This year (2013), Snoop’s wife’s company, Boss Lady Entertainment, signed an artist from Poland named Iza Lach. I’m a huge fan of her sound/voice, so when I found out that she was slotted to perform several sets during Filter Magazine’s Culture Collide music festival, I was giddy. I was even more giddy when I saw the impressive number of foreign bands set to perform. I had a wedding in Santa Barbara to attend Saturday, October 12th, so I’d have to miss out on The Ravonettes, Alice Russell, Rhye, King Khan & The Shrings, and a handful of other lesser known acts, but I still managed to get a press pass (my first of the year!) to check out some of the bands playing Thursday and Friday.
Now, there are a lot a music festivals that go on throughout the year, all across the United States, but the Culture Collide festival is particularly unique in that it’s an extremely affordable way to see different kinds of bands from all over the world- 24 countries (including the United States) were represented this year. I sat next to a couple for Jacco Gardner who echoed that sentiment by telling me that they, “go to this festival every year. It’s only $30, and to get to hear great music from places I know I’ll never get to go? It’s totally worth it.”
Below are the bands that I was able to catch (click through the names of the bands to check out the entries that I wrote up). Hopefully this music festival has another go at it next year, as I certainly would attend, with or without a press pass.
I first saw Fiona Apple perform live when I was on location at the Trump Taj Mahal in 2006 working on the short-lived, live-to-tape, VH1 Classics concert series Decades Rock Live! She was a guest artist on the episode featuring Elvis Costello, and she she sang a cover of Elvis Costello’s “I Want You” that absolutely blew my mind and gave me shivers. That one performance was, bar none, my favorite performance from the 8 episodes we were able to tape.
It wasn’t until 6 year later in 2012 that I was able to see her perform again, this time at the Greek Theater supporting her album “The Idler Wheel […]”. I enjoyed the show, but truth be told, I could have done without the groups of drunk girls, sitting around me, chit-chatting throughout the entire show. Apparently, at that show, concert decorum left the building early. To have to tell people to shut up during the quiet, emotional songs is something that I don’t think any concert goer should have to deal with.
When I heard that Fiona Apple was performing at the Walt Disney Concert Hall, I knew that that was a ticket I needed to get. Not only is the Walt Disney Concert Hall a more intimate venue (it seats 2,265 as opposed to the Greek’s 5,870), but it also has superior acoustics and strict rules as to concert etiquette (i.e, strict food, beverage, noise and photography rules). I knew that this time around, I would be experiencing a difference type of Fiona Apple concert.
When I got to the venue, I made a b-line straight to the merchandise booth. For the concert at the Greek, I remember being literally one person late in getting an autographed lithographed poster for that show, taking a picture of the last poster that the woman right in front of me purchased, and I was trying to avoid the same thing from happening again. Nothing special was available, however, and I simply picked up the poster that you can see up at the top of the page.
The stage set up was sparse and simple. Instruments (drum-kit, upright bass, guitar rack, baby grand piano and a stand alone kick drum) were positioned on the stage with carpets under the center microphone and baby grand, and an empty blackboard at the rear of the stage. The players (Sebastian Steinberg on upright bass, Barbara Gruska barefoot on drums and Blake Mills on vocals and guitar(s)) took the stage, and before the music started Fiona announced, among other things, “I don’t do soundcheck,” and, “Now that we’re here, I’m taking the most risks.”
She walked to the chalkboard and began to write a series of words on the board (I wish I could have taken a picture of it, but per venue rules, no pics):
The music of the evening was pure perfection. Fiona and Blake complimented each other’s sound and personalities, and it was a joy to see each of the players be so in tune with each other. The musical brilliance aside, I was particularly excited to see Fiona so comfortable to be performing for us. She was chatty and enthusiastic throughout the entire set, something that wouldn’t have necessarily been expected based on all of the recent gossip.
During “The First Taste”, she sprawled herself on the floor playing percussion on some items she “borrowed” from the hotel she was staying at. After, “The First Taste” she noted her haircut and giggled while stating, “When I get excited, I cut my hair,” and added, “I just wanna feel everything.” During Blake’s first solo song, she draped herself of the stand alone kick-drum and pounded away at it throughout the tune. After “Anything We Want”, she emphasized that the name of tour was the same, and at that point it truly felt like she meant it.
Her emotions poured out on “Regret”. The dynamics on the Blake Mills duet of “Seven” were chilling, especially when Fiona sat on the floor while Blake gently, and at a super pianissamo level, gently plucked away at his guitar strings … all eyes in the room were fixated, and you could feel the tension in the room from everybody worrying about moving around making the slightest bit of noise. When an audience member yelled out “Paper Bag” as a request, Fiona admitted that she totally forgot about that song. Before “Left Alone” she called Rex Reed a cunt for giving her father a poor review, and stoically stated, “That was for you dad.”
After the show concluded, I made my way back out to the front of the theater to meet up with a couple friends when I noticed some concert goers walking around the foyer with a poster that looked different that the one I had purchased before show. I stopped one of the patrons with the different poster and she told me it was a limited lithograph of Fiona’s original artwork, signed by both Fiona and Blake. I went back to the merchandise table where the line was considerably longer than before. As fate would have it, this time I was the customer who purchased the LAST one that was available. I guess Karma found it’s way back to me.
A one of fifty lithographs available at the concert of Fiona’s original artwork signed by both Fiona Apple and Blake Mills.
I could totally care less about all of the tabloid fodder that’s out there about Fiona. Her music should speak for itself. And her music is simply, unequivocally, brilliant. In the intimate and acoustically superior Walt Disney Concert Hall, that musical brilliance was transcendent. I must have had the hair on my arms stand up at least 5 times throughout the concert, and I hardly have any hair on my arms.
Although I wish I could have taken some photographs, coming away with 1 of 50, signed lithographs for the show is definitely a worthy consolation prize.
I recorded some audio clips from the show, but rather than edit them to post here, I simply found some video that another concert goer had put up. The video is terrible, but at least you can hear some of the amazing I got to experience at the Walt Disney Concert Hall that wonderful Monday evening. Cheers.
Martin Gore and Dave Gahan of Depeche Mode performing at the Staples Center 9/29/13
Years ago, back in 2009, I got to see one of my favorite bands growing up, Depeche Mode, perform at the Hollywood Bowl. It was a concert that I hadn’t purchased a ticket for, but I was lucky enough to have friends who, for one reason or another, couldn’t go, and I was the lucky recipient. For that show, I literally had the “last seat” in the house (Section X2, Row 4, Seat 3), but it is still one of the handful of concerts that I have ever been to that I am sure will always be somewhere in my top 10 of all time. I’ll have to admit though, I could be a little biased simply based on the fact that Depeche Mode’s music was such an integral part of my growing up.
I remember how I got introduced to their music. While I was in elementary/middle school, I had a cool cousin who graduated from college and was trying to get a job in the film industry. During her job search, she spent a few years living at my parents house, and with her came her music collection. Though I only got to listen to her music in her car, when she found a job and moved out, she left a handful of albums behind. The Fleetwood Mac LPs were cool. The Billy Joel cassette was cool. But all of a sudden, I noticed a black double cassette (the first double cassette I’d ever seen), of some band I thought was named “Depeche Mode 101”.
When I popped in the first cassette, the first thing I realized was that it was a live recording (recorded at the Pasadena Rose Bowl). When I pressed play, I didn’t hear any music. Rather, it was the sound of an audience cheering like crazy. I was enthralled. Each song was something new to me, and whenever a song ended, and the crowd roared with cheers, I truly felt like I was at that concert. I would eventually find out that the band’s name was just Depeche Mode, and the live album was titled 101. The title of that album was fitting, as that album was basically my beginner’s course for a band that I would come to love so whole heartedly.
For some reason, I failed to purchased tickets to any of their shows at the Staples Center when they were released to the public. I checked online for tickets, but they were all exorbitantly marked up. It was a sad oversight, and I figured that I would miss out this time around … but again, the music gods must have been looking over me as another friend messaged me on the 28th about having an extra ticket for the 29th. Without hesitation, I said, “Yes”.
The seats were in the rafters of the Staples Center, but if I learned anything about Depeche Mode from the last time I saw them, seats anywhere in the venue would have been fine. Like the first time I saw them at the Hollywood Bowl, Andy Fletcher, Dave Gahan and Martin Gore did not disappoint. Their live performance was grand and filled with adrenaline rushing moments, contrasted with emotionally charged darkness. Dave Gahan strutted across the stage throughout his songs with such a bravado that one would never guess that he’s over 50 years old.
Though the tour is in support of their latest album, Delta Machine, they performed songs from every stage of their careers. Crowd, and radio favorites, “Personal Jesus”, “Enjoy The Silence”, “World In My Eyes” and “Just Can’t Get Enough”, and “classic” Depeche Mode favorites like “Behind The Wheel”, “A Question of Time” were performed, but what really stood out in my mind were the songs that Martin Gore sang solo. Subdued, acoustic and intimate versions of “A Question of Lust” and “Condemnation” were performed during the encore that moved me immeasurably. Those two songs, for me, epitomize Depeche Mode’s ability to reach into the listeners soul to question, consider and forgive all of the intricacies and follys of love. Where Dave Gahan is the bravado, Martin Gore is the soul. Their pairing is what keeps the yin and yang of Depeche Mode in harmony.
Unfortunately, the Flickr slideshow below is not currently available on mobile devices. If you are on a mobile device, please click THIS LINK to get redirected to the set of photos.
Phoenix, Daft Punk, Justice … France turns out some great electro, synth pop bands. Oh yeah … M83 is pretty damn good too. Named after the spiral galaxy Messier 83, M83’s music is as cosmic as that system of stars. Adding a full orchestra and choir to their already sonically complex arrangements like “Midnight City” only raised the level of their cosmic sound.
I wasn’t planning on attending the show. In fact, I had been offered to get in on tickets when they first went on sale, but passed it up since I purchased some tickets for other shows and funds, at the time, were running low. But as fate would have it, a dear friend of mine called me up last minute the day before the concert to see if I wanted to attend the sold out show, and I got to attend the last installment of KCRW Radio’s World Festival series. The stars were definitely aligned for me …
The indie pop/Electronic rock band Phantogram opened for M83. It was my first time listening to their music, but I could tell why they were opening for M83. Their songs were all dance friendly, and had catchy hooks. Sarah Barthel’s vocals were strong and sexy. The band didn’t seem intimidated by performing on the famous stage, but they expressed their humble gratitude by acknowledging the hallowed stage they were on, and thanked the audience for listening.
M83’s performance, back by the Hollywood Bowl Orchestra and its choir, was stunning. For a band whose music is already big with layered synths, guitars and voices, I wondered how the orchestral arrangements would come off and how it would alter the original arrangements. Surprisingly, the orchestra didn’t overpower the band’s sound. Rather, at least in my humble opinion, they seemed to be used only to accent the original sound. Truth be told, it was hard to me to actually note when the orchestra was playing and when they weren’t. M83’s sound, alone, is that big.
M83 used a lot visual media in their performance. Though it was hard for me to actually glean what the purpose of some of the visual montages were, I supposed that it was used to evoke mood and metaphors for the audience to come up with. As visually stunning as the montages were, personally, I think that the performance could have done without it, as I hardly spent time watching the video screens.
M83 brought up a couple of special guests during their performance: grade-school aged Zelly Meldal-Johnsen (performing “Raconte Moi une Histoire”) and Brad Laner (from the band Medicine) and though each special guest’s performance was entertaining (Zelly’s song about the frog was especially cute), I was hoping that the special guests, especially at the Hollywood Bowl, would have been more exciting or well-known…. After all, it IS the Hollywood Bowl.
Special guests notwithstanding, M83’s performance was the kind of show you hope to see- and is typically delivered- at the Hollywood Bowl. Grand in scale. Aurally pleasing. Toss in a seat in a Terrace Box, with great friends on a lazy Sunday? Perfect.
Raconte-moi une histoire (with Zelly Boo Meldal-Jophnsen)
Skin of the Night
Midnight City
Lower Your Eyelids to Die With the Sun
Encore:
Oblivion (Susanne Sundfor)
Outro
Couleurs
Unfortunately, the Flickr slideshow below is not currently available on mobile devices. If you are on a mobile device, please click THIS LINK to get redirected to the set of photos.
I remember the day I first heard Laura Mvula sing (January 18th, 2013) because I was so amazed by what I heard that I immediately posted a blog entry about it. I kept an eye (and ear) on her music and would post additional blog entries about some of her other songs (“That’s Alright” and “Jump Right Out”) because I was enthralled with her sound and excited about her debut album “Sing To The Moon”.
Laura Mvula’s music cannot be easily classified, as it is a sound that frankly defies stylistic categorization. As allmusic.com proffers, Laura’s music is “rooted in decades-old forms of gospel, jazz, R&B, and, most deeply, orchestral pop . Almost all of the material is as serious and as refined as it is majestic, with vocal showcases and hushed-belted-hushed-belted dynamics galore.” I agree with the assessment, and would even boil it down simply as classy and sophisticated, orchestral neo-soul music. Some seriously good, grown folk sounds for those who appreciate musicality and message in their music.
I was ecstatic when I found out that Laura was scheduled to perform April 16, 2013 at the Bootleg Theater, and I immediately snapped up tickets. As fate would have it, however, I was asked to speak at my Alma Mater that same week, and to my dismay, I had to give my tickets up. As a small consolation, I received my copy of Laura’s debut on vinyl (a UK export that has an amazing recording of Stevie Wonder’s “Something Out of The Blue”) and for the next few months listened to it whenever I needed to set my mind and soul at ease.
I received a notice (thank you social media!) that Laura was to do another round of touring in the United States with a stop in Los Angeles September 17th, and I agains purchased tickets to her show. This time, though, I made sure I had no conflicting appointments.
Laura’s show was simply amazing. Me and my friends were able to get up to the very front of the venue for the performance, and as fate would have it, Laura’s keyboard was basically in front of us, and thus we were privileged to have Laura performing no more than 5 yards from us for a majority of the show. I could see her every breath and read the emotions on her face with every lyric. It was a beautiful experience. A moving experience. During the most tender part of the concert, when Laura sang “Diamonds” and “Father, Father” back to back, you could feel the audience release a collective sigh following the last note of “Father, Father”. I did not have to look around to know that there were some in the audience tearing up because … truth be told … I was busy dabbing the corners of my eye as well.
My anticipation for new music from her is at an all time high. My commitment to see her perform live again has been verified. An amazing concert by an amazing artist. Her performance at the El Rey has a spot in my top 10 concert performances of the year. Nuff’ said.
Setlist:
Like The Morning Dew
Let Me Fall (not in the album)
Flying Without You
She
Is There Anybody Out There?/ One Love (Bob Marley& The Wailers cover)
Sing to the Moon
Diamonds
Father, Father
Green Garden
That’s Alright
Make Me Lovely (Encore)
Laura Mvula at the El Rey Theatre 9/17/13Laura Mvula at the El Rey Theatre 9/17/13Laura Mvula at the El Rey Theatre 9/17/13Laura Mvula at the El Rey Theatre 9/17/13Laura Mvula at the El Rey Theatre 9/17/13
Girl In A Coma. I love this band. Since I first saw them featured on an episode of Last Call with Carson Daly back in November of 2011 , I’ve seen this San Antonio, TX based Indie Rock band, or their lead singer, perform live four times . This year I saw the group perform at the Ink-N-Iron Festival and their lead singer, Nina Diaz, perform a solo set at the Hotel Café the day after. Their performance at the Echoplex on September 12, 2013 makes the cumulative number of times I’ve seen them perform live five.
I got to the venue early enough to catch the girls hanging out and spent a few minutes chatting with Phanie (the drummer). She told me about the band’s plans to start recording tracks for their next album after they wrap up their current tour and our mutual, and random (she’s the only friend of mine on Facebook who “likes” them), interest in the indie rock band, Screaming Females.
There was a lot going on in Los Angeles on September 12, 2013 (ie. Pixies playing the El Rey, Dave Stewart & Friends at the Troubadour, Jimmy Cliff’s free concert on the Santa Monica Pier, and Sonic Youth’s Kim Gordon playing in her new band Body/Head right upstairs in the Echo, etc.) but GIAC’s dedicated fans still showed up in numbers. I met up with another die-hard GIAC fan (who brought his daughter to the show) and he pointed out a fan who was in the military and was to ship out the next day to the middle east. GIAC’s fan loyalty has no bounds.
The girls rocked their set. Rather than go on in this entry about how awesome their performance was (which I’ve written about before here and here), just know that they deliver live, and if you are into their music, you will not be disappointed with their live show.
My autographed LP amongst the band’s merchandise.
After they finished their set, I lingered a bit to get them to sign my 2013 Record Store Day, limited edition, blue vinyl copy of their first album “Both Before I’m Gone”. Apparently, I must have been the last person who left the venue since the valet mysteriously disappeared with my keys. While waiting for my keys, I waited outside while the girls were loading up their van. Being as cool as they are, and after I had retrieved my keys, they snapped a picture with me before I took off.
Girl in a Coma are performing throughout the west and midwest through November. Follow them on Facebook or Twitter to know when they are in your neck of the woods. In the meantime, you can check out the pictures and video highlights I took at the gig I went to. Unfortunately, from where I was standing I couldn’t get many decent shots of Jenn (bassist) or Phanie performing, but I doubt people are going to mind the excess number of pictures of Nina. Enjoy!
Setlist, as provided by the drummer, Phanie Diaz:
Say
One Eyed Fool
Control
Adjust
Slaughter Ln
Si Una Vez
She Had A Plan
Ven Cerca
El Monte
Sly
Smart
Little Red Riding Hood (cover of Sam The Sham & The Pharaohs version)
Here is Now
Invisible
Encore: Their Cell (acoustic)
Girl In A Coma at the Echoplex 9/12/13Girl In A Coma at the Echoplex 9/12/13Girl in a Coma at the Echoplex 9/12/13.Nina Diaz of Girl in a Comat at the Echoplex 9/12/13Nina Diaz of Girl In A Coma at the Echoplex 9/12/13Jenn Alva of Girl In A Coma at the Echoplex 9/12/13Nina and Phanie Diaz of Girl In A Coma at the Echoplex 9/12/13Nina Diaz of Girl in a Coma at the Echoplex 9/12/13.Nina Diaz of Girl in a Coma at the Echoplex 9/12/13.Jenn Alva Girl In A Coma hanging with fans after their at the Echoplex 9/12/13Phanie Diaz of Girl In A Coma autographing a fan’s LP (FYI, this fan used to drum for the Beastie Boys back in the day) after their at the Echoplex 9/12/13Me and the gals of Girl in a Coma after their set at the Echoplex 9/12/13
Karen O of the Yeah Yeah Yeahs.Karen O of the Yeah Yeah Yeahs.Karen O of the Yeah Yeah Yeahs.Karen O of the Yeah Yeah Yeahs.My favorite pic that I took of Karen O of the Yeah Yeah Yeahs.Karen O of the Yeah Yeah Yeahs.Confetti released towards the end of the Yeah Yeah Yeahs set.
To check out pictures of other bands I was able to catch at the festival, CLICK HERE.
Tunde Adepimpe of TV on the Radio.
TV on the Radio is a critically acclaimed, Brooklyn based rock group which formed in 2001. I’ll be honest with you, I wasn’t too familiar with the band’s repertoire. It probably has something to do with the fact that their first album came out while I was in law school. I was pretty much out touch with everything for those three years of my life.
Playing catch up before the festival, I spent time with their 4th studio album “Dear Science” and watched some of the videos (“Wolf Like Me” and “Will Do”) that popped up on the top of the list when I googled them. It was hard rocking, complex music. It’s very hard to describe. Their music is an amalgam of styles that seems to mesh together seamlessly. Having worked with members of Yeah Yeah Yeahs on other projects, it was actually quite fitting to have them in the slot right before YYYs.
Their crowd at the FYF Festival was impressive and they played a confident set of songs, old and new. They’ve released five albums and five Eps. I’m going to have to do some more listening and pick up some of their albums. Any suggestions?
To check out pictures of other bands I was able to catch at the festival, CLICK HERE.
Leaving The Locust, I headed back to the main stage to meet up with some friends and to get a good spot for both TV on the Radio and Yeah Yeah Yeahs. Performing on the main stage, as I was walking toward it, was an experimental noise rock band from Atlanta, Georgia: Deerhunter.
Brandford Cox of Deerhunter at FYF Fest 2013
I wasn’t familiar with the band, but from where I was, and what I could hear, it came off pretty good. I’ll have to admit, I was a little thrown off as I thought the lead singer was a woman. After all, he was wearing a dress and a wig, and his voice was kinda Yoko Ono-ish. It was more shocking than anything when he tore off the wig half way into the set, and for a minute there I was lost in my own confusion.
Though I arrived midway through their set, I could tell that the music hit on elements of alternative, punk and shoe gazing. I was starting to get into it by the time their set came to a close, but before I knew it, Bradford Cox (the lead singer) put his wig back on, picked up a purse from the ground, and walked off stage.
Brandford Cox of Deerhunter at FYF Fest 2013Brandford Cox of Deerhunter at FYF Fest 2013 shredding behind the back.Brandford Cox of Deerhunter at FYF Fest 2013
To check out pictures of other bands I was able to catch at the festival, CLICK HERE.
Kim Deal of The Breeders
Since I was already up at the front of the stage for Charles Bradley, I decided to stay put for the next band to grace the main stage: The Breeders. The Breeders were very popular during my high school days in the early 90s, but truth be told, during that time my alternative rock tastes leaned more toward Nirvana , Nine Inch Nails and Pearl Jam. Don’t get me wrong, I liked The Breeders’ music a lot, I mean who can resist their hit “Cannonball”, but I think adolescent guys being adolescent guys, I was a little hesitant to hold a torch for a band that my younger sister was really into.
Knowing that the band would be playing their second album, “Last Splash”, in its entirety (which album, by the way, is celebrating its 20 anniversary, and was reissued as a “deluxe edition”, this year …. Yowza!!!), I was looking foward to hearing “Cannonball”, which I knew was the second track on the album. Because I wanted to also check out another artist whose set overlapped with The Breeders, I planned on catching at least half of their set before maneuvering away from the crowd … And a big crowd it was.
The massive crowd for The Breeders
Their fans came out in droves and cheered like mad when they took the stage to set up their equipment. The album’s original lineup was on stage: vocalists/guitarists Kim and Kelley Deal, bassist Josephine Wiggs and Drummer Jim MacPherson. There was an additional band member on stage, but I didn’t recognize who she was. I couldn’t get any photos of Jim MacPherson since I didn’t have a good angle.
Without greeting the crowd, they opened with a Guided by Voices cover of “Shocker In Gloomtown”. Afterwards, Kim Deal greeted the massive crowd and expressed the band’s gratitude for being able to perform at the festival, and with that they jumped into playing “Last Splash”. They played the album in order, so I got to hear “Cannonball”. I didn’t get to hear their other big singles (“Saints” and “Divine Hammer”), as I left after about 4 or 5 more songs, but I got what I needed to satisfy my music craving. I made a note that I was amused with how in between songs Kelley or Kim would gleefully point out that they were using some of the same musical instruments that were used for the original recordings. If that isn’t being faithful to the original album, I don’t know what it is. As I left my spot from the front of the stage, the girls behind me squealed with delight beholding their newly, unobstructed view.
As I was walking to the next band on my list, I swear could hear The Breeders sing the lyrics “Come back to me right now”. I kept walking, but I did stop to pause for a second to think about it.
Josephine Wigg of The BreedersKelley Deal of The BreedersKim Deal of The BreedersThe Keyboardist for The BreedersKim Deal of The BreedersKelley Deal of The Breeders
#DKLPHOTOS 