The stage was covered with crocheted slips and colorful stripes after 9PM when Sia stepped onstage wearing a fringy plastic gown and a blinking unicorn horn for The Fight.  Adoring fans chanted along like the choir, cheering and showering the Australian singer with an eccentric range of gifts (chocolate, an umbrella, socks, pillows…)

Sia’s interaction goes beyond anything I’ve ever seen, which was best shown when she stopped the show to tell security that it was okay that fans record her performance! The 17-song set concluded with Sia wearing bubble-machine wings before dipping into the night. A Truly magical show! Full set list and pictures below. We Are Born will be in stores on June 8th and will surely be a great addition to your summer playlisting!

SET LIST: The Fight // Buttons // Big Girl, Little Girl // Little Black Sandals // You’ve Changed // Oh Father (Madonna Cover) // Lentil // Bring Night // I Go To Sleep // Never Gonna Leave Me // The Girl You Lost to Cocaine // Cloud // Clap Your Hands // You Have Been Loved // Breathe Me // ENCORE: Co-Dependent // Soon We’ll Be Found

mp3: Sia – Bring Night

mp3: Lauren Flax and Sia – You’ve Changed [alt]

Little Boots at Highline Ballroom 3.2.10

I’ve been writing about Little Boots since the early days of Tastes Like Caramel, an artist who has gone from covering songs from her bedroom on YouTube to winning BBC’s Sound of 2009 Award and back around. Over a year ago I landed one of my first in-person interviews with Victoria Hasketh at the height of the hype during one of her rare shows in New York prior to the release of the album.

About 5 months later her much anticipated debut album Hands was  released, and honestly I wasn’t 100% in love. It was as if the big sound I’d fell in love with on such songs as Stuck on Repeat and Meddle had been confined and restrained for the album. The last time I saw Little Boots was last May at le poisson rouge, and once again felt a sense of confinement bordering frustration from Victoria’s stage presence.

However last night was a different story when Little Boots took the stage after 11PM at Highline Ballroom. From the set design consisting of mirrors, discoballs, crystals, volumized costumes, lasers and a laser harp, everything about Little Boots was bigger and better. I feel like THIS was the show that she had been wanting to do all along: visually and musically. The set clocked in at nearly an hour and covered most of Hands and included a new piano ballad “inspired by Twilight but not” titled Echoes (or Echo.) Hands sounded and looked much better in this context, a nearly flawless performance!

Class Actress at Highline Ballroom 3.2.10

However, Little Boots was not the only one to shine last night. As always Body Language put on a great supporting set, but I was very pleasantly entertained by the synth maelstrom that was Class Actress. Formed in Brooklyn, Class Actress‘ singer Elizabeth Harper has carved out a heavy, 80′s derived pop sound that will surely keep ears buzzing throughout 2010.

The band’s debut EP Journal of Ardency was released last month on Terrible Records (founded by Chris Taylor from Grizzly Bear and Ethan Silverman), be sure to purchase your copy HERE. Keep your eyes and ears open for Class Actress on tour, including a run through at SXSW.

mp3: Class Actress – Journal of Ardency [alt]
mp3: Class Actress – Careful What You Say [alt]
mp3: Little Boots – Remedy (Rusko’s Big Trainers Remix) [alt]

Lady Gaga at Radio City Music Hall 1/23/10

Two years ago I attended an Anti-Valentines Day themed party with my cousin at the now defunct Le Royale.  Toward the end of the night, in walked a blonde wearing sunglasses, heels, a huge white fur coat…and not much else. We snickered “Who the hell does she think she is?” and continued checking out the scene. Shortly after open bar we were on our way out but stayed to check out The Lady Gaga Revue at the insistence of the bouncer. As the set began we soon realized that the show was being spearheaded by that female with the questionable wardrobe from earlier in the night…

Our initial reactions were “What the hell is this?” along with chuckling at the naughty choreography and silly, innuendo-heavy lyrics of Boys Boys Boys, Paparazzi, LoveGame and Beautiful Dirty Rich. However a few minutes into the show, we were hooked fans dancing and singing along to the mega-catchy songs that we’d never heard before. That night I described The Lady Gaga Revue as a strange breeding of Missy Elliott’s Supa Dupa Fly (lyrically), guilty pop, S & M and girl on girl burlesque. At the time of the show Gaga’s debut album The Fame had not yet  been released and Just Dance (which went on to be her debut single) was omitted from the live performance but played by the DJ as a preview after the performance. From that moment on I had no doubt that Lady Gaga would blow up but I had no clue HOW FAST!

Two years later I found myself at Radio City Music Hall on Saturday night for the third of four SOLD OUT Lady Gaga shows, a feat preceded by a monstrous string of record-breaking hits, nominations, awards and her overall domination of the industry. As I walked into the madness that was Radio City Music Hall, not only was I totally excited for the show, but I felt really proud of Lady Gaga’s coming full circle.

The venue was packed with people of all ages and mostly consisted of teenage girls and older gay men, many of which dressed in some form of Gaga incarnation and ridiculousness. It was what I always imagined going to a Madonna concert in the 80′s would have been like. At 9:30 PM the venue darkened and a transparent screen flashed visuals in front of Gaga whose outfit comprised of strategically placed lights for the fitting opener Dance in the Dark. For the next two hours Gaga delivered a non-stop kick in the teeth with every performance from the set.

Personal highlights from the show (to name a few) include the avant-garde S&M performance of Paparazzi, the steamy Alejandro, the stunning downtempo piano medley and the showstopping Pokerface. Visual backdrops, about 10 costume changes, unpredictable crowd interaction and video montages (including a surprising use of Mobb Deep’s Shook Ones) kept the show fresh and concertgoers on their toes.

It’s amazing to see how much Gaga has evolved in 2 years and how she has crafted her performance: from a small stage in the West Village on a random weeknight with 2 backup dancers and backing tape, to having the hottest sold out tour at Radio City Music Hall in 2010. The Monster Ball was an impressive headlining tour and a strong vantage point for Lady Gaga, which in turn set the bar high for 2010′s pop stars to follow suit.  An arena tour including a show at Madison Square Garden will follow the wrapping of The Monster Ball, which will surely bring  a polished show to a much larger audience. Can’t wait!

Enjoy a few pictures below, many more: FULL GALLERY HERE.

mp3: Lady Gaga – Eh Eh (Frankmusik Remix) [alt]
mp3: Lady Gaga – Bad Romance (Starsmith Remix) [alt]
mp3: Lady Gaga – LoveGame (Space Cowboy Remix) [alt]

We’re looking forward to seeing this extravagant “electro pop-opera,” full tour dates can be seen HERE. The expanded debut The Fame will be released as The Fame Monster on November 23rd!

Tour Dates:

New York: January 20th & 21 at Radio City Music Hall [Tickets]
London: February 26 & 27 at 02 Arena. [Tickets]

MP3: Lady Gaga – Paparazzi (Stuart Price Remix) or  zShare

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Echo & The Bunnymen at Mercury Lounge, 10.17.09

With a career spanning over 30 years, Liverpool’s Echo & The Bunnymen are polished industry vets, icons and heroes to some of today’s greatest. Fact. I was first exposed to E&TB through two of the greatest films ever Pretty in Pink and The Lost Boys and since then have held them in high esteem as instrumental figures to one of the most important decades of our time: The 80′s.

Nearly three decades into their career, original band members Ian McCulloch and Will Sergeant made their rounds on the festival circuit this year and released the new album The Fountain this month. One local stop on the festival tour was at the All Points music festival in August but we unfortunately did not make it to their set due to the harsh monsoon-like weather experienced that day. We however received a stroke of luck this past Saturday when E&TB played the ultra intimate 250 person capacity lower-east side venue Mercury Lounge!

Brooklyn’s ZAZA opened the show with about 3 songs before E&TB took the stage to play a heavenly 1 hour + set. Lead singer Ian McCulloch’s voice sounded absolutely pristine over the strums and drums of the band. The gig was mesmerizing, with friendly fans old and new reveling in McCulloch’s stage presence and frequent banter. Personal highlights included Dancing Horses, Killing Moon,  The Cutter, Nothing Lasts Forever, and the cover of Lou Reed’s Take a Walk on the Wild Side. Unfortunately due to what I assume to be time constraints Lips Like Sugar was omitted.

If you missed them this time around, E&TBM will play Hammerstein Ballroom on November 22nd. Tickets can be purchased HERE.

MP3: Echo & The Bunnymen – People are Strange or zShare

MP3: Echo & The Bunnymen – Bring on the Dancing Horses (Extended Mix) or zShare

Fever Ray at Webster Hall, 9.29.09

In 2001, Swedish musical duo/siblings Karin Dreijer Andersson and Olof Dreijer carved their name into the electro-pop music scene as The Knife.  Their sound was arguably ahead of its time and it wasn’t until 2003′s Deep Cuts that The Knife broke through with one of the best pop songs ever recorded, Heartbeats.

I was one of the unlucky kids who missed The Knife’s very rare NYC gig in 2006 (and as a result have to endure occasional conversations of it’s greatness.) That year, the duo announced a 3-year hiatus to pursue solo side projects. Olof’s was in the DJ form of Coolof and Karin’s as Fever Ray.

Fever Ray’s self-titled debut album was released earlier this year, a solid 10-track album comprised of hauntingly beautiful and affecting music from the golden throat of the inimitable Karin Dreijer Andersson. After being awestruck by Fever Ray’s visual representation, I was on board for what I anticipated as one hell of an avant-garde ride complete with supporting act Vuk.

Last week we tapped into Vuk’s creative bloodstream in anticipation of Tuesday night’s show at Webster Hall. Vuk is refreshingly serious about her art which of course includes her live performance. Before the crowds packed into Webster Hall on Tuesday, we chatted again with Vuk who opened up about being nervous to play the huge club, but this did not come across to the warm and enchanted audience during her 30 minute solo set.

After 10PM, the stage was prepped for Fever Ray with lit incense and heavy fog-like smoke. The lights dimmed down low and 4 vague silhouettes appeared onstage through the smoke. A cloaked Karin stood center-stage illuminated by an array of lazers that lit up the clouded club  and offered quick glimpses of the band.

Fever Ray offered a rare live performance that although serving as a beautifully curated art performance, also forced the individual listener/admirer to really take it all in through a clouded lens.

I feel greatly fortunate to have experienced this live show which will no doubt be mercilessly and unsuccessfully duplicated for years to come. Long live Karin Dreijer Andersson’s creative visions, we anxiously wait the next incarnation. (Special thanks to Sheena Beaston for the classic Röyksopp track featuring Karin on Vocals and Stuart Price on remixing duties!)
MP3: Fever Ray – Seven (CSS Remix) or zShare
MP3: Fever Ray – Keep The Streets Empty for Me or zShare
MP3: Röyksopp (with Karin Dreijer Andersson) – This Must Be It (Thin White Duke Radio Edit) or zShare

Vuk

NOVEMBER
4 The Palladium, Los Angeles, CA – on sale TBA
8 Fox Theater, Oakland, CA – on sale August 16
9 Fox Theater, Oakland, CA – on sale August 16
12 Paramount Theatre, Seattle, WA – on sale August 1
13 Paramount Theatre, Seattle, WA – on sale August 1
14 Hult Center, Eugene, OR – on sale August 14
16 The Fillmore, Denver, CO – on sale September 12
20 Aragon Ballroom, Chicago, IL – on sale September 12
21 Aragon Ballroom, Chicago, IL – on sale September 12
23 Hammerstein Ballroom, New York, NY – on sale August 14
24 Hammerstein Ballroom, New York, NY – on sale August 14
25 Hammerstein Ballroom, New York, NY – on sale August 14
27 Wang Center, Boston, MA – on sale September 12
30 Constitution Hall, Washington, D.C. – on sale September 11

MP3: Pixies Where is My Mind? or zShare

The space is great as a park but I’m interested to see what the set up will be for the shows. Pretty great line-up, who are you most excited to see? Bring it on!

July 12th:
Ponytail, Mission of Burma, Jemina Pearl, Fucked Up
July 19th:
Dirty Projectors, Magnolia Electric Co., White Denim
July 26th:
Health, And You Will Know Us By The Trail of Dead, Grupo Fantasma, Black Lips
August 2nd:
Dan Deacon, Deerhunter, No Age
August 9th:
Simian Mobile Disco, Dark Meat, Fiery Furnaces, Dark Meat, The Netherlands
Aug 16th:
Del the Funky Homosapien & Gravy Train!!, Kenan Bell, DD/MM/YY
August 23rd:
Girl Talk, Max Tundra, Wiz Khalifa
August 30th:
Grizzly Bear, Beach House

MP3: Simian Mobile Disco – Hot Dub or zShare
MP3: Crystal Castles VS Health – Crimewave or zShare
MP3: Grizzly Bear – While You Wait For the Others or zShare

Peaches at The Music Hall of Williamsburg, 6.19.2009

Last month I had the delight of seeing Peaches for the first time at Webster Hall. That show was a topic of discussion for the weeks leading up to Friday night’s show which was luckily added to the ongoing tour as a make up date for Drums of Death missing his Webster Hall set after being stuck at US Customs.  We also chatted with DoD before showtime which can be read HERE.

We unfortunately had to endure the gag-worthy Naked Cowgirl yet again until being saved by Drums of Death’s delivery of his dubstep-rock-electronic brand of music (or as he calls it Electronic Gospel / Soul Rave.)

DoD got the party started on the right foot, warming up the crowd for what would be another sweaty and hot night with none other than Peaches shifting gears behind the wheel.

Peaches took the stage a little before 11 PM playing an almost identical 27-song set as the one she blasted through Webster Hall. Seeing the show at Webster Hall and then the translated version to the much the smaller stage at MHoW brought on some constraints but nonetheless the show was on point and on key.

Surprisingly the crowd Friday was younger, mostly male and seemingly less rowdy minus our front section that screamed along and pumped fists in Peaches direction. It was quite the scene.

For some reason, this set cut off 2 of our favorites from the original set Relax and Take You On in place of  2 songs from Sweet Machine. Overall the show did not disappoint, but the fans in the crowd were kind of lame. The ultimate highlight for me at the show was her trilogy of crowd surfing, the most badass during Hit it Hard when she was being held upright by the crowd.

We had to limit the amount of pictures posted, but to view more of our pictures from the epic gig, click HERE!

MP3: Peaches – Tombstone, Baby or zShare

MP3: Peaches – Boys Wanna Be Her (Tomiie Sunshine Brooklyn Fire Retouch Mix) or zShare