Live Music Spotlight ::: Arcade Fire at Aaron's Amphitheatre at Lakewood

Arcade Fire
w. tUnE-yArDs & Kid Koala
Friday, 05/02/14
Aaron's Amphitheater at Lakewood
Atlanta, GA
6:30 doors open
7:30 tune yards
8:10 kid koala
8:45 Arcade Fire

We don't like to pump up a single show or album too much, because we understand music, as much as anything is very opinion driven.  A song can be listened to many times, but when it is heard that one time in the right setting, at the right time, or with the right people it can click instantaneously.  With only one of us having seen Arcade Fire, it was easy to believe in their talent, reputation, and work ethic to know this was a 'can't miss concert' in Atlanta.

To fully discuss this show the first thing that needs to be discussed is expectations and hype.  Arcade Fire is largely regarded throughout the music scene as the best live act on the road today.  Some of our group had been waiting nearly five years to see Arcade Fire due to various complications.  You were always told how incredible they are live and it builds into something in your mind is larger than life.  But there is that tiny doubt in the back of your head that whispers, “You love Arcade Fire, but can they really live up to these outlandish expectations that you have created?” The answer to that question was destroyed in the first 3 seconds on the show with a resounding “YES.” You can watch their live shows on TV or the internet, listen to countless audio recordings from shows, but nothing prepares you for what is to come. 

From the onset of listening to sound check you can tell how much not only Win Butler, but the entire ensemble puts in to each second of each song. The times retaking and practicing a song from the beginning during at the end of a US tour was impressive. They also worked on their cover of 'Tequila' into 'Normal Person' numerous times. In the actual show they only played about 10 seconds of 'Tequila' (aka Zima) and Win seemed less than thrilled with it, just because it wasn't completely perfect. This wasn't a bad thing, just a snapshot of how much they care and want to make everything perfect for the audience.  Very few artists of this caliber strive to not only give the fans a perfect show, but make each show a different memorable experience.  Too many bands these days write up one setlist for a tour and it doesn’t change for the rest of the year.

The set up of the concert was perfect with the openers to make quick transitions and leave very little downtime between sets. We found it a little weird that Aaron's parking did not open until 5:30p, with gates opening at 6:30p. It might be that we're use to seeing people tailgating for hours at Lakewood and Verizon around shows like Phish, Widespread Panic, and Dave Matthews that all have their own following and the parking lot turns into it's own event.

tUnE-yArDs came on promptly at 7:30p, but to very little fanfare as it was a late arriving crowd. We're sure many people were coming from work or studying for exams and had to fight rush hour traffic along with a home Braves game, just two exits away. Tune-Yards is the music project of New England native Merrill Garbus. When performing live, Garbus creates drum loops on the spot, and layers these with ukulele, and vocals, in addition to electric bass played by Nate Brenner. She mentioned and thanked her new touring band with included two high energy wood drummers/dancers, a talented, percussionist Dani Markham who also added vocals. Merrill's setup and display is impressive, but her yodeling can easily be lost on the audience. The highlight of the set was probably the beginning when Arcade Fire’s own Sarah Neufield came on stage to play her violin along to the opening song. This was the last stop on her tour with Arcade Fire, as she mentioned multiple times how thankful she was for being asked to join them. Between having been on tour for some time, the impending release of her new album Nikki Nack (available this Tueday), and the seemingly small crowd you could tell she was exhausted, though she gave it her all.

The quick transition between tUnE-yArDs and Kid Koala was mere minutes as the Montreal native's DJ booth setup was off to one corner of the stage. This was a perfect setup as it allowed for the breakdown of Tune-yards and the production that is setting out the ten plus instrumental arrangements for the night's headliner. Kid Koala put on a great show as a throw back to the original DJs who spin multiple vinyls and even works without headphones and did so flawlessly. With mixes of our own Outkast and Roy Orbinson tributes for Mother's Day, he was on top of his game.

Check out what Arcade Fire did to bring the house down after the jump

Artist Spotlight ::: An Interview w. Typhoon

Ahead of their much anticipated show tonight (3/18/14) at Terminal West in Atlanta, YOTHT had a chance to catch up with Devin Gallagher of Typhoon.  Be sure to pick up their latest album White Lighter and listen as you read along below.

Get tickets to tonight’s show

Photo courtesy of Typhoon's Facebook Page 

You Ought To Hear This: Where did the electric eleven get its start? Are you all from the same area?

Typhoon: We started in Salem, OR. All of us are from Oregon except Jen (Indiana) and Pieter (California).  

YOTHT: Has there been any evolution to the band, member change, change in sound/direction?

T: Yes, a lot. We've been together for almost nine years. For an example: I was the sound engineer, then a guitarist, then the sole drummer, then a percussionist, and now I mostly play electric ukulele.  

YOTHT: When did you each get your start in music?

T: A lot of us played music in school. All of the original Salemite members played in garage bands and we were playing in coffee shops and the like through our teenage years. 

YOTHT: What are some of your individual influences?

T: We have a great many. Personally, I'd cite (in order) Motown, The Beatles, 90s alternative rock, K Records, post-millennial indie rock, and minimalist composers Glass, Young, and Riley. 

YOTHT: How did you come about deciding on a name for the group?

T: Toby, Kyle, and Tyler experienced a typhoon in Japan. A man there explained to them what the word means to him, and they thought it was good for a band.  

YOTHT: With eleven members, it must be hard to coordinate schedules for the recording process, practicing, and touring. How have you been able to get on the same page?

T: We just make this our priority. I've quit jobs, missed weddings, missed funerals, gave up a college scholarship, and dissolved businesses to be in this band.

YOTHT: With all this coordinating I’m sure being a band in the digital age has its benefits. Not only is it easier to interact with one another, but also your fanbase. How do you feel about social media these days and your ability to connect with fans worldwide and vice versa?

T: I like being able to interact with fans. It meant a lot to me when I was a kid and Animal Collective returned my email. I talk with fans most every day. 

  

YOTHT: Last summer you launched a kickstater campaign to fund your fall tour in support of White Lighter.  Talk about the success of the venture.

T: Specifically, we raised money to buy a van. It's great. I[‘m] sitting in it now. The biggest thing is it's safe, our old van wasn't. 

YOTHT: How did you come up with the different pledge “rewards”? What was the best experience you had, other than the actual tour, through this process?

T: We brainstormed a long time. Playing the private meet and greet shows was really fun.

YOTHT: At what point did you know you could make a living in music?

T: We're not making a living at this. We have day jobs. Or, I did... I had to quit a job bussing tables to go on this tour.

YOTHT: If you weren’t in music, where would you see yourselves?

T: I can't really see myself doing anything else. Maybe a different type of art. 

New Music Spotlight ::: Review of Lost in the Trees - Past Life

LOST IN THE TREES – PAST LIFE

The Tar Heel state has seen its fair share of talented artists over the years and this orchestral folk four-piece is no different. Started by Ari Picker (Vocals, guitar, lyrics) in 2007 as a form to create a more orchestral group, they began working on the EP Time Taunts Me. The former B-Sides member recruited local artists from the University of North Carolina’s orchestral program along with artists associated with Trekky Records. The result was a weaving of multifarious instrumentals to complement

Ari’s hauntingly beautiful vocals. The band’s leader cited a diverse list of influences such as Beethoven, Radiohead, Vivaldi, Neutral Milk Hotel, Saint-Saëns, and OutKast, among others.

Lost in the Trees returns after their 2012 release, ‘A Church That Fits Our Needs’ drew some of the highest praise that year. Esquire magazine referred to it as “a luxuriantly orchestrated remembrance that ping-pongs between introspection and celebration.” The group has since transformed from a six piece ensemble to a more streamlined, minimalistic collection of four. Shedding many of the bulbous instruments from their original set up, producer Nicolas Vernhes created more with less on Past Life.

The instrumental lineup has changed, but their latest release is littered with everything that makes Lost in the Trees unique. As the album begins, ‘Excos’ floats through a melodic piano flight with heartbeat percussions and horns underlining Picker’ vocals. The albums namesake track is an upbeat guitar driven ballad of resolve.  ‘Wake’ is backed by piano work reminiscent of a suspenseful horror flick under an optimistic violin to mix with lyrics that mind the middle. The album closes with ‘Upstairs’ a track that bleeds with the aforementioned influences of Radiohead. The rhythmic guitar play and haunting lyrics would make Thom Yorke proud.

Despite the reoccurring theme of death and afterlife, Past Life brings an overall feeling of buoyant resiliency compared to previous releases. As a whole the albums proves that sometimes less is more. Despite the reduced band overall the album combines the sounds used to create a more complete and efficient sound.

Top Tracks

Past Life

Upstairs

Wake

Rites

B Rating: 90

R Rating: 84

Overall: 87

Local Dates: Thursday, May 1^st at the Earl

Like this album? Try….from 2013

Typhoon – White Lighter

Breathe Owl Breathe – Passage of Pegasus

Hey Marseilles – Lines We Trace

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Artist Spotlight ::: An Interview w. Old Man Canyon

My influences are really all artists that reach for something beyond themselves, ones that have vision and desire to bring something real to a world of falsity.

Photo Courtesy of Old Man Canyon Facebook

You Ought To Hear This gets up close and personal with a band that is sure to be one of the breakout artists of 2014, Old Man Canyon.  Jett Pace, the founder and driving force behind Old Man Canyon, was kind enough to answer our questions. Please read along and be sure to check out their phenomenal EP Phantoms & Friends.

You Ought To Hear This: Give us some backstory to the band and your journey.

Old Man Canyon: In early 2011, the band I was in at the time ended up having a pretty bad falling out, as bands often do. It really shook me up and confused me as to what direction I was going to take, and how I really wanted to continue as an artist and a musician.

The next several months were spent in my basement writing and experimenting with sounds. After about 8 months I had a group of songs I was really happy with that I felt fit well together. So I contacted a friend and local producer, Dave Meszaros, to begin working on what would become the Phantoms & Friends EP.  The next 6 months was spent recording and really just trying everything that came to our minds, not holding back creatively at all. At the end we were left with something we were really proud of. 

 YOTHT: Tell us about the members of the band and what is your instrument set up?

OMC: The band now consists of 5 of us, its gone through several incarnations, but with everything sonically I am going for 5 of us are needed. Especially with the new music that will be on the next record, it’s quite a bit different and requires more hands! The band members consist of myself, on Guitar and vocals, Josh Contant on drums, Alex Dobson on bass, Malcolm Dow on Keys/synths and Dave Meszaros on guitar, who also was the producer on the EP.

  

YOTHT: Is everyone from the same area, how did everyone meet?

OMC: It’s been a gradual formation, it all began really with me just writing songs, and after I had recorded the EP is when I really began focussing on constructing the dynamic of the band. Some of the members are old childhood friends, and others we met through friends in and around Vancouver. It wasn’t a quick process, it’s taken around a year to find the right people to fit the vision I had artistically and sonically for the band.

YOTHT: Are you guys signed to a label? If so, how was that process?

OMC: We are in the process of signing, we’re talking to several different labels right now, I won’t name them quite yet. But we should be making a decision here pretty soon. The process was quite fluid actually, at least for us, the right people took interest right off the bat and have been keeping an eye on us since the beginning, so I think that helped to get the right exposure off the get-go and make the right connections.

YOTHT: What are some of your individual influences?

OMC: I always find that a really hard question to answer. My influences are really all artists that reach for something beyond themselves, ones that have vision and desire to bring something real to a world of falsity. To name a few, The Beatles, Michael Jackson, 2pac, Prince, Bob Marley, I could go on forever.

  

YOTHT: Describe your sound and how you decided on that direction?

OMC: I still haven’t really chosen a direction, I think as soon as you box yourself into a certain format, you stop yourself from evolving as an artist. I just write what it is I’m feeling, and that usually works. My new music is a lot different from the EP, and I couldn’t more excited for it, it’s everything I think I’ve always wanted to incorporate, it just took some time to really find it.

YOTHT: What is your writing and recording process like?

OMC: I spend a lot of time in my cold basement writing and recording. I don’t really have a set way songs come about, they always come in different ways. Some start from a guitar riff, some start from a beat, and some start from a bass line or sometime a melody will just pop in my head and I record it on my iPhone quickly to come back to later. I try to always switch it up to give deferent feels to the structure of the song.  But the process really is not up to me, there are forces at work sometimes when I’m creating [that] I can’t really take credit for. 

YOTHT: Where do you typically find inspiration for writing?

OMC: I couldn’t tell you, It’s such a random process, you never know when something amazing will pop into your head. Thank god for the iPhone recorder, that thing has saved my butt so many times when I need to remember something. 

YOTHT: How did the connection and relationship to have multiple recordings on Showtime’s Shameless? Describe the recognition increase since that time and growth via social media and fans reaching out?

OMC: Right after my EP was released I signed with a great Licensing agent out of Los Angeles, and it’s been truly awesome to see the placements he has got me. It’s helped me gain a lot of exposure and has allowed me financially to keep going with music without having to get side tracked on a side-job. 

It’s always an amazing feeling seeing your work reach the world, and hearing what people have to say and how it has affected them or helped them through something, I think when that sort of thing happens to an artist, it really helps build inspiration, because you see firsthand how it is your work is affecting the ones that hear it.  

YOTHT: Your tracks seem to fit the show so perfectly? When you are writing/recording do you visualize the music being a part of a scene/video?

OMC: Sometimes when a song comes, there is a strong visual side to it for me, and sometimes not. I love film and do a lot of visual arts in my spare time, so I guess that side of it is always in my mind. As soon as one art form is created, be it music or film, I usually see the ways the other parts can fit in to it pretty quick. Some songs just seem to fit the atmosphere of something visual more than others.

YOTHT: How do you feel about social media these days and your ability to connect with fans worldwide and vica versa.

OMC: I think it’s great, it has allowed for artists to manage parts of one’s career that usually took 30 different people. Its put a lot of power back into the musicians hands, and you can see the effects of it as labels aren’t always needed in the same ways they were back in the day.

YOTHT: Are you a fan of the resurgence of vinyl records and the return of people to local record stores?

OMC: Yes I love vinyl. I think there is something in it that portrays sound how it’s meant to be heard. I have a little bit of a vintage Synth obsession, and anything analogue really, so the vinyl definitely allows for that vibe to come across easier.

YOTHT: Do you find music outlets like Spotify, Beats Music, and bandcamp are good for music as a whole and help smaller artists?

OMC: Ya, they’re great if they are used right, and you don’t depend on them solely to get your stuff heard and out there. They are just tools and the real work has to be done other ways.

  

YOTHT: Do you have any plans to tour/expand the tour? Plans for a record?

OMC: Yes, this next year is going to be a big one. We will be heading out on a U.S. tour in April, and then aiming to do a larger U.S. tour in June along with a tour throughout Canada sometime in the summer.

YOTHT: The EP is fantastic, what are your plans for a new record?

OMC: As for new music, there is a lot coming. This past year I’ve written enough for several albums, so let’s just say I am very eager to get more material out there, especially because this new music is just so much fun to perform live and I feel captures the vibe I really want to be giving off more than the acoustic guitar driven folk tunes.  

YOTHT: Do you all as a band have set goals? If so, what are they? What are your dreams for the future?

OMC: My dreams are to create something that allows people to get inspired to create their own dreams. And while doing this I want to collaborate with as many incredible people as I can and build a real community around this. 

  

YOTHT: What do you listen to in order to clear your musical palate?

OMC: I go for a walk and listen to the birds!

Connect with Old Man Canyon

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Weekly Musical Spotlight ::: Late Night Television

Monday 03/03/2014 
Conan ::: James Durbin
Fallon ::: Randy Newman
Kimmel ::: Fitz and the Tantrums
Letterman ::: Future Islands
Meyers ::: The Hold SteadyDaly ::: Kaiser Chiefs

Tuesday 03/04/2014 
Conan ::: American Authors
Fallon ::: Lea Michele
Kimmel ::: Amos Lee
Letterman ::: Phantogram
Meyers ::: Mike Birbiglia (comedian)
Daly ::: Kodaline

Wednesday 03/05/2014 
Conan ::: No artist listed at this time
Fallon ::: The Avett Brothers
Kimmel ::: Kongos
Letterman ::: David Nail
Meyers ::: Rick Ross
Daly ::: Icona Pop

Thursday 03/06/2014 
Conan ::: Drive-By Truckers
Fallon ::: Bad Things
Kimmel ::: Jetta
Letterman ::: Bob Mould
Meyers ::: Lil' Jon
Daly ::: LP

Friday 03/07/2014 
Fallon ::: Broken Bells
Letterman ::: Joan Jett & the Blackhearts
Meyers ::: Sarah Lewis
Daly ::: No

Saturday 03/07/2014 
Saturday Night Live ::: The National

Palladia Highlights
Monday 03/03/2014 
9a NeedToBreathe - Prove the Poets 
4:30p The Civil Wars - Unplugged
5p Live From the Artist Den - Mumford & Sons

Tuesday 03/03/2014
6p Norah Jones - Storytellers
10p Oxygen Festival '10 Hour Two- Vampire Weekend, Arcade Fire, Fatboy Slim, the Temper Trap

Wednesday 03/04/2014
6p Coldplay - Live at Glastonbury
8p Florence + the Machine - Unplugged
9p Live at the Artists Den - Adele

Thursday 03/05/2014
9a Feild Day Festival '13 - Bat for Lashes, Palma Violets, Chvrches, Animal Collective 

Friday 03/06/2014
4:30p Elton John - Live in Concert
6p Paul McCartney - Something NEW

New Music Spotlight ::: February Album Reviews (Part One)

In our first of many February album reviews coming over the next few days, we start you out with two solid performers.

BROKEN BELLS – AFTER THE DISCO

 

 It’s hard to be into the music scene and not hear the influence of Brian Burton. Better known by his stage name Danger Mouse, this University of Georgia - Grady graduate has been nominated for sixteen Grammy Awards, bringing it home 5 times. After growing up in Spring Valley, New York he moved to Athens, GA in 1998 where he DJ’d for UGA’s radio station while performing locally in a mouse outfit due to his shyness, hence the adoption of the Danger Mouse moniker. During this time, Burton took second place in a 1998 talent contest and was asked to open for a concert at the homecoming concert at Stegeman Coliseum featuring OutKast and Goodie Mob. Afterwards, Burton approached Cee Lo Green, a member of Goodie Mob, and gave him an instrumental demo tape.  The duo later formed the group Gnarls Barkley. Best known for his role as a producer he gained prominence after releasing his 2004 mix of Jay Z’s The Black Album and The Beatles’ The White Album aptly naming it The Grey Album. Since then he has become one of the most sought after producers. His work has spanned many genres having worked with The Gorillaz (Demon Days), The Black Keys (Attack & Release, El Camino), Beck (Modern Guilt), Norah Jones (Little Broken Hearts), Electric Guest (Mondo), and one of 2013’s best albums Portugal. The Man’s Evil Friends.

But Broken Bells is not about just one of music’s best, but two. James Mercer, best known as the lead singer and driving force of The Shins, makes up the other half of this dynamic duo. The Kevin Spacey look-a-like began his musical career in the early 90’s, forming the band Flake Music in 1992 and toured with Modest Mouse. As a side project in 1999, Mercer formed The Shins named after the name of the family in The Music Man, a favorite of his father. Originating as a duo, the band now plays as a well-known, five piece indie rock group. Born in Honolulu, Hawaii, Mercer is well versed in a variety of instruments from the guitar, bass, banjo, lap steel to the synthesizer, harmonica, glockenspiel, piano, and drums. He also owns a wide range of vocal inflection including an oft used falsetto range as part of Broken Bells.

Originally meeting in 2004 at Denmark’s Rosklide Festival the two artists happily learned they were big fans of each other’s works. Nearly four years later, the duo began secretly working on their first record Broken Bells. The announcement of the collaboration/formation of Broken Bells came a year later on September 29, 2009. Almost two years to the day of their start to the record Broken Bells was released on March 9^th, 2010 and reached number one on iTunes, selling over 400,000 copies and receiving high praise from the press.

In February 2012, Mercer mentioned on a radio interview in support of The Shins’ Port of Morrow that Broken Bells had begun working on their second album. The album announcement came on October 18, 2013 and the first single, ‘Holding On for Life’, off After the Disco was released in early November. The album features the return of James Mercer’s signature Broken Bells, Barry Gibb-esque pitch matching perfectly with their newfound 70’s disco feel.

Without having seen it mentioned as such, this album works as a concept album following the course of a relationship from beginning to end from one side’s perspective. Opening with ‘Perfect World’ the song sets the groundwork for the alien, disco world the album creates. The opener brings you right back to where we left off with Broken Bells with this use of choral-like back ground vocals and range of instruments. The six and a half minute jam mellows out towards the end before returning to its melodic beginning launching into the album’s namesake, ‘After the Disco’. Track two kicks up the tone with a very Bernard Edward (Chic) like bass line. The song portrays the misadventures of nightlife after the disco is closed; it plays almost perfectly as a lead-in to or different account of the night Daft Punk depicts in the award winning song ‘Get Lucky’.

The first single ‘Holding On for Life’ brings us back to the high-pitched Bee Gees sound mixed with an alienistic deep space sound that the track’s accompanying video brings to life. ‘Leave It Alone’ has a dark-Shins style to with heavy Danger Mouse influences. The blues guitar fueled song is best described as a look back at the low point in a relationship where both sides won’t pull the plug. Following the theme ‘The Changing Lights’ is an upbeat percussion driven song reflecting that neither side of the relationship wants to be the loser of the relationship.

‘Lazy Wonderland’ brings the album back to a happier place, with a song that could be describing the thrill of an affair, or possibly a break in the madness of a spiraling relationship after a good night. ‘No Matter What You’re Told’ is a perfect blending of funk, blues, and alien disco.  The album wraps with the “narrator” taking the blame for the foregone relationship and

Overall the album has a heavy theme of finding love, the different paths taken to get there and the subsequent ride that a relationship takes you on. After the Disco employs a heavy mixture of styles and sounds with the two classic sides of James Mercer’s voice and the ever-present harmonic backup vocals. The record flows well through its entirety which is no surprise as Danger Mouse has spoken frequently on the meticulous way in which he lays out an album.

Only time will tell how their second release holds up against the original, it’s an album that deserves and practically demands multiple listens.

Top Tracks

Leave It Alone

Perfect World

The Remains of Rock & Roll

After the Disco

B Rating: 88

R Rating: 81

Overall: 84.5

Local Dates: Tuesday, March 11^th at the Tabernacle with Au Revoir Simone

Like this album? Try….from  2013

Portugal. The Man – Evil Friends

Volcano Choir – Repave

Jaill – There’s No Sky (My Oh My)

Kurt Ville – Walking on a Pretty Daze

CYMBALS – THE AGE OF FRACTURE

The four-piece dance-rock outfit, Cymbals, has returned with their third record The Age of Fracture. Formed in 2010 the London band started, much like this website, as four friends with similar interests wanting to have fun. Fronted by Jack Clevery (vocal, guitar) the synth-heavy band is rounded out by Dan Simons (Keyboardist), Luke Carson (bassist), and drummer Neil Gillespie. They released their first LP in September of 2011. Unlearn introduced Cymbals to the world with their Talking Heads influenced rock, often sounding like an 80s inspired Bloc Party. Not wasting anytime the group released their second album Sideways, Sometimes on April 23, 2012. Recorded in a studio aboard a boat while floating the River Thames, the album got its name because their instruments had to be played sideways, sometimes. The keyboard laden 8 track recording features three ‘untitled’ instrumental tracks at the beginning, middle, and end.

The Age of Fracture opens with ‘Winter ‘98’, beginning with the noises of a crowded venue preshow the song floats with a sound eerily similar to that of Lana del Rey’s ‘Video Games’ before descending into a heavy synth groove to finish the final third of the track. ‘The Natural World’ doubles down on the 80’s dance rock for a track could fit perfectly in the climax of a John Hughes film. As the album plays you’re treated to more vocals and instruments that on the previous albums. The title track brings about a Yeasayer-like drum, keyboard mix that dissolves nicely into the next song ‘Like an Animal’. From there the album takes a turn very reminiscent of fellow English rockers, Foals.  ‘Call Me’ brings the album to a close with a subdued lyricless wrap that feels like the last day at school packing up to leave a music festival.

The latest release from these English chums appears to be more thought out and well-choreographed. Showing growth and lack of fear, this album is one of the best dance rock albums in recent memory.  For those new to the Cymbals they take all the elements of the bands mentioned previously and fuse them together with their own touch to make another great album.

Top Tracks

Winter ‘98

Empty Space

Call Me

The 5%

You Are

B Rating: 90

R Rating: 86

Overall: 88

Local Dates: No local dates at this time

Like this album? Try….from 2013

Foals – Holy Fire

Selebrities – Lovely Things

Limousines – Hush

Darwin Deez – Songs for Imaginative People

CHVRCHES - The Bones of What You Believe

Live Spotlight ::: Chappo with Dynasty Electric

Chappo
w. Dynasty Electric 
Monday 4/15/13
Vinyl 
Atlanta, GA

Other than a few quick listens at the house before heading to Vinyl, I wasn't sure what to expect from opening act Dynasty Electric. The Brooklyn Duo is best described as an psychedelic new wave bass heavy creation made for dance. The group consists of Seth Misterka (guitar, synth, and sax) who started the band and Jenny Electrik (vocals, theremin, and synth) whose manic vocals is a perfect blending of Stevie Nicks and Robyn with the stage presence of Aleix Krauss and Janis Joplin. Pounding out hits including 'Just Like That', 'Golden Arrow', 'Automatic Ecstatic', and 'Electric Love' their dolphin-sonar, fathomless beats, space sounds mixed with the insane lungs of Jenny created quite the show for the small crowd. 

Also hailing from Brooklyn Chappo returned to Vinyl having played there last year, this time donning war paint. The band got it's name from the last name of frontman Alex Chappo, whose voice shows signs of early Ozzy mixed with the vocals that created The Wall and Dark Side of the Moon. Wielding a megaphone for added effects, the various echoed lyrics and diatribes had a distinct Pink Floyd feel as he graced the stage in a smoking jacket laced with a wolf's head. 
Opening with the emotion packed "Shots Fired" off their 2012 Moonwater release build excitement with the addition of confetti guns. Not holding back the foursome powered through their biggest hit, "Come Home" early and sounded great live. The concert continued mixing songs from their latest album Petite Plastique (Moonwater B-Sides), Plastique Universe II: Pisces Princess, and Moonwater. Perfectly placed midway through their show the band laid down a fabulous cover of Mickey Newbury's "Just Dropped In" of Big Lebowski fame. Maybe it was the repetitiveness that I've played Daft Punk's new single "Get Lucky", but the opening riffs of "Nomads" seemed eerily similar.  Chappo closed out their set with the story of 'a love song being a shapeshifter' portrayed in "Bodies Coasting".

Chappo Setlist

1. Shots Fired

2. New Song

3. Come Home

4. 5-0

5. New Song

6. Seance

7. Just Dropped In -to see what condition my condition was in(Mickey Newbury cover)

8. Golden Lights

9. Hell No

10. Explode

11. Nomads

12. M.O.O.N. Water

13. Bodies Coasting

Big Boi at the Georgia Theatre April 18th 2013

On April 18th, the Georgia Theatre almost got burned down again. No, not by some electrical malfunction. This time, it was the awesome performance put on by Big Boi (aka Daddy Fat Saxxx aka One Half of THE Outkast) that almost lit up the place. Big Boi was born in West Savannah, Georiga, but the ATL is his home. This marked the second time that the B-I-G B-O-I has played the Theatre; the first was in the fall of 2011 about a month after they reopened the place. This time around, he was touring to promote his new record Vicious Lies and Dangerous Rumors.  Having gone to both shows, I've got to say that this one was better.

For starters, Killer Mike (pictured right) opened for him. For those of you that don't know, Killer Mike has been big in the Atlanta rap scene for years and his opening set was awesome. He gave a nod to fellow Atlanta rapper Bone Crusher by playing the song "Never Scared" and rapping his own verse from the song. Killer Mike was discovered by OutKast, and has been featured on a bunch of their songs. He talked about how appreciative he is of the group and how thankful he is for Big Boi bringing him along on this tour. Now Killer was great, but Big Boi just about brought the house down.

Big Boi took the stage around 11:15 or so despite the listed start time of his set being 10:30. This is commonplace for, well, most live shows. He had a live band backing him (a drummer, a guitarist, and a DJ) and also a female singer that covered the parts on the new tracks off of Vicious Lies and Dangerous Rumors that were sung by Sarah Barthel of Phantogram. Speaking of those tracks, he opened with one of them called Objectum Sexuality, a song about "romantic desire for inanimate objects"...

Objectum Sexuality

Now, a lot of the time when an artist releases a new album, people worry that they will play too much of it at a show and forget the classics... not the case with Big Boi. He did a great job of mixing in the old and the new, including a very cool montage of older songs that featured ATLiens, B.O.B. (Bombs Over Baghdad), and So Fresh, So Clean. He also busted out Ms. Jackson, Elevators, and these tracks off his 2nd most recent album...

Shutterbug

  

General Patton

Now, I did mention that it was a mix of old and new, and another one of the new tracks sounded awesome live...

CPU 

Another really cool moment from this show was a special guest appearance by Decatur, GA (my hometown) born rapper B.o.B. He did his song Nothin' On You and they also did some tracks that featured both of them including the track that this tour takes it's name from Shoes for Running. 

Now, I mentioned Killer Mike earlier. Yes he did open for Big Boi, but his night was not done. He came back out and helped Big Boi out with another old OutKast track...

The Whole World

The energy throughout the building was phenominal for this show, and it looked like the place was about to bust out into a full on mosh pit when Kryptonite was played (every time the lyric "If you want me you can find me in the... A" was dropped, people timed their jumps to hit the ground on the "A"... it was pretty intense). The show ended with one of the new tracks, and of course it was another Atlanta anthem... (I apologize for the black spot in the middle of this next video, but there's a good story. Purple Ribbon rapper C-Bone threw his shirt into the crowd and I caught it while filming. He then asked for it back, so I threw it back. It only takes away from the video for a few seconds)...

In The A

I had an absolute blast at this show. So much so that I am seriously thinking about going to his Atlanta show in June (who am I kidding, I'll be there). I can only imagine the type of cameos he'll have at that one, and a rendition of In The A with T.I. or Ludacris or both would be incredible. We can only hope...