Tag Archives: Music

The Top 3 Concerts at Summerstage 2013

22 Apr

Summerstage

While the cold air continues to linger over New York, one of the first signs of summer presented itself in the form of an e-mail this afternoon. The 2013 Summerstage calendar has been released. Summerstage, a product of the NYC City Parks Foundation, is a uniquely New York. From June 4 – August 29, Summerstage provides over 100 free music, dance, film, comedy, family and theater programs in 17 parks across all five boroughs of NYC. It is an ubiquitous city-wide arts fest and all are invited. The schedule, like in year’s past, is packed with several savory events, including a few premier cost events – like the ones I will discuss in today’s post.

While I urge you to check out the Schedule when you have an opportunity, I am going to preview three events I am most excited about, all occurring at the 69th St. & 5th Ave, Central Park location.

3.) Bobby McFerrin – Tuesday, August 20th at 7:00pm EDT

No, this famous song of sincere contentment was not created by Bob Marley. The song was released seven years after Marley’s death, and, last time I checked, Marley is not 2Pac. “Don’t Worry Be Happy” is the wise advice of Bobby McFerrin, and, in some form of twisted irony, this simple ditty of humorous happiness that is clearly his most known work suffers from authorship mistakes and does not do McFerrin justice. McFerrin is a tremendously talented musicians with a perspicacious musicality that shines through everything he creates. Although I am still trying to figure out the “Don’t Worry Be Happy” video that truly marks the song as one of the weirdest pieces to ever hit the top spot on the charts, I’m sure McFerrin will put on a very “happy” show in August.

2.) The Zombies/Django Django/Adam Green and Binki Shapiro/DJ Modest P – Saturday, June 15th at 3:00pm EDT

Wow. This is an eclectic mix of old/new musicians. The Zombies released Odessey and Oracle in 1968, and those who have listened to it can attest to it being one of the better rock albums of the 1960s. The band combined pop/rock with prog/psych to establish an intriguing blend of 60s genres. I saw them at a previous Hippiefest, and they were quite good.

Django Django released their self-titled debut in 2012, and it’s combination of electronic rock and indie influences is upbeat and poppy with Franz Ferdinand influences. Heck, there is even some embedded 60s pop in the music. Take a listen to “Hail Bop” below. Enjoy the odd video.

Of what I know about the other two performers, Adam Green and Binki Shapiro are folk/pop artists with a pull towards the 60s and DJ Modest P is a skilled New York spinner known for his long time Saturday night residency at the legendary East Village club Nublu. I’m interested to hear what kind of show this will be.

1.) Airborne Toxic Event – Tuesday, June 18th at 7:00pm EDT

I have had an itch to see the Airborne Toxic Event for quite a while. The Californian Indie Rock band – with a name alluding to my favorite Don DeLillo novel – saw well-deserved success with the release of their sophomore album, All At Once, and, by the time this concert rolls around, will be supporting their third release, Such Hot Blood, set for release in late April. Quite simply, this will be an awesome show. Perfect band for the Summerstage.

Those are my top three. Feel free to check out the schedule (above), and you can follow Summerstage on Facebook or Twitter

 

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A True Guitar Festival – Crossroads Night One (4/12/13)

21 Apr

Eric Clapton Crossroads (DAVID HANDSCHUH/NEW YORK DAILY NEWS)

Within the first ten minutes of the first night of Eric Clapton’s Crossroads Guitar Festival, I turned to my buddy and exclaimed, well, “that was better than an encore. Do we go home now?” Behind the attempted humor, I was serious in my sentiments.To open the show, Eric Clapton and guests greeted an enthusiastic full house at Madison Square Garden with a five-song acoustic set that drifted and jived through Clapton staples like “Lay Down Sally” and “Wonderful Tonight.” Clapton invited artists like Vince Gill and Andy Fairweather Low on stage, the latter of which sang tremendous lead vocals on his song “Spider Jivin” – the second song of the night. Clapton began the concert with “Driftin.” In the middle of his opening set, Clapton performed “Tears in Heaven,” which he has unearthed for his 50th Anniversary Tour. The song, written in response to the death of Clapton’s four-year-old son, is as potent as it is simple. Because of its subject, Clapton rarely plays it (last time before this tour was in 2003). Hearing him perform the song live was well worth the price of admission.

At the helm of the show was emcee and original Blues Brother, Dan Akroyd, who introduced artists and, prior to the concluding set by the Allman Brothers, performed a rousing version of “Got My Mojo Working” with Keb ‘Mo. In reviewing my notes from the show – and recalling my euphoric loquaciousness during/after the show, I realize now that despite my pre-show expectation to see a slew of revered guitar gods, I couldn’t quite grasp how overwhelming and ethereal the concert would be. Perhaps the “kid in a candy store” axiom might suffice in describing the crowd’s zeal, but I believe it may be a little weak. There was an infectious gregariousness to the crowd; this wonderful atmosphere of musical passion and friendship. It was as if the guitar community was coming together for a convention, a mind-blowing convention.

Let’s face it; the entire five-hour concert was a highlight. It was a virtual all-star game of guitarists. I intended on marking down some highlights of the night, but I ended up typing furiously on my cell phone (and then my friend’s cell phone after my battery depleted) just to keep up with the plethora of highlights. For your reading pleasure, I have narrowed down my thumb-tiring list of typed highlights to just three major performances during the show. Before I get to the top three of the night (not counting the Clapton solo set I mentioned above), let me commend Booker T and Steve Cropper for their set (the first after Clapton’s acoustic opener). Paired with Blake Mills, Matt “Guitar” Murphy, Keb Mo, Booker T and the NEW MG’s played a five-song set (concluding with “Green Onions) that featured a strong version of “Born Under a Bad Sign.”

Now on to the top 3…

3.) “Everyday I Have the Blues” with Robert Cray, B.B. King, Jimmie Vaughn & Eric Clapton

Blues royalty. Yeah, something like that. B.B. King, who is in possession of a personal fountain of youth, was electric for the few songs he sat in on. I particularly like this performance because it highlights the spirit of the festival. As these legends (King, Cray, Vaughn, and Clapton) playfully swapped and stole solos from each other, the crowd could almost smell the aroma of blues – which to me is a mixture of hard scotch and worn guitar strings. This jam is about as authentic as you can get. It is the blues. Strip away the stage, crowd, and allure, and there would still be four individuals playing the blues.

2.) “Don’t Let me Down” with John Mayer and Keith Urban

After a small set of original pieces, John Mayer summoned Keith Urban onto stage to complete a guitar duo for an electric performance of The Beatles’ “Don’t Let me Down.” There are so many things to like about this performance. A.) It’s an awesome cover of a Beatles’ song. B.) John Mayer and Keith Urban can flat-out kill it on the guitar. C.) They also can sing pretty damn well. D.) If you listen closely, the band adds several interesting influences into the song (country hints mixed with traditional blues). E.) Go to the 3:00 minute mark, refer back to B, and enjoy.

1.) “Whipping Post” with The Allman Brothers Band

12 minutes of pure, unadulterated, brilliance. Watching the Allman Brothers Band is always a treat, but they brought it to a completely different level for this concluding performance at Crossroads. The solos were that much more inspired, and the band played with some extra fire and oomph that propelled the song to the apex of awesome. Listening to the jam-packed crowd, five hours into the concert, belt out the familiar lyrics like it was the opening song was also spectacular.

Legendary show! And, all for a good cause.

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Don’t Sleep on Sleeperstar

9 Apr

Sleeperstar

Let’s start with the basics; Sleeperstar will not put you to sleep. It’s more likely they will open your eyes. Hailing from Dallas, TX, the five-piece group plays a passionate blend of keys-heavy alternative rock that focuses on emotional vocal and instrumental crescendo. Like a good story, Sleeperstar is able to balance moments of inaction and quiet with well-placed melodic climaxes. Led by powerful vocals and Snow Patrol-like echoed harmony and percussion, the band is a must-listen for fans of Coldplay, Matchbox 20, and similar Alt/Rock bands.

Following the release of Sleeperstar’s first album, Just Another Ghost, in 2010, the band toured extensively with several dates throughout the United States before returning to the studio to record the most recent EP, Blue Eyes, which was released back in January of this year. Just Another Ghost will be a difficult album to follow. The incipient effort for the band featured songs that landed multiple major media placements, including the TV show “Vampire Diaries” and the movie “Extremely Loud and Incredibly Close.”

The band – which consists of Nick Box, Chris Pearson, Shaun Menary, Jake Lester, and Geoff Ashcraft – seems up for the challenge. The opening track on the new EP is sure to find its way onto a TV show or movie soon. Take a listen to “Replay.”

The rich vocals dance over wavy keys and sweeping percussion – giving off hints of OAR. The chorus hits hard with echo-driven, enthusiastic harmonies. The vocal precision of Sleeperstar is perhaps its greatest strength. The music itself is more than satisfying, catchy and potent, but the vocals are almost penetrating. Simply, the vocals stick with you.

Here is “Everything Must Find Its Place,” which was featured in “Extremely Loud and Incredibly Close.”

The song emits a 90s Brit/Alt pop feels with its focus on impassioned keys and heavy vocals. This permeates the song and helps it become more effective. Sleeperstar’s music goes down smoothly like a craft beer. It is satisfying, hearty, and well-made. I, for one, am looking forward to the next round.

Find out more about Sleeperstar: Facebook, Twitter, Website

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A Riot in Soho

1 Apr

Soho Riots

Formed at Liverpool University in 2012, Soho Riots is an Indie foursome with a penchant for infectious rock and a flavor that mixes The Killers with Matchbox 20. For such a fledgling band, Soho Riots plays with almost effortless skill, focusing mainly on terrific vocals and catchy beats. The tunes move quickly with punk-like rhythms and moving guitar riffs. It’s always exciting coming across a band who, despite maintaining the fire of youthful vigor, construct songs fastidiously. It is this balance that makes Soho Riots a band you most certainly want to keep an eye out for on either side of the pond.
“Who’s Your Man” is a perfect example of what I write above. The song features a driving rhythm and a neat guitar riff that hug efficient vocals. It is a model of a well-developed piece. And, above all, the song is damn catchy, sticking with you after it ends. The toe-tapping is quick, memorable and has the makings of a great single.
“702” immediately yells alt/punk to me. A little Strokes, Weezer, and other alternative rock/punk fusion bands come to mind. The song, though, feels most like an early Killers song – a high compliment. It has the sheer potency to find a diverse audience, and I’m happy to share it with you all.
Find out more about Soho Riots: Facebook, Youtube

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The Soulful Sounds of Kwesi Kankam

28 Mar

Kwesi Kankam

Kwesi Kankam is an eclectic musician. Born in Anchorage, Alaska, Kankam (who is of Ghanaian descent) moved to Toledo, Ohio where he was raised. Kankam received a football scholarship to Lehigh University, but his love of music eventually got behind the tacklers and sacked him (hooray for awful football analogies!)

I mention Kankam’s interesting past because his music reflects it. Kankam’s diverse soul-influenced folk encompasses multifarious simplicity. Before you call me out on this contradictory juxtaposition of words, let me explain.

Kankam’s music features everything from orchestral strings to Africana beats to horns, but, ultimately, when stripped down to its bare roots, the music is simple and calm like a relaxed pair of jeans. It is Kankam’s airy, light-hearted croon and an acoustic guitar.

Ultimately, no matter how much music you add to the background, the artist must be a proficient singer and there needs to be an instrument like a guitar or a piano played well. Kankam excels at both.

“Brunettes,” my favorite track off of Kankam’s debut EP, Ran Away From Me, which was released in March of last year, begins with Kankam and his acoustic guitar – quickly drums and keys are added. Kankam’s voice is a sip of hot cocoa in a cozy coffee shop. His smooth croon is one part Danny O’Donoghue, one part Ben Harper or Joe Pisapia. The vocal inflections are skillful, and his layered melodies are wonderful. The repeated riff stays true to the piece as Kankam manipulates the sound with tiny electric guitar segments and creative keys. Tap your feet. Sip your cocoa. The song makes you as comfortable as reclining in a La-Z-Boy.

“Long Days, Short Nights” features eclectic rhythms and instrumentation (almost like a Dave Matthews song) that create a worldly atmosphere. Think rooty folk mixed with modern Indie folk – sort of like Rusted Root mixed with Calexico. The mixture is euphonious and Kankam’s voice fits the music to perfection. Best of all, despite that the song is almost 5:30, I never felt bored. The music flows like water in a small creek, and, like “Brunettes” it is infectious and easy.

Keep up with Kwesi Kankam: Website, Facebook, Twitter

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