Tix and info at WebsterHell.com
Tix and info at WebsterHell.com
Members of punk legacy acts Blondie, MC5, the Replacements, and the Heartbreakers have assembled to form a supergroup for one night only. Clem Burke (Blondie), Walter Lure (The Heartbreakers), Tommy Stinson (The Replacements), and Wayne Kramer (MC5) are coming together to honor writer and early punk purveyor Stephen Saban, who was diagnosed with cancer last year at the age of 69. The benefit concert will feature the supergroup performing the Heartbreakers’ lone studio album, 1977’s L.A.M.F., in its entirety along with guests Lenny Kaye, Bush Tetras, and Mudd Club’s Marilyn.
It all goes down in The Marlin Room at Webster Hall in NYC on 11/15. Tickets can be purchased here for $50. All proceeds will go to Saban’s treatment.
The best kind of artist is the one who forges their own path. They’re the one who strays away from the herd while creating music that’s both innovative and original. That kind of artist also is never afraid to push the envelope and take a few risks. A person who optimizes that is Tricky, the Bristol, England born and bred experimental musician who has been part of famous collaborations with fellow Bristol natives Massive Attack along with having a reputable solo career. He’s never one to be pinned down by a genre or a label and he’s been consistently putting out music since the mid-90s.
On the heels of his latest album Skilled Mechanics that came out in January along with the release of The Obia EP in September, Tricky is visiting North America for a tour that begins at the El Rey in LA tonight (10/20), includes a set at Beach Goth on Saturday, and includes a BrooklynVegan-presented NYC show at Webster Hall on October 28 (tickets). The US dates are with Rituals of Mine (fka Sister Crayon), who also just opened for The Album Leaf. The full set of updated tour dates is below.
Before the festivities I had a chat with Tricky about what initially made him latch on to the sound that was coming out of Bristol, how he deals with fame, his time on the set of the cult sci-fi film The Fifth Element, what inspires him to be prolific, recently moving to Berlin and his recent series of shows with Massive Attack.
Read the full interview here:
BY ZOE BEERY
Every day of a particularly chilly week last October, Ric Leichtung saw the same friendly Siamese cat roaming the gutters near his Bushwick apartment, forlorn and shivering. After one too many cold nights, a friend told him he had to bring the cat inside. “I was like, ‘I don’t know, I’m allergic to cats. I think this is a terrible idea,’ ” he remembers. “But I took it in and I ended up really, surprisingly loving cats, even though I grew up hating them.” Since then he’s rescued and rehomed four more, posting photos of each on Facebook until a friend of a friend agrees to take the kitties in. He’s a one-man DIY ASPCA.
The cats are lucky Leichtung has taken up their cause. Thanks to eight prolific years booking shows in New York, he has a far-reaching social network ready to support his projects. Those ventures include what he calls “the cat thing,” plus working as a talent buyer at Webster Hall (125 East 11th Street, Manhattan, 212-353-1600, websterhall.com) and, along with co-founder Emilie Friedlander, operating AdHoc (adhoc.fm), a collective that runs an out-of-left-field music website, produces a free zine whose writers include both journalists and musicians, and books dozens of shows a month. “If you’re a big band, you have to play with Live Nation or AEG, and what AdHoc tries to offer is an alternative,” Leichtung says. “You can still do big things with a grassroots mentality. [We’re] trying to grow with the artists we knew when they were small.”
AdHoc has introduced New York to many performers who made the big-time leap: Grimes, Death Grips, Arca, Parquet Courts, Alex G, Mitski, DJ Rashad. Leichtung has endured the closure of 285 Kent, the original Market Hotel, Death by Audio, and Palisades, all of which AdHoc was involved with. But he doesn’t indulge in mourning them. “People who say there’s no good venues anymore are totally wrong,” he says. “You just have to look, and you also have to do things. You can’t expect change to happen by itself.”
These days AdHoc’s name and signature ¯\_(ツ)_/¯ emoji, its mascot of sorts, show up attached to artists in multiple genres — a testament to Leichtung and Freidlander’s broad, discerning tastes. AdHoc is now expanding to artsier spaces, including National Sawdust (80 North 6th Street, Brooklyn, 646-779-8455, nationalsawdust.org), which chose Leichtung as a curator for its current season. Unsurprisingly, Leichtung has little free time; he spends much of it with his cat, the same one he picked up off the street. And he still keeps his ears open for lonely late-night meows. “I get the same feeling from rescuing cats that I do from shows,” he says. “It’s doing something positive for the community. It just feels really good.”
Combining singer Mike Milosh’s sweetly androgynous lilt with Robin Hannibal’s billowing production, L.A. duo Rhye make lusciously ethereal R&B. Expect a hauntingly dreary show as the band is preceded here by Brooklyn shoegaze crew Cigarettes After Sex, which sounds like everything its name suggests: smoky, sultry and heartachingly intimate. Singer-songwriter Greg Gonzalez’ dusky voice is the highlight of the group’s gloomy sound, strolling through washes of droning guitar reverb.
10/9/2016 by Chris Payne
Tré Cool and Billie Joe Armstrong of musical guest Green Day perform on The Tonight Show Starring Jimmy Fallon on Oct. 6, 2016 in New York City.
Green Day headed to New York City the same weekend it released its new studio album, Revolution Radio. But the band didn’t play MetLife Stadium or Madison Square Garden; following the disappointing reception of 2012’s ¡Uno!, ¡Dos!, ¡Tré! trilogy, the veteran rockers embraced a back-to-basics approach, playing venues the size of which reflected their pre-Dookie days. On Saturday night (Oct. 8) at Webster Hall, the rock veterans played songs from that era, too.
“This song’s called ‘409 in Your Coffeemaker,’” Billie Joe Armstrong announced about an hour into the set, eliciting screams from the fanatics. The 26-year old song arrived alongside others from the band’s pre- major-label days, like “Private Ale” and “Christie Road,” executed as if they’d been playing them for years alongside “Longview” and “Holiday.” Those hits were included as well — along with most of Green Day’s standards — essentially announcing intent for the most fan-friendly experience possible.
It looked like the band just wanted to enjoy itself, too. With the new album just released, there was no hurry to live-test brand new songs the crowd barely knew. It let “Bang Bang” — already a radio hit — resonate early in the set, and sprinkled in three other Revolution Radio tracks, focusing on ones that had been out prior to the Oct. 7 release date.
Armstrong has already dissed Donald Trump on this tour, but the Webster Hall show featured no extended political rants. The closest they got was a jab at Fox News, CNN and MSNBC early in the set and as for general chatter, Armstrong and company were generally more inclined to fill their time up with music. “Minority” was stretched out into an improv-filled epic before closing the pre-encore portion and — perhaps in an embrace of its elder statesman status — Green Day infused its familiar cover of “Shout” with a little bit of “Hey Jude” and “(I Can’t Get No) Satisfaction,” both played by their original writers this weekend at Desert Trip in Indio, Calif. Twenty years from now, it’s not hard to imagine Green Day sounding pretty good at some future version of the so-called “Oldchella.”
After a handful of U.S. shows to close out October, Green Day will head out on a European tour to open 2017. The band will hope to see Revolution Radio catch on with the masses, and assure them a similarly frenzied reaction from much larger crowds when they presumably return to the road in America next year. Green Day has an illustrious history it can fall back on when times get tough; its current tour has given some lucky fans old school thrills and the months ahead will reveal if Revolution Radio cracks the Green Day canon.
Here’s the set list from the show:
“Know Your Enemy”
“Boulevard of Broken Dreams”
“Stuart and the Ave.”
“409 in Your Coffeemaker”
“One of My Lies”
“Nice Guys Finish Last”
“Hitchin’ a Ride”
“Are We the Waiting”
“King for a Day”
“Shout” / “(I Can’t Get No) Satisfaction” / “Hey Jude”
“Jesus of Suburbia”
“Good Riddance (Time of Your Life)”
Echo & The Bunnymen/Webster Hall’s Grand Ballroom/September 12, 2016
After brief stints in The Crucial Three and A Shallow Madness, vocalist Ian McCulloch formed Echo & The Bunnymen with guitarist Will Sergeant and bass player Les Pattinson in 1978 in Liverpool , England. The original trio was supplemented by a drum machine until Trinidad-born Pete de Freitas joined as the band’s drummer in 1980. Echo & The Bunnymen began to fracture when McCulloch left the band to pursue a solo career in 1988 and de Freitas died in a motorcycle accident in 1989. Sergeant and Pattinson recruited other musicians but the band split in 1993. In 1994 McCulloch and Sergeant began working together again under the name Electrafixion; in 1997 Pattinson joined the duo, and the trio resurrected the Echo & The Bunnymen name. Pattinson left the group again to care for his mother in 1999, and McCulloch and Sergeant continued Echo & The Bunnymen. Echo & The Bunnymen’s most recent album, Meteorites, was released in 2014.
McCulloch and Sergeant are joined on the current tour by guitarist Gordy Goudie, keyboardist Jez Wing, bassist Stephen Brannan and drummer Nick Kilroe. Although the band has released 12 albums, the vast majority of the 17-song set came from the band’s first five albums, with hardly a reference to any music past 1987. With no new album to promote, Echo & The Bunnymen launched the set with “Going Up,” the first track from the band’s first album, and stayed in the retrospective mode until the final encore, “Lips Like Sugar.” Although the set included no new songs, it did include deep cuts seldom played live. McCulloch put on his best Jim Morrison, singing with a commanding and gruff passion and seldom letting go of the stationery microphone stand; at times the similarity in their voices was uncanny. Echo & The Bunnymen’s music was more new wave than classic rock, however, with loads of bright and bouncy melody lines and Sergeant’s searing guitar leads driving the band’s rockers. The only thing needed was a few new songs.
Peaches/Webster Hall’s Grand Ballroom/September 13, 2016
Merrill Nisker, a music and drama teacher in her native Toronto, Canada, began moonlighting in the early 1990s as part of a folk trio, Mermaid Café. In 1995, she played in a rock band and released her first solo album. The band’s absurd, highly sexual rock music was a harbinger for what Nisker would become, as she adopted and developed her new larger-than-life persona as Peaches. She lived with fellow recording artist Feist; Feist worked the back of the stage at Peaches’ shows, using a sock puppet and calling herself “Bitch Lap Lap.” Peaches grew as an electronic musician and performance artist, creating compositions that reversed traditional gender politics, pivoted on sexually explicit lyrics, and employed increasingly controversial props in her stage show. Peaches produced her sixth and most recent studio album, Rub, in her garage in Los Angeles, California, and released it on September 25, 2015.
Peaches’ performance at Webster Hall’s Grand Ballroom featured no band. Peaches frequently retreated to the rear of the stage to twist knobs and program her music. Most of the time, however, she was front and center on a platform, singing her bawdy lyrics as her two costumed dancers slithered and kicked below her. Peaches first came on stage wearing a super-furry beast costume, but several costume changes later she was dancing topless; along the way, she humorously exploited sexual norms by wearing five fake breasts on her chest and having her dancers wear massive vagina costumes. At one point, a giant simulated condom was projected into the audience and Peaches attempted to walk through it on the audience’s shoulders. Meanwhile, raw, throbbing electronic music, hip-hop, and punk rock pumped out the soundtrack to Peaches’ performance art as she sang and rapped provocative statements that blurred sexual norms. Unlike much contemporary urban music, the presentation was never about suggestive sexual acts; Peaches was more about pushing a dialogue about sexual attractions to absurd limits. Peaches’ concert was visual theater for the most adventurous.
Both the venue itself — the incredible Webster Hall — and Common, who performed at the Bing Live event, appeared on Wednesday’s trending topics, proving that the extracurricular content often generates more buzz than the educational content. But not to be outdone by celebrities and performers, social media itself stole the show on Wednesday, grabbing everyone’s attention on the Twittersphere for the day.
By JON CARAMANICASEPT. 28, 2016
There’s real breathing room in the music of James Blake and Majid Jordan, two acts that refract soul music through a digital lens, approaching their songs with reserve and crispness and using moist emotion as a point of contrast. Majid Jordan, a Toronto duo signed to Drake’s OVO Sound label, builds a thick sheen atop disco and funk skeletons on its self-titled debut album. And Mr. Blake’s latest, “The Colour in Anything” (Republic), is familiarly meditative and aching; he’s an austere singer who finds swing in minimal electronic compositions.
Mr. Blake makes museum pieces, and Majid Jordan, staples of some future nightclub. But they both cradle the tradition they’re inheriting with extreme care; they don’t want to break it. (James Blake plays Monday, Oct. 3, Radio City Music Hall; Majid Jordan plays Monday, Webster Hall; Tuesday, Warsaw.)