The Nine Best Concerts in New York This Week, 3/9/15 – VILLAGE VOICE

By Eleanor Lambert Mon., Mar. 9 2015 at 6:32 AM

of-montreal-chad-kamenshine.jpg
Photo by Chad Kamenshine
Of Montreal

Of Montreal
Webster Hall
9 p.m., $22
Thesaurus-rocking self-absorption, thy name is Kevin Barnes. The hyper-literate glamour puss meditates on late-Seventies-style NYC ennui on his latest album with Of Montreal, Aureate Gloom, whose “golden despondency” (his description) will likely feature prominently tonight. Meanwhile, opener Yonatan Gat is best known for his work with cock-rockin’ Tel Aviv punk trio Monotonix (now defunct). Drummer Gal Lazer and bassist Sergio Sayeg propel him into deep distorted grooves and Sierra Leone–style frenzies on his new live solo album, Director. The show is open to everyone eighteen and older. — Richard Gehr

http://blogs.villagevoice.com/music/2015/03/best_concerts_new_york_3915.php?page=2

Joey Ramone’s annual Birthday Bash happening at The Studio at Webster Hall with CJ Ramone & more – BROOKLYN VEGAN

Joey in Punk Magazine’s ‘Mutant Monster Beach Party’
Joey Ramone

Once again, Joey Ramone‘s birthday will be celebrated with his Birthday Bash in NYC this year, but this time it’s moved from its usual location of Bowery Electric to The Studio at Webster Hall. It takes place May 19, the day he would have turned 64. Tickets here.

This year’s lineup features CJ Ramone, Joey’s bandmate from 1989-1996 who recently released a pretty solid solo LP on Fat Wreck Chords. It’s also got repeat offenders The Sic F*cks, as well as Barb Wire Dolls, The Independents, Stop, Jiro and The Serotones. Tickets are on sale now, and proceeds benefit the Joey Ramone Foundation for Lymphoma Research.

If you haven’t yet, read our interview with Marky Ramone, whose autobiography is out now.

Revisit some Ramones classics here

http://www.brooklynvegan.com/archives/2015/03/joey_ramones_an.html

Cannibal Corpse and Behemoth Prove It Feels Damn Good to ‘Be Alive’ at Webster Hall – VILLAGE VOICE

By Phil Freeman Sun., Mar. 1 2015 at 2:31 PM

A fan awaits Cannibal Corpse’s set in the sold-out crowd of Webster Hall. Photos: Metal Reigns Over Webster Hall
Cannibal Corpse are one of the constants of the metal universe, a perfect example of artistic conservatism as a life path. Their music has remained essentially unchanged since their 1990 debut album, Eaten Back To Life: they play fast, aggressive death metal, but somehow manage to shoehorn just enough melody into their songs to make them memorable beyond a head-down blur of riffs and blast beats. They don’t really have one representative album to recommend to newbies, though everything since 2006′s Kill has been ridiculously impressive.
Behemoth, their partners on this tour, are a different story. They’ve evolved substantially since beginning as a black metal band in the early Nineties, moving closer to death metal and getting more and more sonically and compositionally ambitious. Their most recent album, The Satanist, is their best by a long stretch. They’ve also got a better story: frontman Nergal recently triumphed over leukemia, an experience that has clearly affected him. After the first song of their set at a sold-out Webster Hall, he asked the crowd, “How does it feel to be alive?”

The show started early, with the first band of four, Tribulation, taking the stage at 6:30. Their music was a mix of progressive black metal and old school rock ‘n’ roll, presented with almost glam-rock theatricality. The four members probably weigh 300 pounds combined, and most of that’s hair. The two guitarists writhed snakelike across the stage, aiming their axes at the ceiling and cutting loose with shredding solos. They should be opening for Opeth, not Cannibal Corpse, but they’ve got enough star power going that they’ll likely be headlining tours of their own soon. The next band, Aeon, had neither style nor songs. They’re the kind of ultra-generic death metal band who’ll be opening shows for better acts until they pack it in.

This was technically a co-headlining tour, so both Cannibal Corpse and Behemoth played for the same amount of time (roughly 50 minutes each), but Cannibal Corpse made substantially more of their relatively limited time onstage. They opened with one of their slowest songs, “Scourge of Iron,” as though warming the crowd up before a workout. And frontman George “Corpsegrinder” Fisher fits the role of coach or drill instructor: he’s an astonishing physical presence, big and bulky, with a neck the size of the average person’s thigh. He pinwheels his hair in precise circles every time the music speeds up, and barks the lyrics out like bullets. Behind him, his bandmates — guitarists Rob Barrett and and Pat O’Brien, bassist Alex Webster, and drummer Paul Mazurkiewicz — crank out the riffs, barely paying attention to the crowd at all. I don’t think I saw Webster’s face the whole night, as he bobbed his head above his instrument.

The set list was mostly drawn from their recent albums, with three tracks from this year’s A Skeletal Domain — “Kill or Become,” “Sadistic Embodiment,” and “Icepick Lobotomy” — coming in a row at the end of the first half. But a few classics surprised and excited the crowd, particularly “Stripped, Raped and Strangled,” from 1994′s The Bleeding, and “I Cum Blood,” from 1992′s Tomb of the Mutilated, introduced by Fisher as “a love song…about shooting blood out of your cock.” Ultimately, they played fourteen songs with ruthless efficiency, never stopping for more than a few seconds. Fisher’s stage banter was limited to demanding that the crowd mosh harder, or headbang as fast as he could: “You will fail, but you can try.”

Behemoth’s set, on the other hand, included only eight songs, half of them from The Satanist. As the road crew set up elaborate, theatrical stage props, it became clear that logistics, not popularity or sales figures, had determined which band would play last. Behemoth frontman Nergal took the stage in black metal face paint and some kind of chain mail hood, with a torch in each hand that he used to light a brazier hanging from his mic stand.

Their set featured a lot of taped intros and dramatic interludes, and the songs themselves were longer and more complex than Cannibal Corpse’s short, violent blasts. But they weren’t as catchy; they didn’t make you want to bang your head or pump your fist. On record, Behemoth’s music is mixed into a blast-furnace roar, aiming to overpower listeners rather than win them over. Live, the same was true: The sound was relentless and crushing, like an avalanche of superheated boulders. But the populist appeal just wasn’t there. They were playing at the crowd, not to them, and while most people stuck around, a slow, but steady trickle of fans headed for the exit as their set roared on.

Full article here: http://blogs.villagevoice.com/music/2015/03/cannibal_corpse_behemoth_live.php

UNABASHED BASH – WABC NEWS

Congrats to Brandsway Creative which celebrated half a decade of bringing celebs and their fans together on Friday night. The PR firm, headed by Kelly Brady, which works with models including Jessica White, Jessica Hart and Nicole Trunfio, threw their anniversary bash at Webster Hall where Warner Bros. band Echosmith performed and DJ Hesta Prynn provided the late night entertainment.

http://www.nydailynews.com/entertainment/gossip/confidential/kelly-osbourne-quits-fashion-police-article-1.2132402

House Party: Where New Talent Keeps NYC Hip-Hop On Its Toes – VILLAGE VOICE

By Corey Beasley Tue., Feb. 24 2015 at 8:02 AM

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Courtesy of Webster Hall. Photo: Carlos Alayo
Vic Mensa works the crowd at House Party

What do the leading artists in 2015′s rising class of hip-hop talent have in common? How are Vic Mensa and his house-inflected hit “Down on My Luck” connected to Tinashe and her luxe anthem “2 On,” or the moody revivalism of Joey Bada$$ with Rae Sremmurd’s anarchic, weirdo ecstasies? You don’t need a thinkpiece to figure out the answer: They’ve all played Webster Hall’s House Party, helping to break their records to a New York City crowd while cementing the venue’s weekly dance party as the spot for hip-hop fans to catch the next wave of stars before everyone else gets a piece of them.

Every Thursday, House Party helps a couple thousand New Yorkers show up to work or class the next morning in a bleary-eyed fog. Billing itself as “the biggest weekly hip-hop event NYC has ever seen,” the party — in its first full year of operation — has already made a name for itself as an exciting, unpredictable event. It’s too early to measure it against other long-running, iconic hip-hop dance nights, like those at the much-missed Tunnel, but it’s helped reclaim the city’s hip-hop dance culture from the insular, elitist realm of bottle
service and velvet ropes. Admission is free for women (and anyone with a flattop haircut) and never more than $25 for men, and Webster Hall’s multi-story layout gives House Party a truly democratic
feel. Four rooms with distinct sounds — Va$htie’s celebrated 1992 Throwback Party, Electric Punanny’s reggae room,
the trap room in Webster’s Studio, and the huge party in the Grand Ballroom, featuring Just Blaze, DJ Soul, and a weekly guest or two — give attendees the chance to have four completely different club experiences without leaving the building.

“It’s the embodiment of hip-hop culture in New York City,” says Alex Damashek of Move Forward Music, who helms the party and books its weekly talent. Webster Hall’s Kenny Schachter tapped Damashek in 2014 to expand the venue’s long-running Ladies’ Nights into something much bigger. Damashek, a Brooklyn native, had been booking hip-hop bills and promoting shows in the city for years, and he used this opportunity to conjure up an event more ambitious than anything he’d previously attempted. Any promoter would likely tell you that putting on a weekly party for upwards of 2,000 people is difficult enough, but doing so while
juggling the schedules of artists like Just Blaze, Va$htie, and that week’s top-tier guest or breakout star? Damashek and Lindsay Hart, Move Forward’s general manager, had their work cut out for them.

Damashek had been a fan of Just Blaze and DJ Soul’s OPEN, a much-celebrated weekly party hosted by the duo at Manhattan’s Santos Party House, and he wanted to bring that event to a wider audience with Just Blaze’s blessing. Santos Party House’s relatively small size (it has a capacity of around 800) meant OPEN had a more exclusive feel to it. Webster Hall would triple that capacity, offering a more accessible party.

But Just Blaze — who’s worked with Jay-Z, Kanye West, Eminem, and other hip-hop superstars — felt wary of shouldering such a huge event on his own. “Weeklies are a tough thing to do,” he
admits. “When things are going well, it’s good and you can take credit. But when things are bad, it’s all on you. That’s why I didn’t want the whole [night] to revolve around me.” Beyond that, he recognized the impossibility of staying fresh when performing so frequently. “No matter who the artist is,” he says, “if you knew your
favorite artist was performing every Friday at Yankee Stadium or Madison Square Garden, you’d go the first few times, but after that, it wouldn’t be special anymore.”

On the next page: “People say New York City has fallen off, or that it’s a town for rich people, you know? But we’ve
finally got our thing.”

Read Full Article here:
http://blogs.villagevoice.com/music/2015/02/house_party_webster_hall.php

Let’s Zydeco! – THE NEW YORKER

The concert series, which brings musicians from around New Orleans to town almost weekly, does its home city right with a pre-Mardi Gras party featuring C. J. Chenier and the Red Hot Louisiana Band. Chenier, the son of Clifton Chenier, known as the King of Zydeco, is a high-powered vocalist and accordionist who has appropriately been dubbed the Crown Prince. His shows are authentically rocking affairs. Costumes are encouraged, as is checking the series’ Web site; its usual venue, Connolly’s, has lately been unavailable, and there have been last-minute changes in locations for shows. (Midtown Live, 251 W. 30th St., 2nd floor, the Red Room. letszydeco.com. Feb. 15.)

http://www.newyorker.com/goings-on-about-town/night-life/lets-zydeco-7

The Twenties Come Alive at East Ville Des Folies – VILLAGE VOICE

Webster Hall recalled the Twenties — an era when it was “reputedly owned by infamous mobster Al Capone” on Saturday, February 7, 2015 with “East Ville Des Folies,” a daytime beer & whiskey-tasting party that encompassed all floors of the historic, 129-year-old nightclub on East 11th Street. The event also included performance art, burlesque, and live music. Photos by Laura June Kirsch for the Village Voice. Check out the full gallery here.

http://www.villagevoice.com/slideshow/the-twenties-come-alive-at-east-ville-des-folies-42133731/

Feist playing with Sting at Webster Hall (Cherrytree Records 10th Anniversary) – BROOKLYN VEGAN

Feist

Cherrytree Records is celebrating its 10th anniversary this year with a concert at NYC’s Webster Hall on March 9. The lineup’s led by two artists who could fill Webster Hall on their own (especially one of them), Sting and Feist, and also features Cherrytree artists Far East Movement, Ivy Levan, Matthew Koma, Secret Someones, The Last Bandoleros and DJ Dave Aude. Tickets go on sale at 3 PM today (2/4).

UPDATE: Cherrytree Records asked us to clarify that, “Feist isn’t actually opening for Sting. All of the artists on the bill will be doing special short sets and there’s no actual run-of-show laid out just yet.”

Meanwhile, it’s been way too long since we’ve gotten a new Feist album. Her last was 2011′s Metals, and you can revisit the video for “Graveyard” from that album, below…

http://www.brooklynvegan.com/archives/2015/02/feist_opening_f.html

Peter Ulrich (Dead Can Dance, This Mortal Coil) releasing new solo album, playing 1st-ever show with his Collaboration band – BROOKLYN VEGAN

peter ulrich

Peter Ulrich played drums and percussion in the early years of Dead Can Dance, and is on many of their 4AD albums, including 1984′s self-titled debut and 1987′s Within the Realm of a Dying Sun. He also contributed “At First, and Then” to This Mortal Coil’s Filagree & Shadow and played on Wolfgang Press albums as well. He’s released a number of solo albums, too, which don’t stray too far from the gothy, orchestral folk of Dead Can Dance. Those include 1999′s Pathways and Dawns which was produced by DCD’s Brendan Perry, and 2013′s The Painted Caravan, the first in a planned trilogy. In May, Ulrich will release Tempus Fugitives, which is the second in the “Painted Caravan” trilogy. Check out the single “Dark Daddy,” which features harpist Erin Hill (who has played on records by Enya, Kanye, Moby and more), below.

His band, The Peter Ulrich Collaboration, will play their first-ever live show at Webster Hall’s Marlin Room on June 20 with Erin Hill and French & the Punk. Ulrich also promises “VERY special guests” at the show. Tickets go on sale Friday (1/30) at 10 AM.

http://www.brooklynvegan.com/archives/2015/01/peter_ulrich_de.html

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