Wednesday 12/9
Webster Hall
8 p.m., $20

In the opening lines of “Slipping Away,” the first single from Tanlines’ sophomore record, Highlights, Eric Emm’s plaintive vocal rings out over an exuberant bassline akin to the Cure’s “Close to Me”: “Was I running backwards? Was it all just a dream?” Emm’s lyrics could easily be a reference to the whirlwind in which he, along with bandmate Jesse Cohen, began their career. They released full-length debut Mixed Emotions in 2012, and though some critics docked points for the LP’s failure to push many boundaries, it reached No. 2 on the Billboard Heatseekers album chart and earned Tanlines a slew of fans who came out in droves to dance themselves into a frenzy at their shows. Everything about Highlights sees the band making bolder decisions, and Tanlines wanted to reflect that in their live shows as well. They’ve assembled musicians who will add guitar and live drums on tour, making these shows unlike the many that Tanlines have played as a duo. Angelenos IO Echo are set to open. — Lindsey Rhoades

Tickets here

Heart Of The Night – REDBULLETIN



From the gallery of Webster Hall’s Grand Ballroom at 3am, you get the perfect view of the epicentre of New York nightlife. The gallery, an open hallway 5m above the clubbing throng, vibrates when the DJ turns up the bass.

Below, 1,500 people of every ethnicity dance to electronic beats in a ballroom that dates back to 1886. This is the beating heart of Manhattan. In the 1920s, New York’s Bohemian set came here to drink, defying Prohibition laws that forbade the sale of alcohol.

A 20-year-old Bob Dylan made his first recording in the Grand Ballroom in 1962 when the club was being used as a studio. Then, in 2010, a skinny guy named Skrillex dazzled the venue with his dubstep tracks – and his basslines ended up bursting the water pipes behind the bar. Two years later, he won three Grammys.

Webster Hall has remained a hub of the New York club scene for almost 130 years thanks to successive owners’ ability to recognise and promote new trends. The venue’s resident expert is its current owner, 65-year-old Lon Ballinger, a nightlife guru with a gentle voice.

For full interview click here:

The Best Rock Acts Of 2015 Celebrate Ground Control Touring At NYC Mini-Fest – STEREOGUM

Ryan Leas | 12:37 pm

Last night, the booking agency Ground Control Touring and the music site Noisey partnered to bring something like a five hour mini-festival to Manhattan’s Webster Hall. The occasion was the former’s 15th anniversary, and the stacked lineup was built from Ground Control’s roster. Eighteen acts took over three different rooms in Webster: the tiny basement Studio, the slightly larger Marlin Room, and the Grand Ballroom, the place where you’re most likely to actually see a show at Webster on a regular basis. Of those 18 bands, six were featured on Stereogum’s list of the best albums of 2015 — Kurt Vile, Speedy Ortiz, Screaming Females, Waxahatchee, Titus Andronicus, and Hop Along. That gave the night some element of end-of-year celebration, a place to see the artists behind some of 2015’s best music, all together. But these bands were also joined by veteran indie figures like Lee Ranaldo and Superchunk, and by perennial contemporary favorites like Perfect Pussy and Parquet Courts. With some artists only playing a handful of songs, it was the kind of event that had you running between Webster’s three floors out of fear of missing something.

Ground Control Touring bill themselves as a company that has a careful, selective approach to who they work with. As far as last night’s birthday party goes, that curatorial impulse was on full display: The bands on the bill felt like they were all part of some large extended family and/or scene, despite them being, at times, far removed generationally or geographically. But when they were all under Webster’s roof, it came off like a giant house party, with artists flitting between each other’s sets, sometimes thwarting audience expectations, but mostly offering up a weirder and more gratifying show than you’d usually reasonably expect on a Wednesday night.

Full article here:

Ground Control Touring 15th Anniversary – TIME OUT

Webster Hall , Downtown
Wednesday December 2 2015

Booking agency Ground Control Touring is flexing its booking muscles this week by booking a marathon list of top indie artists to take over all three floors of Webster Hall for a night of cover sets, mini sets, collaborations and unannounced surprises. The full list packs a punch: Superchunk, Kurt Vile, Waxahatchee, Steve Gunn, Parquet Courts, The Felice Brothers, Rainer Maria, Torres, Titus Andronicus, Beach Fossils, Speedy Ortiz, Hop Along, Porches, Frankie Cosmos and more. Phew!

#Throwback Thursday: Madonna’s Pajama Party in 1995 Was a Night To Remember – STYLECASTER

Caroline McCloskey August 22, 2013 5:00pm

Madonna’s “Pajama Party” was the place to be on the night of March 18, 1995. To promote her then latest album “Bedtime Stories” Madonna threw a party to debut the music video for the song “Bedtime Story”—the most expensive video ever made at the time. While lasting only 40 minutes, the event was telecast live on MTV so everyone on the planet could get in on the action.

The Venue: Webster Hall in New York City was the chosen venue for the exclusive party. With four floors and five unique spaces Webster Hall is touted as the biggest nightclub in NYC. Located in the heart of the East Village it still plays host to top performers.

The Guests: Contests to attend the event went out across the country, so many of Madonna’s biggest fans were able to attend the once in a life time event. But the invite-only bash was mostly filled with DJs, MTV VJs, and reporters. Bjork who collaborated with Madonna on the song was in attendance along with producer Kenneth “Baby Face” Edmonds, Sarah Michelle Gellar, and several other stars of the 90s.

The Theme: Fittingly, “Bedtime Story” was the theme for the occasion. Most guests wore pjs, some men stripped down to their boxers, and even a few teddy bears packed the dance floor.

Entertainment: Madonna first appeared on stage in a long blue satin nightgown, looking very Marilyn Monroe-esque, to perform with pajama-clad backup dancers. Later, the pop icon emerged in red satin pajamas to read the children’s book Miss Spider’s Tea Party to the crowd. Over the night Junior Vasquez DJ’d and finally Madonna’s five-million dollar music video was premiered at the not-so-average pajama party.



Wednesday 11/18
Hudson Mohawke
Webster Hall
8 p.m., $35 (Tickets Here)
The sophomore LP from Hudson Mohawke, Lantern, glows with Glaswegian producer Ross Birchard’s creativity and confidence. Here, he distances himself from the Kanye collaborations and other high-profile hip-hop connections that garnered him so much buzz in favor of blazing his own trail. “Kettles,“ for instance, could score the most magical of Broadway productions, and “Warriors” is about as uplifting as a pop-tinged R&B number gets, with a rousing chorus (“We might lose the battle, but we’ll win the war, and we don’t care cause love is what we’re fighting for”) that feels especially prescient in light of recent tragedies. Birchard’s show at Webster Hall on Wednesday ends his seven-date tour with R&B producer/singer/songwriter The-Dream, whose prodigious amount of forthcoming new material has been held up this year due to label issues. – Lindsey Rhoades

Ryn Weaver
Webster Hall
7 p.m., $25 (Tickets Here)
There is much for Ryn Weaver to be excited about. It’s been a quick ascent for the California-bred pop artist, who burst onto the scene from seemingly nowhere last year with the smash single “OctaHate” and released her debut LP, The Fool, last June. After a sold-out run at Music Hall of Williamsburg and Bowery Ballroom that summer, Weaver brings her live set back to New York stages for two gigs at even bigger venues – Webster Hall on November 19 and Warsaw on November 20. ASTR and Holychild open both shows. – Jill Menze

All Access: Christine and the Queens at New York City’s Webster Hall – CONSEQUENCE OF SOUND

A night of sophistication, creativity, and pure passion


Welcome to All Access, a new feature in which a Consequence of Sound photographer doesn’t just see a show, but gets an inside look at what goes on before the band takes the stage.

Earlier this year, I found myself in an awkward (yet sadly predictable) predicament: it was my birthday and I had completely forgotten it was on the way. Constantly working and being on the move is a lifestyle I’ve enjoyed for years, but instances like this are the sort that make you go, “Wow … what the hell?” Enter Christine and the Queens, a French pop artist who I knew nothing about prior to August 4th when I was invited to see her perform at The Box in Manhattan. Originally, I was going merely to spectate, but her performance was so captivating that my camera effortlessly forced itself into my hands. The way she danced, the way she sang, the way she exerted power … it was all-infectious, striking, and one of the best performances I experienced this year.

Fast-forward to November 2015, and Christine is back in NYC to headline a sold-out concert at Webster Hall. Her brilliant team invited me out to spend some time with her prior to the performance to capture what goes into preparing for her dynamic live show. The main aspect of Christine’s set that stuck with me is how ferocious her confidence is on stage. Off-stage, she’s a soft-spoken individual who’s incredibly polite and shy. During the soundcheck, I witnessed a prime perfectionist who powered through song after song, while also finding time to share a laugh with her dancers and bandmates.

Full article and gallery here:

The Lone Bellow – VILLAGE VOICE

By Lindsey Rhoades

For three lifelong friends from Georgia, a move to Brooklyn has certainly paid off. In four short years, folk-rock trio The Lone Bellow — comprised of Zach Williams, Kanene Donehey Pipkin, and Brian Elmquist — have released two critically acclaimed albums: a self-titled debut in 2013 and this year’s eloquent Then Came The Morning (produced by another beloved Brooklyn transplant, Aaron Dessner from the National). Their energetic live shows and heart-stopping harmonies have garnered so much buzz that Friday’s show at Webster Hall is already sold out, but luckily a second one was added for November 12. Anderson East and Hugh Masterson open both nights.

Christine and the Queens played a triumphant, packed show at Webster Hall – BROOKLYN VEGAN

photos by Amanda Hatfield, words by Andrew Sacher

Christine and the Queens

“I cannot believe what’s happening right now,” said Héloïse Letissier, the force behind France’s Christine and the Queens, after playing the first song of their set to a sold-out crowd at NYC’s Webster Hall last night (11/11). The place was clearly loving her, cheering several times during that one song alone, when Letissier hit the high notes, when one of her dancers did a particularly impressive move, or when Letissier did herself. She played a few smaller NYC shows since making her debut here in April, and had just opened for Marina and the Diamonds across two nights at Terminal 5 this week, but this was by far her biggest headlining gig in the city yet. She’s clearly a huge hit here already, especially with the French community (that’s not an assumption: Letissier asked “who here is French?” and about 80% of the room screamed).

Christine and the Queens make pop music, but they certainly toy around with the boundaries of the genre. She shouted out a few fierce females in pop music (her words) during the set, namedropping Beyonce, Rihanna, and Grimes, which should tell you something. She has dancers on stage, but more in the way that Grimes does than a true mainstream pop star. There’s just two, and they’re working more with abstract modern dance than say, Darrin’s Dance Grooves. She’s also always referencing various types of music during her set. She took the line “She’s a man now, and there’s nothing we can do to change her mind” from “iT” and transitioned into “Cause I’m a man, woman, don’t always think before I do” from Tame Impala’s “Cause I’m A Man.” She played her song “Paradis Perdus,” which is a cover/mashup of French singer Christophe’s 1973 song of the same name and Kanye West’s “Heartless.” That was only one of two times Kanye came up, as later in the set she played a bit of “I’m In It” over the PA. And she played “No Harm Is Done,” which samples the melody of Arctic Monkeys’ “Do I Wanna Know?”. (She did not cover “Pump Up the Jam,” which she’s done before.)

Christine and the Queens

That last one features a guest verse from Philly rapper Tunji Ige, and he was projected onto the screen behind her mouthing along as his verse played. They did the same thing for Perfume Genius for his verse in “Jonathan.” She’s not just playing with genre, but she’s playing with gender too. She’s talked before about gender fluidity, and that was very clearly on display last night. Her performance went back and forth between appearing stereotypically feminine and stereotypically masculine. The same could be said of her two male dancers.

Their live show is clearly incredibly professional already, between the choreography, the visuals, the sound, everything. Her only backing band is one guy on samplers/keyboards and another on guitar/bass/backup vocals. I usually complain about bands who don’t have drummers, but here I didn’t notice it at all.

Full review and gallery here:



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