Dance Across the Country Tour: The Morning Light, Steel Train, The Cab, The Hush Sound

It’s not often I go to a show where I’ve heard the band online, been disinterested and then seen them live and they’ve completely changed my view of them. The Morning Light did this quite easily. I wasn’t a fan and couldn’t tell you the name of a single one of their songs beforehand, but after I saw them, it wasn’t more than two songs in that they’d completely changed my opinion and I’d become an instant fan.

The Morning Light

The Morning Light

Their lyrics are damn catchy and they’re one of those bands that just completely rocks live. A lot of the people I knew at the show were, surprisingly enough, actually just there to see The Morning Light! And I could definitely see why. They have a crisp sound that rivals that of The Hush Sound (a very fitting act for this tour) and makes me understand why they’ve got themselves a pretty large, and still growing, fanbase.

Steel Train played second. I actually hadn’t heard of them before attending the Dance Across the Country Tour, aside from when I bought my ticket and looked up the tour’s roster. They opened up with a lot of energy and were really already getting into the music. Even if the music wasn’t honestly any good, their set would be one hundred percent worth watching. The energy this band puts into every song, how they really try and get the crowd into it, makes the ticket worth every penny. Steel Train play because they enjoy it and not for any other reason.

Steel Train

Steel Train

What surprised me most was how the band kept that high energy level during their whole set; it never faltered, not even once. Even during their slower, quieter songs, they kept the crowd clapping and singing along, a feat I haven’t seen many bands accomplish. My favorite part of the set though had to be when some of the roadies and merch people came up and played on an extra drum head and some cowbells during the last song and sang along, it’s another thing you don’t see often at shows but it’s always cool when you do.

I can’t even pretend I wasn’t super excited to see The Cab again, after I saw them back in February when they were on tour with Cobra Starship and We The Kings, especially after I got to review their CD Whisper War. They opened up with “I’ll Run” and, while they aren’t as energetic as Steel Train, they’ve still got a good energy. Alex Deleon does just about everything but stand at the mic stand as he sings. Next, they played “Take My Hand” and “That 70’s Song,” which were met with equal enthusiasm and even more screaming than the set opener.

The Cab

The Cab

Alex Marshall is, in my opinion, one of those few pianists who is actually entertaining to watch since he gets really into playing the music and moves around as much as could make sense when he has to stay at least partially stationary, and by that I mean on his chair. Cash Cooligan and Ian Crawford, the bassist and guitarist respectively, also seem to be a lot more into playing live than the last time I saw them. “Can You Keep A Secret” and “Bounce” closed out their set and they had the best reactions from the crowd and were easily the best sounding and most energetic songs played.

The Hush Sound opened up with just Greta Salpeter on stage at the piano singing the song that was the introduction to their CD Goodbye Blues. The rest of the band members came out as she was finishing the introduction and jumped into one of the most uppity (and one of my personal favorites) songs on their newest album, “Love You Much Better,” easily beating out all of the other bands that had played so far when it came to energy and enthusiasm. Next on the bill was an older song “We Intertwined.” It’s an amazing thing to go to a concert where everyone knows the lyrics to every single song.

The Hush Sound

The Hush Sound

Bob Morris and Chris Faller both shine on vocals like Greta, giving the band a very solid and steady sound. “Molasses” and “Medicine Man” were up next, also from the new record. The Hush Sound is one of those few rare bands that sound just as good live as they do on their studio recordings. Their set has a good mixture of old and new songs on it, those two new aforementioned songs being folded by two older ones, “Don’t Wake Me Up” (which on Like Vines has guest vocals done by Patrick Stump of Fall Out Boy) and “Sweet Tangerine.” Of the four times I’ve seen this band live I can honestly say this is the best performance I’ve seen them give, even better in this much smaller more simple venue than they had the opportunity to grace during Honda Civic Tour.

My absolute favorite song, “Hurricane,” was next. The set took a sober slow mood for this song, as it should have, but not to my surprise at all, the crowd was still eagerly singing along at the top of their voices. “As You Cry” and “The Boys Are Too Refined” (the other two songs that has kept Goodbye Blues my favorite CD so far this year) were next. The band went right back to being incredibly enthusiastic and right back to full energy. The rest of the band, aside from Bob, took their time to leave the stage and give him his shining moment to sing one of the first songs the band ever put out, “Momentum.” I think it was perfect to leave him by himself for this song. One guitar and just his voice met the slow tone and heartfelt meaning of the song.

The rest of the band later rejoined Bob and they had a nice laugh with the crowd and went right into a very energetic and completely mind-blowingly good cover of the song “Back in the USSR”, proof that it doesn’t matter if they’re playing their own music or not, they’re just damn good at what they do. They made a smooth transition into “Not Your Concern” and then into one of their most well known songs “Wine Red.” Crawford from The Cab joined them on stage to play guitar and hilarity ensued when he stole the big floppy hat I was wearing and wore it during the whole song. Steel Train then came out and they did a Jackson Five cover of “I Want You Back.”

A band member from The Morning Light entered and they all sang a Barak Obama song which I have to say was pretty catchy and pretty hilarious, especially when the drummer Darren Wilson got up and rapped. They closed with another old song “Crawling Towards The Sun” (which was actually their first single off of their first record So Sudden) and “Honey,” current single off of Goodbye Blues.

My final verdict on this tour is quite simple: if it’s within reasonable driving distance and not sold out, get yourself a ticket.

The Cab: myspace | Whisper War review
The Hush Sound: website | myspace | Goodbye Blues review | Honda Civic Tour
Steel Train: website | myspace
The Morning Light: myspace

Written by: Hanna Marie

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New Music Tuesday!

Ra Ra Riot The Rhumb Line :: review

The Walkmen You & Me :: review

Black Gold Detroit EP :: stream “Detroit”

Shwayze Shwayze :: stream album

Jaguar Love Take Me To The Sea :: review

Head Like A Kite No Ordinary Caveman remix EP

The Gaslight Anthem The ‘59 Sound :: review

What Laura Says Thinks and Feels

Death Vessel Nothing Is Precious Enough For Us :: download “Bruno’s Torso”

GZA Pro Tools

The Academy Is Fast Times At Barrington High :: review

Juliana Hatfield How To Walk Away :: watch “This Lonely Love”

Dance Gavin Dance Dance Gavin Dance :: stream album

Brothers and Sisters Fortunately

The Honorary Title Scream & Light Up the Sky

Sonny J Disastro

The Dandy Warhols Earth to the Dandy Warhols

Caesars Strawberry Weed

Jeff Hanson Madam Owl

Matthew Perryman Jones Swallow the Sea

Ice Cube Raw Footage

Emory Joseph Fennario

Anarbor The Natural Way EP

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Ingrid Michaelson ‘Be OK’ Tour

Jessica McGinley

Photo: Jessica McGinley

PopWreckoning favorite Ingrid Michaelson today debuted her music video for “Be OK” on www.standup2cancer.org. Be OK, which drops October 14th on her own Cabin 24 Records, is an album of unreleased songs, covers, and live recordings that have become fan favorites from her shows over the past year. In concurrence with the new album, Michaelson will launch the “Be OK” tour in her hometown Staten Island at the end of October (dates below).

Michaelson will also headline nine dates on the all-female Hotel Café Tour this fall (October 16 - 27). The tour will feature some of the best female songwriters performing today, including Rachael Yamagata, Priscilla Ahn, Meiko, Brooke Fraser, Kate Havenik, and Thao Nguyen, among many others.

A portion of the proceeds from sales of Be OK will go to Stand Up To Cancer (SU2C), a groundbreaking initiative aimed at raising funds to accelerate cancer research and end cancer’s reign as a leading cause of death.

Michaelson has also designed a “Be OK” necklace for sale at each tour stop and online, with all proceeds going to SU2C. The “Be OK” single will be available on iTunes beginning September 2, the same date Michaelson is set to perform the song on “The Tonight Show with Jay Leno.”

Tour Dates:
Aug 26 - Anderson Center / (Binghamton University) Binghamton, NY
Aug 31 - Bumbershoot Festival / Seattle
Sep 02 - “The Tonight Show with Jay Leno” / Burbank, CA
Sep 10 - Madison Square Garden / New York City * (SOLD OUT)
Sep 13 - Messiah College / Grantham, PA
Sep 16 - Kaufleuten / Zurich ^
Sep 17 - Gasometer / Vienna ^
Sep 18 - Magazzini Generali / Milan ^
Sep 21 - Zapata / Stuttgart ^
Sep 22 - Heineken Music Hall / Amsterdam ^
Sep 23 - Royal Albert Hall / London ^
Sep 24 - La Cigalle / Paris ^
Sep 26 - Olympen / Lund, Sweden ^
Sep 27 - The Arenan / Stockholm ^
Sep 28 - Vega / Copenhagen ^
Sep 30 - Live Music Hall / Cologne, Germany ^
Oct 01 - Grunspan / Hamburg ^
Oct 02 - Huxleys / Berlin ^
Oct 03 - Batschkapp / Frankfurt ^
Oct 05 - Muffathalle / Munich ^
Oct 07 - Monto Water Rats / London, United Kingdom
Oct 16 - House of Blues / Dallas #
Oct 17 - The Parish / Austin #
Oct 18 - Meridian / Houston #
Oct 20 - Workplay / Birmingham, AL #
Oct 21 - Exit/In / Nashville #
Oct 22 - Variety Playhouse / Atlanta #
Oct 24 - The Plaza / Orlando #
Oct 25 - Culture Club / Ft. Lauderdale #
Oct 27 - Cat’s Cradle / Carrboro, NC #
Oct 29 - Williamson Theatre (College of Staten Island) / Staten Island
Oct 30 - Paradise Rock Club / Boston, MA, USA
Nov 01 - Iron Horse Music Hall / Northampton, MA, USA
Nov 04 - House of Blues / Anaheim, CA
Nov 05 - House of Blues / San Diego
Nov 06 - El Rey / Los Angeles
Nov 07 - Great American Music Hall / San Francisco
Nov 08 - Harlow’s / Sacramento
Nov 10 - Neumos / Seattle
Nov 11 - Wonder Ballroom / Portland
Nov 13 - Belly Up / Aspen
Nov 14 - Gothic Theatre / Denver
Nov 16 - Slowdown / Omaha
Nov 17 - Pantages Theatre / Minneapolis
Nov 18 - Barrymore Theatre / Madison, WI
Nov 19 - Park West / Chicago
Nov 20 - The Ark / Ann Arbor, MI
Nov 21 - Madison Theatre / Covington, KY
Nov 23 - Theatre of Living Arts / Philadelphia
Nov 24 - Club Cafe / Pittsburgh
Nov 25 - The Birchmere / Alexandria, VA

* w/ Dave Matthews Band
^ w/ Jason Mraz
# Hotel Café Tour

Be OK will be released on Cabin 24 Records with marketing and distribution by Original Signal Recordings/RED.

Ingrid Michaelson: website | myspace | interview with | live review
Stand Up To Cancer: website
Hotel Café Tour: website | review

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The Gaslight Anthem - The ‘59 Sound

Sideonedummy Records has had a pretty damn good year. With brilliant albums by Gogol Bordello and The Briggs already under their belt, one could safely assume that their catalog of releases for 2008 may have already reached its prime, meaning no disrespect whatsoever.

It would be quite the challenge to dethrone one, let alone both of the previously stated releases because honestly, they just really are that fucking good. Yet, as though both blind and deaf to this notion, The Gaslight Anthem, a band that easily fits the definition of both underrated and overlooked, seems to sneak in below the radars to punch this slight media snub right in the nose.

With a sound that I have trouble typecasting as “punk,” in a Bouncing Souls sense of the word, the band somehow remains bold and standoffish in other successful manners. Their guitars go riff for riff with an Atari’s record, pacing their breakdowns of calm picking and slight plucking at just the right moment to break up the power-chord heavy feel of the verses. Subbing the vocals of The Atari’s Kris Roe sound for that of the likes of Bruce Springsteen, the albums vocal approach more of a deep, saddened sound than I expected.

Like The Boss, the group’s storytelling is vivid and detailed, clearly painting a picture of every image, memory and vision that the narrator sees, recalls, or feels. The lyrical content of the album is both moving and easily related to, without slipping over into the dreaded “emo” area that tends to leave artists with that “whiny” tag that is sometimes hard to shake. However, emo seems to be the farthest thing in mind while spinning The ‘59 Sound. I personally can easily picture myself surrounded by myriad people flowing throughout a rather skanky venue, with rock hands raised above their heads, making noise to the beats of the albums countless songs. To me, there is very little more punk than that.

You can grab The Gaslight Anthem’s The ‘59 Sound in stores nationally, August 19th, 2008. Also check the links below for tour information and track samples.

The Gaslight Anthem: website | myspace

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Win Tickets to Jupiter One’s Record Release Party

This Friday, August 22nd marks the Jupiter One record release party at Bowery Ballroom. Their new, self-titled album drops next Tuesday via Cordless Recordings and offers up an electrifying, invigorating sound that recalls the pogo-party frenzy of the late-’70s/early-’80s underground club scene coupled with a contemporary guitar punch that has garnered the band comparisons to the Killers, Franz Ferdinand and Bloc Party.

Jupiter One will be headlining and the party features special guest performance by Band of Thieves, Your Vegas and DJ sets in between performances by Designer Drugs.

In honor of the band’s new album and CD release party, PopWreckoning has a pair of tickets to give away to the record release party!

To win tickets to Jupiter One’s CD Release Partyemail Jessica by Thursday at 6PM. A winner for the pair of tickets will be drawn at random.

Good luck!

Jupiter One: website | myspace | blog | preorder Jupiter One

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Virgin Mobile Festival, Day 2

Somehow, day 2 of this year’s Virgin Mobile Festival was even better than the first. While I was still on a high (all natural!) from the Foo Fighter’s set the previous night, each of the sets I was honored to see on Sunday blew me away, especially that of the closing act performed by the one and only Kanye West (the other major reason along with Lupe Fiasco, I needed to hit VFest). Again, I was a bit of a late arrival, but only missed Black Rebel Motorcycle Club and The Go! Team this time, making it to catch half of Shudder To Think’s set.

Black Rebel Motorcycle Club - 12:00-12:45 // North Stage

Black Rebel Motorcycle Club

Black Rebel Motorcycle Club

The Go! Team - 12:20-1:05 // South Stage

The Go! Team

The Go! Team

Shudder To Think - 1:05-1:55 // North Stage
I kind of missed the Shudder To Think train when it first came around (to be fair, they did form when I was just a year old and disbanded while I was still in my middle school girl power pop phase), but after a ten year hiatus, a quasi-reunion occurred last year and the band pulled off a solid set at Virgin Mobile Festival.

Shudder To Think

Shudder To Think

Andrew Bird - 1:25-2:10 // South Stage
Andrew Bird, whose 2007 Armchair Apocrypha I (and many others) adore, played a phenomenal set last Sunday to a packed South Stage. He’s recently sold out 2 New York City shows in just 2 hrs for his upcoming tour! Not surprising in the least. Get in on some Andrew Bird tour action, if only to see him rock out with a violin — it’s magnificent.

Andrew Bird

Andrew Bird

Paramore - 2:15-3:05 // North Stage
One of the most touted national acts, I was disappointed with how boring Paramore’s set was. Haley and the guys had fierce energy, but every song blended together making the set feel like one long song. Then again, that’s what pop punk usually is.

Paramore

Paramore

She & Him - 2:35-3:25 // South Stage
Having seen this magnificent duo before, I ditched Paramore and made my way over to the South Stage to be as close as possible to Ms. Zooey Deschanel and her counterpart Mr. M. Ward. The set list was almost exactly the same as when I’d see the band headline at the Trocadero in Philadelphia, but it was just as good the second time. The one noticeable change was a cover of “I Put A Spell On You” which wonderfully displayed Deschanel’s vocal range, and the addition of an original song by back-up singer Becky Stark, who’s also got a great set of pipes.
Why only these two pictures of Deschanel are available, I can’t say, but you can check out some pictures from their Philadelphia performance here.

Zooey Deschanel

She & Him: Zooey Deschanel

Taking Back Sunday - 3:30-4:20 // North Stage
Taking Back Sunday was totally my jawn in high school. For nostalgia’s sake, and I still really dig Tell All Your Friends and Lazzara’s mic swinging action, I caught out part of the band’s high energy set. An oldie but still a goodie.

Adam Lazzara

Taking Back Sunday: Adam Lazzara

Lil Wayne - 3:50-4:30* // South Stage
The asterisk on Lil Wayne’s set time denotes that this time line was not accurate since Lil Wayne showed up on stage 40 minutes late, making fans wait almost two hours, as many staked out their spots during She & Him’s set. I don’t like to be kept waiting, so I opted to catch a good spot for Iggy & the Stooges over at the North Stage instead. I’d seen Iggy at Download: Philadelphia so I knew I was in for a great set. I’m bummed to have missed Lil Wayne’s performance, but if I ever get the chance to see him again, I hope he’s prompt.

Lil Wayne

Lil Wayne

Iggy & the Stooges - 4:50-5:50 // North Stage
If you want some punk rock and roll, no need to look further than Iggy and the Stooges, or just Iggy. The man, in his sixties, has more energy than an entire kindergarten class. He ran around the stage, jumped on amps, and yelled at the crowd to ‘get the hell up on stage!’ and went so far as to demand that security allow the crowd to jump the barricade and thrash about on stage. Sadly, these demands were not met, so rather than accept defeat, Iggy jumped down and engaged himself with the crowd running around through the open space that was barricaded off from the stage, since security also refused to let him actually jump into the crowd.

Iggy and the Stooges

Iggy and the Stooges

The Black Keys - 5:15-6:15 // South Stage
I also skipped over The Black Keys in favor of staking out a spot for Stone Temple Pilots as I figured my future opportunities to see STP was far less great than the future potential of catching a Black Keys set.

The Black Keys

The Black Keys: Dan Auerbach

The Black Keys

The Black Keys: Patrick Carney

Stone Temple Pilots - 6:20*-7:35// North Stage
No pictures have been made available for Stone Temple Pilots.
The band arrived on stage 20 minutes late, but rather than have their set extended like Lil Wayne’s on the other stage, they were forced to finish up at 7:35, keeping at least one stage on schedule. They powered through their hits and Weiland — who was layered to the max with clothing (t-shirts, vests, 3 or 4 ties) — removed a piece of clothing with each new song played. The crowd eagerly sang and moshed along for the entire set.
In addition to making their fans wait 20 minutes to begin their peformance, with maybe 15 or 20 minutes to go, STP left the stage for 5 minutes — maybe they needed a hit? — in which Weiland removed his t-shirt and put on a black leather vest before coming back out to perform their last two songs. Perhaps it was supposed to be an encore, but making the audience wait 20 minutes initially should’ve sent a red flag to Weiland and co. that we wanted more songs, not a lame attempt and a pseudo-encore.
Despite time issues, all and all a decent set.

Moby - 6:30-8:00 // DJ/Rave Tent
Never actually went into the DJ Tent (though everyone referred to it as the “Rave Tent”) for fear of club kids and getting molested by those on X, but walked by slowly during Moby’s spinning session. It was fab and had I not been rushing to catch the legendary Bob Dylan, I probably would’ve stopped and raved it up for a bit.

Moby

Moby

Bob Dylan - 6:45-8:00* // South Stage
No pictures have been made available for Bob Dylan.
I’ve never seen Bob Dylan perform before. I think that perhaps since I’d been building him up in my mind for the 23 years I’ve been alive, I expected too much. He was great, no doubt, but it wasn’t the magic I’d expected. And he didn’t even let the cameras (neither photo nor video) get close enough to even show his face. So for all I know, it wasn’t even Dylan. Just saying.

Nine Inch Nails - 8:05-10:00// North Stage
I’m not big into Nine Inch Nails. What?! Yeah. It’s true. I can only take at face value what Ajay told me in regards to this: I’m “a happy person.” I stuck around for a good portion of their set and I was impressed by the ridiculous light show they put on, but I was definitely eager to get over to the South Stage for Kanye West.

Trent Reznor

Nine Inch Nails: Trent Reznor

Kanye West - 8:30-10:00* // South Stage
No pictures have been made available for Kanye West, which is unfortunate because his stage show was a visual assault of lights, colors and fog. If I owned a point and shoot digital, I’d have pictures of my own to show you, but I always manage to drop them. A lot. They don’t last long in good working order in my possession.

Lots of VFest attendees shared my enthusiasm for Kanye’s performance and packed out the lawn in and around the South Stage to dance and sing/rap along with the oft-controversial rapper. His set list was long and inclusive featuring “Good Morning”, “Champion”, “I Wonder”, “Get Em High”, “Through the Wire”, “Heard Em Say”, “Diamonds from Sierra Lione”, “Touch the Sky”, “Good Life”, “Flashing Lights”, “Homecoming”, “All Falls Down”, “American Boy”, “Put On”, “Jesus Walks”, “Gold Digger”, “Can’t Tell Me Nothing”, and “Stronger”. He also spit some original lines on the spot — or so it seemed, anyway.

I was definitely impressed with West’s set and cannot wait to see him again. He mentioned that he was bummed out to have to be put up against Nine Inch Nails again (the first being at this year’s Lollapalooza) because he wanted to be in the crowd for their set. He did, however, praise VFest for their choice of venue since those who couldn’t afford tickets to the event (think in the hundreds) were still able to see and hear many acts through the fence. He was very honest in his sentiments about loving his fans and never wanting to do anything more than perform for them because it’s what he loves and lives for. I absolutely walked away from VFest with a greater admiration for Kanye West.

Here’s looking forward to Virgin Mobile 2009 — I can’t wait to see how they try to top this year.

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Bloc Party Live Webchat

Tonight at 7PM BST (which I’m fairly certain is 2PM EST), Bloc Party will be hosting a webchat on their website to speak directly to fans about their recent shows and new politically-charged single, “Mercury.”

Bloc Party: website | webchat | myspace | watch “Mercury” | live

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Hollapalooza @ Copaken Stage, Kansas City

After listening to everybody singing that obnoxious Soulja Boy song and getting over the shock of seeing little kids dancing to the inappropriate lyrics, I must admit, that I’ve been a little leery of modern hip hop. However, when PopWreckoning’s very own Ace Fadal suggested attending a showcase featuring Kansas City’s hip hop scene, I decided to give hip hop another chance and I am really glad I did.

I arrived at the Kansas City Repertory Theatre’s Copaken Stage not really knowing what to expect and consequently I was really pleasantly surprised by all the cool things happening at Hollapalooza. The purpose of the showcase was to promote a new hip hop musical Clay and to represent the four aspects of hip hop: graffiti, djing, b-boying and emceeing. Hollapalooza pulled this off in an inventive way that kept the audience involved. This wasn’t your usual concert because you didn’t just get to listen to hip hop, but you truly experienced it. The audience was completely immersed in hip hop.

Breakdown of the Four Aspects:
Graffiti: The stage was set up so that there were four easels along the back wall where four artists, in a demonstration of graffiti, were painting pieces representing the four aspects. One of the artists even pulled double duty and took a break from his b-boy painting to perform under his moniker Lucid. This was probably one of my favorite parts of the showcase because it was completely unexpected and it was really fun to watch the pieces develop throughout the day.

DJ/Turntablism: In between the rappers and sometimes in concurrence, DJs would set up on one of the two tables on either side of the stage. They had a difficult task because their sets could go one of two ways: they could end up as just background music as the audience took a little break due, as the day was quite lengthy, or they could end up starting a big dance party. The truly successful DJs like Sike Style had members of the crowd hopping up to center stage. During Sike Style’s set, a group of guys even started a back and forth freestyling rap off.

B-boying: This was the coolest aspect to see come together. While the stage was prepared for it, there wasn’t a set performance planned. It was audience dependent, so it was really cool to see members of the crowd hop up on stage and start dancing. Skill levels ranged, but everybody was really supportive of the other dancers. I was especially impressed by this guy in the purple pants who adapted to the DJs changing beats really well. Another person who impressed me was this little kid (under the age of ten) who hopped up there with all the older guys to show them how it should be done.

Emceeing/Rapping: This was the aspect of hip hop I think most are familiar with and it was the only aspect I had expected to see. It was also the aspect I was most nervous of because the lyrics of these can range from really vulgar sexual references like the aforementioned Soulja Boy song to actually having lyrics with deeper meanings. I must say I was quite impressed with the lyrics I heard from these rappers. On occasion, a performer would curse prompting an audience member to shout out, “There are little kids in here!” but for the most part, the performers were really good and had lyrics talking about things that deal with in their day to day lives. They all had really great audience interaction that had some of them like Kloudi out in the seats or a sing along like Milkdrop’s and Reach’s duet, “If the soul keeps rocking, the streets will keep rocking.” Milkdrop was probably one of my favorite sets and he had it right when he rapped a capella style, “I’m a hard act to follow.”

Overall, this was a really impressive day that surpassed all my expectations. If you live in the KC area I strongly recommend checking out Clay, the musical in which this was produced in conjunction. Clay hits the Copaken stage September 6-28, 2008.

KC Repertory Theatre: website | Hollapalooza | Clay | buy tickets for Clay

Written by: Bethany

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makeupbreakup - We Prefer Not To…

As a drummer, I’ve also been that asshole in the back of the venue sporting the “drum machines have no soul” t-shirt. Needless to say, it isn’t an easy task to impress me with electronic music. A majority of the time, in my opinion at least, it all seems to use the same unimpressive, cookie cutter copied blueprints of how to make an album that leaves me wanting to flip the lights in my living room on and off in a mock rave.

Yet, there are also those rare few bands who manage to break the “insert Moog over Casiotone drum tones” mold. makeupbreakup is certainly one of those exception. With a sound that somehow mixes “Golden Years” David Bowie with the best aspects of Depeche Mode, catchy hooks made up of Moog riffs so sweet they should come with a FDA warning for diabetics are just a given.

Lyrically, however, a great deal of unnecessary pressure is placed on the shoulders of the musical composition of the albums songs, as the storytelling is rather simplistic and drab. “Jungle City,” We Prefer Not to…’s third track, seems to be the only cut on the album that sways from this path, attempting an effort at lyrics that go a touch deeper than not. However, these boys never claimed to be writing to please fans of The Beatles, choosing instead to please the masses who swear by She Wants Revenge and New Order.

So, if you find yourself in the latter group, please check out this album, which will be released nationally August 19th, 2008 on S.A.F. Records.

makeupbreakup: website | myspace

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Sara Bareilles, Counting Crows, Maroon 5 @ Susquehanna Bank Center, Camden NJ

Consider the lineup: Sara Bareilles, Counting Crows, and Maroon 5. Naturally, my expectations were high, and these three acts certainly delivered. The show at the Susquehanna Bank Center in Camden, NJ was energetic and exciting.

Sara Bareilles started her set promptly at seven from the piano bench with “Bottle It Up,” followed by “Morningside,” a song for anyone with an “ex-boyfriend or girlfriend you can’t stand.” She introduced the band and wished her drummer a happy birthday during “Many the Miles” and then played her radio hit “Love Song,” which of course the crowd crooned along with, earning the praise, “you sound like angels out there!” from Sara.

Sara Bareilles

Sara Bareilles

Before playing “Gravity” as her last song in a surprisingly short set of about half an hour, she played The Beatles’ “Oh, Darlin’” with impressive accuracy to the original, and then thanked the crowd for arriving in time for her, commenting that it’s an honor to play as the opener for the Counting Crows and Maroon 5, but that it’s the crowd showing up early enough that makes that opportunity happen.

Before the Counting Crows even came out to play, accordion player Charles Gillingham came onto the stage to tell the audience about the Greybird Foundation, a charity the Counting Crows started to raise money for local causes; money raised in Philadelphia, for example, goes to Philadelphia causes such as Women Against Abuse, Philly Fight, and voter registration. (Information about the Greybird Foundation can be found here: http://greybirdfoundation.org/.)

Adam Duritz

Counting Crows: Adam Duritz

Shortly after the Greybird plug, the band came out onto the stage to red lighting and a screaming crowd, Adam Duritz not so subtly sporting a Greybird Foundation t-shirt. They began with “Omaha” from their first album August and Everything After, then went into “Daylight Fading” off of their 1996 album Recovering the Satellites, then “Rain King,” “Colorblind,” and “If I could Give All My Love –Or—Richard Manuel Is Dead” from August and Everything After, This Desert Life, and Hard Candy respectively.

Counting Crows

Despite the excitement and singing along in the crowd up to this point, most people remained seated until the beginning of “Mr. Jones,” when nearly every person in the audience (including myself) stood and tried to sing along as Adam Duritz changed or omitted words and occasional lines throughout the song. He did the same through several others of their hits during the rest of the show; no one seemed to care, and doing so eventually (thankfully) kept people from singing along too loudly.

Counting Crows

Winning as the most touchy-feely moment of the night was Adam Duritz’s speech about touring with Maroon 5 and about musicians in general. He stated that despite radio stations and Internet message boards telling people “who is good and who sucks,” musicians “just want to see each other make it,” and he and his band mates were happy for the success of their friends in Maroon 5. Then, finally, they played some new stuff from Saturday Nights and Sunday Mornings, including “Washington Square” and “Sundays” before playing “Murder of One” from August, as well as the title track from Hard Candy.

Counting Crows

Although fewer people knew the words to their new songs, the crowd remained attentive and excited; the songs have the same Counting Crows timelessness, energy, and wrenching honesty that their fans are drawn to and appreciate. Duritz ended the set by slamming the microphone stand into the stage for perhaps the fourth time and saying, “See ya,” before the lights went out. Appropriately, he began their encore with “Hi.” After mentioning having been an insomniac at times in his life, he commented, “It’s still a beautiful night right before the dawn,” and then played “Goodnight LA” while playing the piano himself for the first time during the show. After “Long December,” Adam plugged Greybird one more time saying “America is not just a big giant country; it’s individuals with a right and a responsibility to help each other.” They ended with “Walkaways,” leaving the crowed sufficiently pumped for Maroon 5.

Maroon 5 played three songs before bringing up the perhaps age old questions of whether the Susquehanna Bank Center counts as Philly or Jersey and, regardless of which one, which place are most of the audience members from. After starting with “Never See Your Face Again” and “Makes Me Wonder” off of It Won’t Be Soon Before Long and “Tangled” off of Songs About Jane, Adam Levine seemed to use his own judgment as something of an applause-o-meter, akin to the one Max used on episodes of “Saved by the Bell” only without the silly hat, and ultimately deemed the Susquehanna Bank Center “PhilaJersey” and referred to it as such from then on.

Adam Levine

Maroon 5: Adam Levine

Guitarist James Valentine played an intense guitar solo at the end of “The Sun,” which got the crowd standing for “Won’t Go Home Without You,” during which Levine requested we all get out our cell phones and hold them up before shouting at us, “sing it, crowd!” Having drawn my attention to lights with the cell phone bit, I noticed the green lights during “Kiwi” were the first of several potentially clever lighting tricks, but Levine’s consistently sexual interaction with the microphone stand, especially during “Kiwi” and then “Shiver,” proved too distracting for many of us, at least all of the people around me anyhow, to take notice of the lights for long. Until, of course, the lyrics to “Wake Up Call” appeared behind the band, reminding us all that it truly is a song about wanting to murder people.

Maroon 5

Maroon 5

As Levine continued moving around the stage in his white pants, he led us in clapping for “Little of Your Time,” before pausing to introduce the band members during the introduction of “Sunday Morning,” their last song of the set. Their first encore consisted mostly of Levine molesting the microphone stand while covering Chris Isaac’s “Wicked Game” and then segueing into “She Will Be Loved” before disappearing from stage again. After some cheering and chanting from the crowd, they predictably yet deliciously reappeared to tell the crowd how “tasty” we were and finish the night with “Harder to Breathe” and “Sweetest Goodbye” before Levine threw his guitar into the air, let it hit the stage, and gave it to a girl in the front row.

Crowd appreciation, charities and foundations, sexuality and generally failed relationships, and smashing stuff were perhaps the themes of the evening, but the focus was still, incredibly, on the talent of the musicians.

Sara Bareilles: website | myspace
Counting Crows: website | myspace
Maroon 5: website | myspace

Written/Photos by: Rebecca Brown

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