AC/DC’s BRIAN JOHNSON, ANGUS YOUNG Surprise Fans At ‘Rock Or Bust’ Listening Event In NYC: Video, Photos –

November 19, 2014

The world-premiere listening event for AC/DC‘s new album, “Rock Or Bust”, was held last night (Tuesday, November 18) from 7 to 9 p.m. EST at Webster Hall in New York City.

Diehard AC/DC fans converged on Webster Hall to get an exclusive preview of the band’s new CD. Celebrities, tastemakers and fans were treated to special cocktails, rare prizes and commemorative merchandise while rocking out to the group’s new album two weeks before its release.

Making a surprise appearance at the event were AC/DC singer Brian Johnson and guitarist Angus Young, along with “Rock Or Bust” producer Brendan O’Brien. Young, who was wearing a pair of washed out blue jeans and a black sweater, told the crowd from the stage: “We all hope you will enjoy what we have done with ‘Rock Or Bust’. Everyone who is into AC/DC and is a fan, you are the guys that make it, so we keep going for you.”

Check out a video report from Artisan News in the YouTube clip below. Also available are photos from

AC/DC last week unveiled the full music video for “Play Ball”, the first single from “Rock Or Bust”. The clip marks the first official time that guitarist Stevie Young has appeared in a video with the group, and is also notable for the absence of drummer Phil Rudd, who is replaced in the clip by Bob Richards.

Founding guitarist Malcolm Young stepped down from the group earlier this year after it was revealed he was suffering from dementia. Stevie, the nephew of Malcolm and guitarist Angus Young, played on “Rock Or Bust” and will be in the touring lineup.

Rudd has been under fire since last week when it was initially reported that he was arrested in an alleged murder-for-hire plot. Those charges were eventually dropped, but he’s still facing charges of “threatening to kill” as well as possession of meth and marijuana. He could end up sentenced to seven years in jail.

AC/DC has already stated that the drummer’s troubles will not affect next year’s world tour or the December 2 release of “Rock Or Bust”.

Full article and videos here:

Last Night Caribou – Webster Hall – VILLAGE VOICE

Caribou – Webster Hall – 11/14/14

By Lindsey Rhoades Mon., Nov. 17 2014 at 8:29 AM

Better Than: Disclosure covering Darkside

Fourteen years ago, Ontario crate-digger Dan Snaith embarked on a musical endeavor that would come to be known as Caribou, largely a bedroom recording project long before that phrase warranted eye rolling over the notion that anyone with Avid could become a producer overnight. Snaith, no doubt, has inspired many a Johnny-come-lately with Pro Tools, but he has always been of a finer breed, interpreting hip-hop beats and samples, soul, psychedelia and krautrock through his unique lens. Each of his records are a brilliant meditation on a particular range of ideas and styles, taken apart, examined, and reassembled as painstakingly realized masterpieces brimming with thoughtfully constructed songs.

With a focus more finely honed than ever, Caribou’s sixth LP, Our Love, is poised to top many a year-end best-of list. The record’s dance club vibes are the logical extension of Snaith’s recent DJ stints and his last two releases, 2010′s Swim and 2012′s Jiaolong, recorded as Daphni. As dependent on electronic production as these efforts have been, Snaith is a seasoned live performer, never content to twist mysterious knobs in a pantomime of recreating pre-tracked sounds. Instead, he enlists talented musicians to populate a full band, exploding the subtleties of his recorded compositions to their fullest expression. At Webster Hall on Friday, Caribou’s second of two sold out NYC shows, Snaith’s early intensity gave way to beaming joy, his victory made apparent by the rapturous reaction from the crowd.

Opening with Our Love’s title track, the band’s tight formation in the middle of the huge stage gave the impression of a protective circle nurturing something vulnerable at its core. It was indicative, perhaps, of the fact that this material is Snaith’s most personal to date, but little was held back in terms of stage production, with colorful, piercing lights sweeping dramatically in all directions. Letting the drama build through slow burners “Silver” and “Mars” before launching into a wily rendition of Swim standout “Leave House,” it became apparent that Snaith was bent on taking already grandiose ideas and making them somehow more anthemic.

The result was a complete delight shared between band and audience, reframing the meditative ideas on different kinds of love that appear on the record as a specific kind of love–one between music fans and the musicians that make it come to life. Snaith is a veteran of the road, having toured extensively behind all of his records, but its been four years since his last Caribou release, and it was clear that he was celebrating his return to the stage. Our Love is, at its root, a testament to passion–the emotions that affect our hearts, the musical rhythms that affect our bodies, and, as in Snaith’s case, the rapture of doing what you love in front of hundreds of people every night.

Though there are plenty of tunes from early in Caribou’s catalogue that would have fit snugly into the set, it was comprised solely of songs from Our Love and Swim, designed to keep pulses pounding. Opening act Jessy Lanza reappeared to deliver show-stopping vocals on “Second Chance,” her contribution to the record marking the first time Snaith has used a female voice on a track that wasn’t sampled. John Schmersal also sang a couple of songs, including “Jamelia;” Snaith chimed in when he wasn’t busy recreating complicated synth patches, providing polyrhythmic foils to Brad Weber’s drumming onslaught, or tooting a plastic flute during “Odessa.”

At each turn, the band showed deft precision. No matter how big the tracks felt at certain moments, Snaith and friends were always quick to reel it back in, the cacophony strictly orchestrated but still feeling fluid and fresh. Finishing with a rousing, expansive rendition of “Your Love Will Set You Free” that built to crowd favorite “Can’t Do Without You,” Caribou returned for a one-song encore of “Sun,” which the crowd was literally begging to hear. All smiles and gratitude, Snaith took a moment after the show to stoop over the barricade and shake fans’ outstretched hands. Hard to believe that a decade and a half ago, he was just a record nerd from Canada.

Critical Bias: I’ve been going to Caribou shows since 2007; at one of them I stood next to Jeff Goldblum, no lie.

Random Notebook Dump: Miss the projections Caribou used to use as a backdrop, but the larger-than-life album artwork was a nice bit of self-branding

Overheard: a couple arguing about whether or not they’d lose their spots in the packed crowd if they went to the bathroom

Echosmith Feel the Love + Show Their Gratitude at Sold Out NYC Gig – Diffuser.FM

By Emily Tan November 15, 2014 1:57 PM

“Last year we played the little room downstairs,” lead singer Sydney Sierota told the packed Marlin Room at Webster Hall in New York City on Friday night (Nov. 14). “Not only was it an upgrade … we’re headlining tonight!”

Over the past year, Echosmith have risen to this headliner status with the release of their hit single, ‘Cool Kids.’ And while they dedicated their track to anyone who’s ever felt like they didn’t fit in, it’s clear that Sydney and her brothers — Jamie, Graham and Noah — are the insiders who just want to bring everyone to the popular table in the school cafeteria.

And that’s exactly how it felt when you entered the venue. Not only was the space packed with the typical industry folk and media who are there on business, but it also brought together just about every type of young fan you could think of. Echosmith did what they’ve set out to do — reach music lovers of all ages and personalities.

Playing tracks off their debut album, ‘Talking Dreams,’ the Los Angeles indie pop band brought youthful energy with a professional showmanship that veterans carry onto the stage. Even when Sydney dropped her pink parasol to add more flair to ‘Safest Place,’ she carried on with grace. Looking like Anna Kendrick’s little sister with the stage presence of Gwen Stefani and vocals that give Hayley Williams some competition, Sydney is a bit of a triple threat. But she makes sure not to steal the limelight and makes sure the audience knows that this really is a family affair.

“These are my brothers,” she said. “If we didn’t love each other, we wouldn’t be playing right now.”
Echosmith also paid homage to the Talking Heads by covering ‘This Must Be the Place’ and even did their rendition of Modern English’s ‘I Melt With You.’

Relishing in all the positive energy, the band couldn’t end the show without capturing the Kodak moment. They convinced Webster Hall to turn on the house lights and got the crowd to come close together in the middle. They ended their show with ‘Cool Kids’ and then the reggae-tinged ‘Nothing’s Wrong’ for the encore.

Check out our exclusive photos and set lists of Echosmith and their tour opener, Madi Diaz, here:

More pictures here:

Eventbrite Study Finds Millennials Love Tweeting ‘Partier Lifestyle’ at Webster Hall – BILLBOARD

By Harley Brown, New York | November 11, 2014 8:00 AM EST

A few months ago, Eventbrite found that over three-fourths of millennials surveyed would rather pay for experiences than things. Now, a new study from the company surveyed social media conversations to find which music venues at which members of the most self-involved generation this side of Richard Nixon’s time like to have the “memory of a life time [sic]!”, according to one enthusiastic concert attendee’s tweet.  

Eventbrite aimed to identify the most popular U.S. venues with a series of metrics: from Aug. 1, 2013 to July 31 of this year, social media analytics agency Mashwork broke down 12.5 million mentions (on Facebook, Twitter, blogs, forums, Tinder [kidding]) of 600 venues into the top 100, which were then analyzed to see which were most popular among the 18- to 34-year-old set. 

The topics of conversation were then parsed in, hilariously, much drier terms than the tweets and posts themselves; for example, 22 percent were “loving the artist at this venue” (or, “Another amazing #soldoutsaturday @EncoreBeachClub!!! @davidguetta killed it!!” from @cheyennemevans), another 22 percent were “reflecting on an epic night” (how much reflection last night’s rager requires is up for debate), 19 percent were about how the “venue portrays my partier lifestyle” (@vitt0riana’s definitely on the younger and more sprightly end of the spectrum: “@kaskade @LIVmiami I’ll be up all night dancing and hopping on an 8:30am flight back to nyc on Sunday morning. #worthit”) and so on and so forth. Check out Eventbrite’s blog post today (Nov. 11) for the full results. 

Reading between the 140-character or less lines, there were some interesting takeaways from the study, some more surprising than others. Though everyone knows those drugged-out dance freaks love EDM — thus, DJs and clubs were among the most-discussed topics — theaters like Radio City Music Hall and the Grand Ole Opry House represented the top mentioned venues. Also, New York City’s Webster Hall and Las Vegas’ Hakkasan were far and away the most mentioned venues, at 142,912 and 129,941, respectively (third was the latter city’s Marquee at 99,570).

It obviously remains to be seen if these data will affect artists’ tour routes, if that sort of information can even be useful in that way. In the meantime, rock on — and make sure to tweet about, post on Facebook, and Instagram it.

The Roots, RFK Jr. and MLK III Push for Voting Reform With NYC Concert – ROLLING STONE

“My father used to say that a voteless people is a powerless people,” King III said at Why Tuesday? rally

Captain Kirk Douglas of the Roots in New York City at the Why Tuesday? #LetsFixIt Concert, on November 2nd, 2014.

By Kristen Gwynne | November 3, 2014

Last night at New York’s Webster Hall, the Roots headlined the non-profit group Why Tuesday?’s #LetsFixIt event, a concert and rally calling on Congress to remove unnecessary burdens to the democratic process to increase voter turnout. Closing the night, however, they had the difficult task of following a major opener: The sons of three men who helped pass the Voting Rights Act of 1965, Why Tuesday? co-founder Bill Wachtel, Martin Luther King III and Robert Kennedy Jr.

Founded in 2005, Why Tuesday? aims to raise turnout by – among other things – opening the polls on Saturday rather than Tuesday. Revealing how arbitrary the current system is, they note that it was instituted when the U.S. was an agrarian system, and farmers needed a full day to travel into town and vote.

“My father used to say that a voteless people is a powerless people, and one of the most important steps we can take is that short step to the ballot box,” Martin Luther King III told the audience before Robert Kennedy Jr. reflected on the importance of the vote in the struggle for Civil Rights.

“This imposing of a second class citizenship on an entire race of American citizens was maintained and enforced through a system of official corruption and unofficial intimidation designed to keep black people from voting,” Kennedy Jr. said.

Now, he continued, “voter purges” – like voter ID laws in 30 states – aim to keep dissidents away from the ballot box while corporate powers play politics: Since the Supreme Court granted corporations legal personhood in the controversial 2010 Citizens United ruling, “a tsunami of corporate money has poured into the political process.”

The Koch Brothers, he said, are spending $290 million this year alone on campaign contributions, “not because they love our country,” but because “they want profits”: “The best way for them to get profits in these days is to use our campaign finance system as a system of legalized bribery to get their hooks in public officials and then use that public official to… give them a competitive edge.

“We gotta get the money out of politics and the people back in,” he said to applause.

Why Tuesday? plans to celebrate the passing of the proposed Vote 2.0 Act, the stated purpose of which is “to ensure that the right to vote is universally enjoyed by all those eligible,” on August 6th, 2015, the 50th anniversary of the Voting Rights Act.

“If Congress can’t get its act together, we’re gonna get its act together for it,” said Wachtel, rousing the audience to chant “Hands up, don’t shoot” in a speculative nod to how more political participation in Ferguson, Missouri, could maybe have elected a different mayor and sheriff, creating a police force more representative of the neighborhood.

From there, the Roots took the event home, kicking off their set with John Legend collaboration “The Fire,” a track Questlove had previously called their “modern-day Rocky-like sports anthem.” Led Zeppelin’s “Immigrant Song” followed, and 40 minutes later they closed the event with fan favorite, “The Seed (2.0).”

Webster Hall’s Girls & Boys Party is Getting a $1 Million Facelift – THUMP

By Whitney Mallett

Walking around New York City’s East Village on a Friday night can feel like going on a safari tour. Over in the corner bars, watch the Duke frat brothers performing their mating rituals. Look up at the trust-funders in their shiny townhouses. Watch out, the NYU undergrads are stampeding! In this wild wasteland, the Girls & Boys party at Webster Hall is like the communal watering hole where everyone can converge, shake their bodies free of the previous week’s stress… maybe meet a new mate or two. 

Of course, standing in a line that juts into the movie theater next door in order to immerse yourself in a reliably sweaty and packed rager isn’t for everyone. But if you can brave Webster Hall’s infamously dour bouncers, the Friday night dance party has become one of the city’s most reliable spots to catch the next wave of dance music—with 2,000 of your closest friends. Practically every dance music superstar, including A-Trak, Justice, Disclosure, and Calvin Harris have graced Webster Hall’s marquee. In fact, Skrillex, Deadmau5, Kygo, Dillon Francis, Porter Robinson, and Tchami all had their breakout shows at Girls & Boys . 

Brodinski, A-Trak and Gesaffelstein at the Girls & Boys Presents: Bromance Records party last May 

The secret to Girls & Boys’ ability to spot tomorrow’s headliners is the power trio who founded the party: Kenny Schachter, the co-president of Webster Hall, Thomas Dunkley of longtime New York promoting team GBH, and Alex English, who doubles as their resident DJ. This year, as Girls & Boys turns six, the team decided to give the party a major facelift—including a million-dollar L‘Acoustics Kara sound system and a LED light wall. Both will be revealed at the kickoff party this Friday, headlined by the French gangsta house duo Amine Edge & Dance and DJ EZ, a pioneer of UK garage. “It will still be the Girls & Boys you know and love. We are just making it better,” explains Dunkley.

With a line-up for the fall that includes Laidback Luke, Keys N Krates, Rusko, Loudpvck, Goldroom, and the New York debut of Robin Schulz, Girls & Boys is renewing their commitment to being a platform to introduce dance music to a wider audience. “Amine Edge & Dance with DJ EZ is a real nice night we are excited for. We’ve been fans of the G-house sound for a little while now and Amine Edge & Dance are the biggest guys in the scene,” explains Dunkley of the emerging genre that puts a gangsta rap twist on deep house. “It was not an easy bill to put together—but so worth the hassle.”

A costume ball in the Grand Ballroom at Webster Hall 

Girls & Boys takes place in the grand ballroom of one of New York’s most storied venues (rumor has it Al Capone once owned Webster Hall). Its vintage facade, high ceilings, and winding staircases give the party an undeniable atmosphere, and the weekly party is only adding to the venue’s century-and-half of history. In the twenties, Marcel Duchamp, Man Ray and Scott Fizgerald were regulars at Webster Hall’s hedonistic soirees. In the fifties and sixties, because of its killer acoustics, the hall became a recording venue where Elvis Presley, Harry Belafonte, and Frank Sinatra all laid down tracks. In the eighties, the venue even housed the Ritz, where Tina Turner, Prince, and the Pretenders all got their starts. When the Ballinger Brothers bought Webster Hall in 1992, it began a new chapter. Today, Girls & Boys has undeniably carved out its place in the city’s electro and EDM scenes. 

Despite the changes Girls & Boys party is making this fall, artists relations manager Laura Bo insists that its core is staying the same. “We are going back to our roots. It will still be the party you know and love, but you’ll fall in love all over again. We have a few surprises in store.” 

Whitney Mallett is a writer in New York and a tweeter of good puns – @WhitneyMallett

Bonus: Because we like you, and you like to party, we’re giving away two VIP passes to Webster Hall’s Girls & Boys party every Friday night for a year, plus a table for six people on your birthday. Enter the contest below to win.–boys-party-is-getting-a-1-million-facelift

James Live Concert Review – Rich Pawelczyk

It’s been about 4 years since Britpop band James crossed the pond to play our main stage. And it’s been about 20 years since James was a radio fixture. Yes, they were part of the original Manchester scene of the ’80s. Singer Tim Booth shared a story during the afternoon meet & greet about The Smiths covering one of their early compositions, despite Morrissey’s raised eyebrows concerning Tim’s lyrics. That reaction was most likely due to the band’s unabashed earnestness, which can border on preachy. There’s no Smiths-like sarcasm in this repertoire, but the James faithful love the band to death precisely because of their holistic lyricism. Death itself was actually a pervasive theme at the show, as many tracks from the new La Petite Mort album were unwrapped for the first time live. The crowd’s devotion also allowed the band to pass over some of their college rock hits of yore in favor of more esoteric fare like the Brian Eno collaboration “Jam J” (which is anything but a jam). This night belonged to the gathered masses, and to the cosmos.

James at Webster Hall





James live at Webster Hall, October 21st, 2014 – photo credit: Joe Russo:


Legendary UK band James performed a very special one-off show in front of a sold crowd at the historical music venue Webster Hall in New York City last night.

Their 13th studio album “La Petite Mort” was release in the U.S earlier this fall, and features powerful tracks such as the lead single “Moving On”, “Frozen Britain” and their latest “Curse Curse”. This week, in continued support of their latest release, the band will be performing tracks from the album on New York’s NPR affiliate WFUV this Friday (to be aired later this fall), and today on WNYC’s Soundcheck at 2:15PM EST. The audio for their performance will be streamed on The session will also air on 93.9FM next week.

On November 22nd James will be debuting tracks from “La Petite Mort” on national TV on CBS’ This Morning: Saturday (check your local listings for airtimes). They will be performing tracks “Moving On” and “Curse Curse” from their new album “La Petite Mort” as well as their classic hit “Laid”.

On Friday, October 24th the band will be performing a free acoustic set live at the Rough Trade Records in Brooklyn at 03:15PM.

“La Petite Mort” was produced by Max Dingel (Killers, Muse, White Lies) and was written by the band, with chief lyricist and front-man Tim Booth’s captivating and heartfelt lyrics, ranking this new full-length as one of their finest in their impressive 30 year career.

Despite the album’s cheerful and uplifting sound, “La Petite Mort” was recorded in the months following the passing of Tim Booth’s mother and his best friend. Many of the songs deal with facing mortality (hence the album title), but in true James form — much like some of the greatest Manchester story-tellers (Morrissey, Guy Garvey, Ian Brown, Richard Ashcroft) — they also deal with the realness of life (and death), with lyrical poignancy, wit and a charm that has become their trademark.

The current lead single “Moving On” is a true testament to the band’s ability to continually create outstanding music. The simple but incredibly moving animated short film that serves as the single’s video was created by esteemed BAFTA award-winning animator and director Ainslee Henderson. “My Mother’s death was clearly a birth of some kind and that description caught Ainslie’s imagination” explains Booth. Watch the video here.

James are: Tim Booth (vocals), Jim Glennie (bass), Larry Gott (guitars), Saul Davies (guitar, violin), Mark Hunter (keyboards), David Baynton-Power (drums) and Andy Diagram (trumpet).



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