Live: Radiohead – United Center – Chicago, IL – July 07, 2018

I hadn’t seen Radiohead in concert since 2012.  They’d put out a couple albums since then, and I had been looking forward to this show for months.  It was a bonus show of sorts, as the original show the previous night sold out within minutes.  They added the second show to make up for those of us who couldn’t get tickets to that one, and even this show sold out in rapid time.  I had to refresh websites on my phone and laptop computer just to score tickets on the third level.

That being said, it was worth it.

They started with “Daydreaming” and “Desert Island Disk” to lull the crowd into a  nice trance before breaking out tracks like “Myxomatosis” and “Lucky” to get everyone moving.

A real treat was their first performance of “Spectre,” the rejected theme from the Bond movie of the same name.  It was great to hear “Idioteque” (which had the whole place jumping) and “My Iron Lung” (a personal favorite).  “Bodysnatchers” almost blasted the back wall off the United Center.

Their first encore consisted of “You and Whose Army?”, “Airbag” (which had a friend of ours dancing in the aisle), “The National Anthem” (another personal favorite), “2 + 2 = 5,” and “Street Spirit (Fade Out).”  Their second encore brought us “Everything in Its Right Place” (which was jaw-dropping), “Pyramid Song,” and “Karma Police” (which had the whole place singing).

It was great to see them again.  I didn’t realize how much I missed seeing them until that night.  They’re one of those must-see bands anytime they’re close.

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Live: Diana Krall – Saenger Theatre – New Orleans, LA – June 24, 2018

Diana Krall‘s performance at the Saenger Theatre in New Orleans had a “no cellphones / cameras” policy, which was refreshing.  I resisted the urge to take any photos during the show, although others did and some even used the flash on their phone cameras to do so.  Using your camera flash at a show is the new smoking at a show.

Ms. Krall and her slick backing band (upright bass, guitar, fiddle, drums) played a fun mix of love songs and jazz classics that included many cuts from her latest album Turn Up the Quiet.  She had fun banter with the crowd, even admitting to screwing up a Fats Waller tune that was harder to play than she realized.  She delighted the crowd with a soft instrumental version of “Walkin’ to New Orleans.”  They played for close to ninety minutes and the crowd was buzzing afterwards as we stepped out into the warm night.

She’s a jazz powerhouse and still on tour throughout the U.S.  Don’t miss her if you get the chance to see her.

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Rewind Review: Ladytron – Live at London Astoria 16.07.08 (2009)

If you’re like me and eager to hear Ladytron‘s upcoming album and catch them on tour for it, their 2009 release of Live at London Astoria 16.07.08 is a great morsel to tide you over until the new record’s release and subsequent tour.  The show was a rescheduled gig for one that had to be cancelled a couple months earlier due to a power outage.  The band’s urge to make amends with fans can be felt throughout the power of the entire set.

The live album starts off with a robotic version of “Black Cat” with lead vocals in Russian.  “Runaway” follows, bringing dark wave-like bass and great echoed vocals.  The guitars and droning synths on “High Rise” might induce vertigo if you’re not careful while listening to it.  “Ghosts” has some of my favorite Ladytron lyrics, “There’s a ghost in me who wants to say, ‘I’m sorry doesn’t mean I’m sorry.'”  It’s a spooky song about relationships, quite possibly involving at least one lover who is dead.

“Seventeen” is one of my favorite Ladytron cuts, and it’s one of the most damning songs about the fashion industry ever (“They only want you when you’re seventeen.  When you’re twenty-one, you’re no fun.”).  The live version is thumping with synth bass.  “I’m Not Scared” hits hard with bright synths blending with rock drums.  “True Mathematics,” with more great Russian vocals, hits even harder.  I hope they play it on their next tour, because it’s outstanding.  “Season of Illusions” is a bit lighthearted, but don’t worry because “Soft Power” drops you right back into the dark with synths that sound like they’re being played in a tomb.  “Playgirl” was a big hit for the London crowd, judging from their reaction when Ladytron announces it’s the next track.

“International Dateline” is practically a goth love song, and “Predict the Day” surprises you by starting with whistling and then unloading sticky synth bass and sexy beats.  “Fighting in Built Up Areas” is another Russian vocal treat, and “Discotraxx” would do Giorgio Moroder proud with its slick electro dance beats.  They dedicate “The Last One Standing” to everyone who was at the show that was cancelled months earlier.

They chose “Kletva,” “Burning Up,” and “Destroy Everything You Touch” for their encore.  It’s a nice end to a fun show.  They originally just release 100 copies of it at the show, so I’m glad they put it out for wide release.  You should be, too.

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Desert Daze 2018 lineup released…and it’s almost more psychedelia than you can handle.

The annual Desert Daze music festival in Lake Perris, California has unveiled a whopper of a lineup for their October 12-14th event.  Tame Impala are headlining while promising new material in 2019.  Shoegaze legends My Bloody Valentine are also playing new material nowadays.  Unstoppable touring machines King Gizzard and the Lizard Wizard are continuing their roll across the United States.  Other must-see acts include Ty Segall, A Place to Bury Strangers, Earthless, Follakzoid, All Them Witches, True Widow, Imarhan, and Here Lies Man.

I don’t know if I can make it to this one, but you should if you can.  It might be a new annual destination for me.

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Pitchfork Music Festival artist spotlight: Zola Jesus

Singer, songwriter, and electro / goth musician Zola Jesus will be playing an early set on Saturday at Chicago’s Pitchfork Music Festival.  Her voice is something to behold, and her near-darkwave music will be jarring under the afternoon sun.  There is a chance of rain, however, and that would be perfect for her somber songs.  Don’t miss this one.

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Pitchfork Music Festival artist spotlight: Tame Impala

Australian psych-rockers Tame Impala have a huge following.  They’ve been together since 2007 and have produced quite a bit of material in the last 11 years.  I missed them in Austin a few years ago when they played the Levitation festival there, but they’re closing the Pitchfork Music Festival on Friday.  I’m sure it will be a packed set and a big freak-out for a crowd dehydrated, sunburned, and fuzzy from alcohol, fried chicken, and other odd substances.

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Pitchfork Music Festival artist spotlight: Tierra Whack

Replacing Earl SweatshirtPitchfork Music Festival , who has cancelled his upcoming performance at Chicago’s (possibly due to recent depression issues over the death of his father, some sources say), Tierra Whack is a welcome addition with her experimental hip hop and visual artistry.  She has a lovely voice, fine mic skills, and a neat aesthetic that combines hip hop culture with 80’s retro, glam, and soul.

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Pitchfork Music Festival artist spotlight: Mount Kimbie

The British electro duo Mount Kimbie make neat music that combines synthetic beats with dream-pop vocals, guitar, and some live percussion.  They’re another band that’s new on my radar.  I love discovering new bands through festivals, and their performance at the Pitchfork Music Festival might be a nice surprise.

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Pitchfork Music Festival artist spotlight: Open Mike Eagle

Hometown artist Open Mike Eagle will be working the Blue Stage on July 20th at this year’s Pitchfork Music Festival in Chicago.  Mr. Eagle has a good blend of electronic beats and a smooth flow that discusses issues serious to him, his hometown, and the world in general.  I haven’t heard much of his material, but I do like the few things I have heard.  It should be an interesting set.

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Pitchfork Music Festival artist spotlight: Joshua Abrams and the Natural Information Society

It’s a bit hard to describe Joshua Abrams and the Natural Information Society, but the best word is probably “minimalist.”  They play an interesting form of minimalist jazz and low rock that’s centered around Abrams’ love and mastery of a three-stringed African guimbri lute.  Their stuff can be both meditative and danceable.  I first caught them at Levitation Chicago a while back, and they put on a good show then.  It will be interesting to catch them in an outdoor venue this year at the Pitchfork Music Festival.

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