think it sets him apart. Even though he can hold his own, I wasn’t sure where he was coming from when he performed. I am going to keep my eye on him so I know better for next time, I would see him again, but would like to know more about him.
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“[…] When Future Islands walked out on stage, you could tell that the crowd that was unmistakably on a mission to move and be moved. Singer Samuel Herring began with speaking a heartfelt introduction that bonded us both and served as preparation for a ceremony of unabashed intimacy.
[…]
[…] Between primal outbursts of energy, blessing the crowd, eating his own sweat, and a Hulk-like tear through his shirt, the shamanistic vocalist prodded out our repressions as he shared with us his confessions. Balloons released from above as the night came to a close and Future Islands made sure there wasn’t a single thing you hadn’t danced out by playing three encores. By the end of the performance, the air was thick with the sweat of released emotional baggage […].
“[…] The band’s musicianship gave gravity to the group’s spacey nature and I appreciated the strength of their live show; they gave their all and played an enthusiastic set. I would however like to hear them develop the journey of their songs instead of relying on technological filters as a vehicle to drive the music home. […] Their stamina to float into the ether and keep the dance vibes rolling made for a truly dancy, trancy, synthy indie time at the Wiltern.”
“[…] Joey, Troupe, and Nick (bass, vocals, guitar) heralded three part harmonies that maintained the attention of an audience caught off guard by the band’s naïve appearance and subdued interactions. […]. Troupe’s ambitious vocal range sailed smoothly through the heart of every song, and as a singing trio they were just as solid and as much of a centerpiece. Their quick paced songs were brought down to hip swaying tempos at times, adding an aura of unexpected intensity and edge to the band’s otherwise sonically friendly climate. But despite their seemingly shy demeanors reminiscent of Death Cab for Cutie, but edgier, the four guys from Austin performed a confident set of hook-heavy pop rock.”
There was a line almost 2 blocks long waiting to to get into the venue before doors had opened. Future Islands, who were playing club gigs last year, are now selling out storied venues like the Wiltern.
It’s not easy for bands to break through. Sometimes it can take years. Sometimes it never happens. It took 8 years, but Future Islands finally got the exposure they deserved when they made their network television debut on March 3, 2014, on The Late Show with David Letterman, performing the lead single “Seasons (Waiting On You)”. That’s how I discovered them. That’s why I’ve seen them three times this year.
We entered the storied venue and as the others spent time visiting Red Bull affiliated booths and activities in the lobby, we stepped into the performance room to set up shop to find a good view. As we made our way up front, walking towards the relatively empty orchestra pit, a security guard stopped us to give us wristbands to enter the space up front. Typically at the Wiltern, orchestra pit passes are given to those waiting in line for the doors to open. Thankful, for whatever reason, that they gave them out, first come-first served, to whose who ventured to the front of the stage before the show started.
The first band to take the stage was Red Bull Sound Select artist, SPEAK; an art rock band from Austen, Texas.
The muted look of black attire and prescription glasses camouflaged the three guys and drummer out on stage. They quietly took the stage and meekly addressed the audience. They didn’t have to say a word. They introduced themselves to the audience by digging into their instruments. With a different palate to offer, SPEAK took a detour from the synth-pop lineup of the evening. Elaborations on four-on-the-floor beats and pop progressions were accompanied by synth lines but not driven by them. That’s not to say that the band was unfamiliar with how to hook a bait; the oscillating melodies that stamped each of their songs are proof of their knack for knowing what sticks.
Joey, Troupe, and Nick (bass, vocals, guitar) heralded three part harmonies that maintained the attention of an audience caught off guard by the band’s naïve appearance and subdued interactions. That’s not to say that there was a timidity in their sound. Troupe’s ambitious vocal range sailed smoothly through the heart of every song, and as a singing trio they were just as solid and as much of a centerpiece. Their quick paced songs were brought down to hip swaying tempos at times, adding an aura of unexpected intensity and edge to the band’s otherwise sonically friendly climate. But despite their seemingly shy demeanors reminiscent of Death Cab for Cutie, but edgier, the four guys from Austin performed a confident set of hook-heavy pop rock.
The second band, another Red Bull Sound Select Artist, Rose Quartz, is a synth band Denver, Colorado.
As the veil of darkness on stage lifted to reveal stacked bulks of vintage looking synth gear, the duo known as Rose Quartz (who perform as a foursome live with the addition of guitar and drums) went into what I would describe as dancy trancy synthy indie.
Their cyclical progressions and repetitive vocal lines gave the performance a chanty element and plenty of landscape to dance to, making their set sound like one long song. Build-ups usually plateaud onto lyrical incantations while vocal effects trailed through musical changes that hopped back and forth between two or three chords. Again, dancy trancy synthy indie. The band’s musicianship gave gravity to the group’s spacey nature and I appreciated the strength of their live show; they gave their all and played an enthusiastic set. I would however like to hear them develop the journey of their songs instead of relying on technological filters as a vehicle to drive the music home. We couldn’t ignore that the progression of their songs lacked a story, leaving listeners pretty much where it all began. Nonetheless, their stamina to float into the ether and keep the dance vibes rolling made for a truly dancy, trancy, synthy indie time at the Wiltern.
Rose Quartz was a decent appetizer … but we were ready and anxious for Future Islands to take the stage..
When Future Islands walked out on stage, you could tell that the crowd that was unmistakably on a mission to move and be moved. Singer Samuel Herring began with speaking a heartfelt introduction that bonded us both and served as preparation for a ceremony of unabashed intimacy.
There seemed to be shaky start as within a few seconds of their opening song, Sam gestured abruptly to kill sound and apologized of for the synth malfunction. It was as is he was teasing and taunting the brewing hurricane that the music was stirring. The audience was more than willing to forgive the incident even before Herring made a comment on the beauty of second chances. If anything, the technical difficulty proved to show the humanity in the circumstance and fit right in with the prevalent theme of their music.
They picked up just as powerfully as the first attempt, and it soared from there. Between primal outbursts of energy, blessing the crowd, eating his own sweat, and a Hulk-like tear through his shirt, the shamanistic vocalist prodded out our repressions as he shared with us his confessions. Balloons released from above as the night came to a close and Future Islands made sure there wasn’t a single thing you hadn’t danced out by playing three encores. By the end of the performance, the air was thick with the sweat of released emotional baggage. Walking back out into the city was the perfect cool down for the collective dance party we’d all just had.
Earlier this year, I got a call from management to negotiate a side artist agreement for a track Snoop was to be featured on. When I asked who the featured verse was for, management indicated that it was a female R&B singer named Goapele.
Goapele … that name sounded so familiar to me.
I quickly opened my iTunes and found that I had purchased a compilation back in 2004 titled “California Soul”, and nestled in as the fourth track of the album was Goapele’s track titled “Childhood Drama”. Apparently, after listening to the track 12 times to date, I’ve given the track 5 out of 5 stars. With it’s smooth production value, and dreamy vocals, I was bit surprised that I never opted to purchase more music from this artist.
After concluding negotiations on the agreement, Goapele’s manager offered to give me a comp ticket and a photo pass to her performance at the El Rey. Arriving at the venue for the performance, I got to meet Goapele’s manager and publicist, who let me know, with appreciative glows in their eyes, that Snoop had called earlier in the day to wish Goapele luck.
Goapele’s fans had arrived at the venue early like me, sitting on the steps close to the stage, bordering the perimeter of the venue. As I scanned the audience, I noticed that the audience was filled predominantly with women. Let’s put it this way, if you were a single guy, the odds … attractive odds … would definitely have been in your favor.
I made my way to the front of the stage and staked out my position, engaging in small chit chat with some of the female attendants who would occasionally peek at the photos I took during the show, smiling with approval.
The opening act for Goapele was a singer songwriter name Josiah Bell.
I couldn’t find too much about this artist online prior to his performance other than the fact that he was (as of June 26th, 2014) dating actress Jurnee Smollett of “True Blood” fame and that he was a big fan of vinyl records, so I listened to him with open ears.
Josiah is a solid singer whose vocal range, and timbre, reminded me of Brian McKnight. His music is pure R&B and I was pleasantly surprised with what I heard. Perhaps my favorite part of his set was when his band took a break, and he sang a song while playing the keys. His voice, exposed and raw, demonstrated a tenderness with firm foundation that I wanted to hear more of. I understand that he recently had a string of performances at the Hotel Café. If it was just him and his piano, I’m sure that those performances would have been definitely worth the price of admission.
When Goapele took the stage, the first thing I noticed was her fierce, blond-dyed short hair and the beautiful angles of her face. With the house lights reflecting off her gold embroidered dress, I was literally in awe of how regal and strong she looked. When she started singing, I basically fell in love.
Her music hit all the right notes with me. From powerful to playful, from longing to seductive, the music both induced me to dance where I was standing and to scan the crowd to see if I could catch the eye of a potential soul mate. Though my dancing was awkward, and my scanning was fruitless, there was no time to dwell on my own deficiencies as Goapele’s music kept flowing and had me vibing … hard. It was almost a musical soul cleansing. It was music that didn’t rely on modern day gimmicks. It was solid songwriting, enhanced by a distinctive Sade-like voice.
Having singed recently to Eric Benet’s record label, Jordan House, she had, to the delight of the females in the audience, Mr. Benet join her on stage for a number.
When Goapele’s set had finished, I made it a point to thank her team for giving me the opportunity to review and shoot her performance. When Goapele came from backstage to greet fans, I was briefly introduced to her by her manager. When she thanked me for being diligent in finishing Snoop’s agreement. I could only thank her for performing that evening so sublimely. If I had known her better, and if there wasn’t a line of at least 70 fans anxiously waiting at the merchandise booth to meet her, I would have told about the rollercoaster of emotions that she put me on that evening and that I’m making some room on my CD racks for more of her music, because having only one of her songs is simply not enough.
“[…] Josiah is a solid singer whose vocal range, and timbre, reminded me of Brian McKnight. His music is pure R&B and I was pleasantly surprised with what I heard. Perhaps my favorite part of his set was when his band took a break, and he sang a song while playing the keys. His voice, exposed and raw, demonstrated a tenderness with firm foundation that I wanted to hear more of. I understand that he recently had a string of performances at the Hotel Café. If it was just him and his piano, I’m sure that those performances would have been definitely worth the price of admission.”
#DKLPHOTOS 