tag:blogger.com,1999:blog-80231654750341538252024-02-02T13:46:41.194-08:00The Music NoteMusings on all things MusicStephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.comBlogger81125tag:blogger.com,1999:blog-8023165475034153825.post-58778154169203179462022-10-21T09:15:00.078-07:002023-01-03T14:58:30.010-08:00Roxy Music at the O2 Arena, London - 14/10/2022<p><span style="font-size: medium;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhadP--xk28rH4S3k_tOnIh7CXw8GM5THTFpzJDyUCesvf7aATedBost9fJDi7CLKhSyCSCE1qCqgQ0ZR7dAlzzIyg_yP4DuNPwhgK1ToUXtPMnWfBrqAuQc612TwWwvTHtOr7yqMGFjDUTRSK_lAgzFBV8ONqG0vBWkYn8doBqjhHXuqqSKN9gOdI/s5760/20221014_221343.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4312" data-original-width="5760" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhadP--xk28rH4S3k_tOnIh7CXw8GM5THTFpzJDyUCesvf7aATedBost9fJDi7CLKhSyCSCE1qCqgQ0ZR7dAlzzIyg_yP4DuNPwhgK1ToUXtPMnWfBrqAuQc612TwWwvTHtOr7yqMGFjDUTRSK_lAgzFBV8ONqG0vBWkYn8doBqjhHXuqqSKN9gOdI/w320-h240/20221014_221343.jpg" width="320" /></a></span></div><p></p><p><span style="font-size: medium;">While I have been to many Bryan Ferry solo shows over the last decade, I had never seen him play as part of Roxy Music, alongside fellow band members Andy Mackay, Phil Manzanera and Paul Thompson. I was therefore ecstatic when, earlier this year, it was announced that the band would be reuniting for an anniversary tour celebrating 50 years since the release of their self-titled debut album. Starting in America last month, the tour concluded last week with a run of shows in the UK (their first since 2011), culminating with a date at London’s O2 arena. <br /><br /> Ferry has always incorporated a heavy mix of the Roxy catalogue into his solo shows, and while much of this material has taken on stripped back arrangements and relaxed tempos – perhaps to accommodate his softer vocal delivery in recent years – it was always a treat to hear favourites and unexpected rarities played in intimate venues with solid acoustics. With all this in mind, there was an element of concern mixed in with my excitement for how some of these much-loved songs would fare in a venue as large as the O2. <br /><br /> The band fittingly opened the set with the upbeat urgency of ‘Remake Remodel’, the first track from their 1972 debut, and any prior concerns about the acoustics of the O2 immediately vanished; the sound (at least from I was positioned) was stellar, with the band showing great musicianship and camaraderie, and Ferry more than holding his own vocally, whilst accompanied by backing vocalists Fonzi Thornton, Senab Adekunle and Phebe Edwards. <br /><br /> As the set progressed, it was evident that while the relaxed tempos and lower keys that frequented the Ferry solo tours were present at times, many of those tracks also benefitted from refreshed arrangements that clearly distinguished this as a Roxy Music performance. This dynamic shone brightest on the band’s early material; ‘If There is Something’s’ sumptuous arrangement really highlighted the musicianship of the entire band, and is by far the best rendition of the song I’ve heard live. <br /><br /> ‘In Every Dream Home a Heartache’ followed, with an intense first half that reached an immense climax as Ferry’s chilling “I blew up your body / but you blew my mind” vocal line exploded into Phil Manzanera’s mesmerising guitar solo. If there was one definitive moment of the night that captured the true essence of the Roxy Music sound – that was it. <br /><br />The second half of the set dove deep into 1982’s <i>Avalon</i>, the band’s final album, and the one that marks the biggest departure from their early work. This smoother, refined sound was conveyed beautifully with a haunting rendition of ‘Tara’, led by Andy Mackay on oboe, though my highlight of the night was ‘To Turn You On’ – my all-time favourite Roxy song. The band, with a notable mention to Paul Thompson on drums, really elevated the subtly seductive groove of the album version to new heights on this rendition. It was a joy to finally hear live. <br /><br /> With <i>Avalon</i> featuring so heavily, many hardcore Roxy fans may not have found the setlist varied enough. Furthermore, while the first two albums were touched on in style, there was only one track from 1974’s <i>Country Life</i> (albeit a strong choice in ‘Out of the Blue’) included in the set, and more shockingly, its predecessor – and one of my favourites – <i>Stranded</i> was absent entirely. <br /><br /> Aside from the lack of certain albums, my only other, admittedly <i>very</i> minor gripe amongst a superb performance, was the shortening of some songs; while this is understandable to allow for a crowd-pleasing set, especially in an anniversary concert of this nature, the decision to cut the sublime instrumental outro from ‘More Than This’ was disappointing to say the least. The outro is a crucial element of what is one of their most-loved songs, and it would have been incredible to hear the band’s live interpretation of it. <br /><br /> Naturally the power hits such as ‘Love is the Drug’ and ‘Virginia Plain’ were saved till last as part of a whirlwind finale. And though the onscreen visuals were stunning throughout the gig, the montage of album artwork and early photos that accompanied closing song ‘Do the Strand’, stirred a sense of bittersweet euphoria for what was a momentous night – a feeling that was seemingly reflected on stage as the band made their final farewells to the crowd. <br /><br /> It is uncertain whether this will be Roxy Music’s final tour, however, if there is any truth to the rumours of a headline slot on the Legends stage at next year’s Glastonbury, then the potential for future shows is definitely there. If nothing does come of those rumours, then this concert was a triumphant finale for an iconic band. </span></p><p><span style="font-size: medium;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1yK_N4lTcnbVkfE9MTmJSgYdUjQIpoqQftFCSevSCNJEeLoKj2P7x1Fmun9mnnSwlxXRtPI8axh2PMne6DheA6BAkOMxDXp-368QPTqj1JbJBvFwWN-nRSDtRmXMaY3DIvrRT5iEdjgzPDcqgCH6fMisc5zELNaTLOI9iQWxt2zyZgftg-iKs2aY/s5760/20221015_180029.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5760" data-original-width="4312" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1yK_N4lTcnbVkfE9MTmJSgYdUjQIpoqQftFCSevSCNJEeLoKj2P7x1Fmun9mnnSwlxXRtPI8axh2PMne6DheA6BAkOMxDXp-368QPTqj1JbJBvFwWN-nRSDtRmXMaY3DIvrRT5iEdjgzPDcqgCH6fMisc5zELNaTLOI9iQWxt2zyZgftg-iKs2aY/w300-h400/20221015_180029.jpg" width="300" /></a></span></div><p></p><p><span style="font-size: medium;"></span></p><p><span style="font-size: medium;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiochrM5DHI_FbYC-Jxo4WrWZPBGLy0PPjlGE4XkPoUWi65juN9V1nnMy6U2_YbajrFSqVblaZMgDBBuh4bgTJNsB0g_SCnAt8wKMnsMYrQ6bFdZmECSNwo-FQ51n4GO0MY_9bpfH4hJiUSw1OLuhWYI3OiYeW2GT6DHKh2lm0J4k8R2Y4QPtKz-ws/s5760/20221014_222551.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4312" data-original-width="5760" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiochrM5DHI_FbYC-Jxo4WrWZPBGLy0PPjlGE4XkPoUWi65juN9V1nnMy6U2_YbajrFSqVblaZMgDBBuh4bgTJNsB0g_SCnAt8wKMnsMYrQ6bFdZmECSNwo-FQ51n4GO0MY_9bpfH4hJiUSw1OLuhWYI3OiYeW2GT6DHKh2lm0J4k8R2Y4QPtKz-ws/w320-h240/20221014_222551.jpg" width="320" /></a></span></div><span style="font-size: medium;"><br /><br /></span><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhveSDUYLGGK9egQ0d6JxorEGHiDJ5Ui-PnFPfYiYRtjeKjrdgWvn48d8C1m0owoAQDsVg1fcQRV1_xsIruolvi7DfxzPb6EbVg2a7Wbs4ghfWPDt8HgJyYftTJfSGpXu-hG_Y40F-8sJimfe_dVozadbGh8X2LIh72S4f5VST-q6h-QxuzQexsRT4/s5760/20221014_222923.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="4312" data-original-width="5760" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhveSDUYLGGK9egQ0d6JxorEGHiDJ5Ui-PnFPfYiYRtjeKjrdgWvn48d8C1m0owoAQDsVg1fcQRV1_xsIruolvi7DfxzPb6EbVg2a7Wbs4ghfWPDt8HgJyYftTJfSGpXu-hG_Y40F-8sJimfe_dVozadbGh8X2LIh72S4f5VST-q6h-QxuzQexsRT4/w320-h240/20221014_222923.jpg" width="320" /></a></span></div><span style="font-size: medium;"><br /></span><p></p>Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-53439994202530839382022-04-27T12:19:00.169-07:002022-05-22T15:03:35.459-07:00Sting at the London Palladium - 20/04/2022<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE4RMbTWuwoCXUlYv7idVrnadEou4v5iABnkgMQHQSwlHhEaTwZ_iQiVym1ly_V9TVr6wsSkIlEFFOivaWD5ZEoV09nydJL78Vvr_QxGF6i9uvH5JwpHrovvyO1DP5Z5MKKLcOnFQT-p-D_ZNxz1KUDNlazXjuaBoSS_-kPxPjfqoN6qZ9JZHsrzY/s5760/20220420_215814.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="5760" data-original-width="4312" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE4RMbTWuwoCXUlYv7idVrnadEou4v5iABnkgMQHQSwlHhEaTwZ_iQiVym1ly_V9TVr6wsSkIlEFFOivaWD5ZEoV09nydJL78Vvr_QxGF6i9uvH5JwpHrovvyO1DP5Z5MKKLcOnFQT-p-D_ZNxz1KUDNlazXjuaBoSS_-kPxPjfqoN6qZ9JZHsrzY/w299-h400/20220420_215814.jpg" width="299" /></a></div><p class="MsoNormal"><br /><span style="font-size: medium;">Last week I saw Sting play the penultimate date of a six-night residency at the London palladium. The concerts, which had been rescheduled multiple times due to the pandemic, were in support of his 2019 release <i>My Songs</i> – an album featuring reworked versions of Sting’s most popular tracks, both as a solo artist and as part of The Police. <br /><br /> Having followed the 2019 setlists for this tour, which mostly mirrored the album’s tracklist, I was initially expecting a similar “greatest hits” style setlist for the London dates. Then last year, Sting released a new studio album titled <i>The Bridge</i>, half of which is now being incorporated into the post-pandemic <i>My Songs</i> tour setlists. <br /><br /> Accompanied by Ukrainian cellist Yaroslava Trofimchuk, Sting opened the set with a hauntingly sombre acoustic rendition of his 1985 song ‘Russians’, which has recently been re-released to raise funds for Ukraine charities. His band then joined the stage to launch straight into a blazing ‘Message in a Bottle’, and it was immediately evident how amazingly powerful Sting’s vocals still are at this stage in his four-decade career. The band continued with ‘If You Love Somebody Set Them Free’, staying true to the modernised, dance version that appears on the <i>My Songs</i> album. Rounding up this portion of the set was the infectiously hook-heavy ‘Every Little Thing She Does is Magic’</span><span style="font-size: medium;"> <span>– </span>one of my favourite Police songs and a highlight of the night.</span></p><p><span style="font-size: medium;"></span><span style="font-size: medium;"> Next up, Sting performed four songs from latest album <i>The Bridge</i>. ‘Loving You’ was the strongest of this new material, and had an intense, almost hypnotic quality that conveyed well in the intimate surroundings of the Palladium. However, four songs played consecutively from the new album caused a lull in momentum, and there was a general sense of urgency amongst the audience for a return to the level of classics that had triumphantly kicked off the set. </span><br /></p><p class="MsoNormal"><span style="font-size: medium;">The performance returned to form with much-loved 90’s hits ‘Fields of Gold’ and ‘Shape of My Heart’, though my favourite of the solo material was a glorious version of ‘Brand New Day’ with Shane Sage’s impressive harmonica littered throughout. The remainder of the set soared, heavily dominated with Police classics, standout moments of which were ‘So Lonely’ segueing into Bob Marley’s ‘No Woman, No Cry’, an eerily mesmerising ‘Every Breath You Take’ and of course the iconic ‘Roxanne’. <br /><br /> From the new wave punk and reggae of the Police catalogue to the pop/jazz and folk of his solo material, the many genres of Sting’s career were touched on during the eclectic two-hour set. Sting appeared to be in his element throughout, often engaging the audience in call-and-response style sing-alongs. My only gripe was that the hefty inclusion of <i>The Bridge</i> resulted in the absence of some much-loved Police/solo songs that had graced earlier <i>My Songs</i> tour setlists – ‘Can’t Stand Losing You’ and ‘Seven Days’ are two such examples that I would have welcomed over the new material. Aside from this however, the gig – my first in just over two years – was a thrilling return to the world of live music.</span></p><p class="MsoNormal"><span style="font-size: medium;"><b></b></span></p><p class="MsoNormal"><span style="font-size: medium;"><b><br /></b></span></p><p class="MsoNormal"><span style="font-size: medium;"><b><br /></b></span></p><p class="MsoNormal"><span style="font-size: medium;"><b>Setlist </b><br />Russians <br />Message in a Bottle <br />If You Love Somebody Set Them Free <br />Englishman in New York <br />Every Little Thing She Does Is Magic <br />If It's Love <br />For Her Love <br />Loving You <br />Rushing Water <br />I Hung My Head <br />Fields of Gold <br />Brand New Day <br />Shape of My Heart <br />Wrapped Around Your Finger <br />Walking on the Moon > Get Up, Stand Up <br />So Lonely > No Woman, No Cry <br />Desert Rose <br />King of Pain <br />Every Breath You Take <br />Roxanne <br />Driven to Tears <br />The Bridge</span></p><p class="MsoNormal"><br /><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p>
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{page:WordSection1;}</style>Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-82202062694009785632021-07-25T13:14:00.020-07:002021-07-30T11:18:55.088-07:00Bryan Ferry - Royal Albert Hall 2020<div><p></p><p><span style="font-size: medium;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><a href="https://m.media-amazon.com/images/I/91J1bOBkSFL._SS500_.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://m.media-amazon.com/images/I/91J1bOBkSFL._SS500_.jpg" width="320" /></a></span></span></span></div><span style="font-size: medium;"><span style="font-family: inherit;"></span></span><p><span style="font-size: medium;"><span style="font-family: inherit;"><span><span>The last gig I went to was Bryan Ferry’s March 13th 2020 show at the Royal Albert Hall, the second of two dates at the venue. The gigs were Ferry’s final performances on a run of tour dates that would be cancelled due to the pandemic, and more poignantly, the final full-capacity events to take place at the iconic venue – and quite possibly anywhere else – prior to lockdown. The concerts have now been released on a live album with all proceeds being shared between Ferry’s band and crew members in an effort to support them during what has been an extremely challenging time for the live music sector. <br /><br /> This live release is a welcome memento of what was my favourite Ferry show in recent years. While the musicianship is always excellent, the setlists in the past few tours had not differed all that much, with each passing tour offering up just a few new song additions among a sea of setlist staples. However, the 2020 shows were hugely refreshing with revitalised setlists that drew largely from the early Roxy Music catalogue; ‘Pyjamarama’ (complete with Jorja Chalmers outstanding sax solo), a sublime rendition of ‘Just Like You’, and the fabulously eerie ‘The Bogus Man’ were my favourites on the night, and it is wonderful to revisit these rarely played songs on this live recording. <br /><br /> While the focus remains largely on the early Roxy Music material, their later work is touched on with a small, but diverse selection that finely represents the smoother sounds of the band’s final era, including a blistering version of ‘Same Old Scene’ and a heartfelt ‘Dance Away’. Ferry’s solo catalogue is also well-represented, from the slick, jazz-inspired ‘Limbo’ from 1987's <i>Bête Noir</i>, right through to the seductively haunting ‘You Can Dance’ from 2010’s <i>Olympia</i>. <br /><br /> The wide-ranging setlist makes this live album an ideal companion to last year’s <i>Live at the Royal Albert Hall 1974</i> release, which captures Ferry on his first ever solo tour </span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span>–</span></span></span></span> t</span></span></span></span>he two recordings effectively showcase the longevity of a career spanning nearly 50 years. Given this time span, it is perhaps inevitable that Ferry’s vocal is noticeably weaker than that of the 1974 recording, however his softer vocal delivery on the 2020 album has a distinguished, sentimental quality that seems a natural fit for the more relaxed tempos that are present. Ferry’s vocal is strongest on a stripped-down reworking of Dylan’s ‘Make You Feel My Love’, however, even when backed by fuller arrangements such as on opener ‘The Thrill of It All’, his vocal remains at the forefront of the mix, and is enhanced but never overshadowed by the impressive musicianship of the backing vocalists and fellow band members. <br /><br /> Everything that made this tour so brilliantly unique is perfectly captured on <i>Royal Albert Hall 2020 </i></span></span></span></span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><span style="font-size: medium;"><span style="font-family: inherit;"><span><span>–</span></span></span></span> from the refreshingly varied setlist to the subtle, yet effective arrangement tweaks that breathe new life into the fan favourites. Listening to the album brings back memories of a fantastic night, while also sparking a major sense of excitement for the return of live music. </span></span></span></span></p><p><br /></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="275" src="https://www.youtube.com/embed/oC0_avC5qro" title="YouTube video player" width="500"></iframe></span></span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="275" src="https://www.youtube.com/embed/l3xKwMMQbGU" title="YouTube video player" width="500"></iframe></span></span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="275" src="https://www.youtube.com/embed/uTVCSupekl4" title="YouTube video player" width="500"></iframe></span></span></span></span></p><p style="text-align: center;"><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="275" src="https://www.youtube.com/embed/WDfh8uEMmDI" title="YouTube video player" width="500"></iframe></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><b> </b></span></span></span></span></p><p><span style="font-size: medium;"><span style="font-family: inherit;"><span><span><b>Setlist</b><br />The Thrill Of It All<br /> You Can Dance<br /> Pyjamarama<br /> Out Of The Blue<br /> The Bogus Man<br /> Casanova<br /> Limbo<br /> Just Like You<br /> Same Old Scene<br /> Hiroshima Mon Amour<br /> Your Painted Smile<br /> Don't Think Twice It’s Alright <br /> Make You Feel My Love<br /> Dance Away<br /> Avalon<br /> Street Life<br /> Virginia Plain <br /> Editions Of You <br /></span></span></span></span></p></div>Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-26533576833313868912021-05-09T08:30:00.004-07:002021-05-23T04:23:57.068-07:00The Silver Seas - Moonlight Road<div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="275" src="https://www.youtube.com/embed/fs4wVl5CMWc" title="YouTube video player" width="500"></iframe></div><p></p><p>From the classic, well-crafted pop of 2006’s <i>High Society</i> and its follow-up <i>Chateaux Revenge</i>, to country inspired fourth release <i>Alaska</i>, the Silver Seas are a band who have continued to musically evolve with each new record. However, latest album <i>Moonlight Road</i> marks their biggest transition yet, with a shift towards a wholly electronic sound. <br /></p><p></p><p></p><p></p><p style="text-align: left;">On <i>Moonlight Road</i>, the acoustic pop folk and catchy melodies – elements that all their previous albums shared – have been replaced with programmed drums, keyboards and layered vocals. In this respect, the album bares similarities to Josh Rouse’s 2018 release <i>Love in the Modern Age</i>, a comparison that is perhaps unsurprising given Daniel Tashian’s involvement as a co-producer on Rouse’s record. However, whereas <i>Love in the Modern Age</i> draws influence from 80s music, <i>Moonlight Road’s</i> electronic arrangements take a more fresh approach. <br /></p><p>Long-time fans of the Silver Seas may initially find <i>Moonlight Road</i> to be somewhat jarring in places, such is the glaring departure from previous releases. The most notable shift comes courtesy of ‘Right Direction’, whereby brash synths collide with Tashian’s almost unrecognizable vocal delivery, to result in what is the least Silver Seas sounding song on the album. Tracks like ‘Good Sign’ (the first of two collaborations with Thad Cockrell) and ‘Go Getter’ are of a similar vein, but feel less imposing due to a looser arrangement that lends a more satisfying dance groove. </p><p>The album really hits the mark on tracks like ‘You Give Me Faith’ and ‘Cecilia’, where the electronic arrangements are enhanced by Tashian’s penchant for glorious melodies and atmospheric lyrics. The second collaboration with Thad Cockrell – ‘Even When You’re Wrong’ – is another standout track, and possibly my favourite on the album. “Emotions are flying / But who’s in charge?” sighs Tashian in the opening lines of this beautiful piano-based ballad that effortlessly drops into a steady beat in the second verse, before reaching more joyous heights with Cockrell’s striking vocal contribution on the song’s bridge. <br /><br />The album’s title track draws the album to a close with a softer, melancholy undertone that is more in line with the band’s earlier work. The song’s lyrics are among Tashian’s strongest on the album and the final lines “You’re a dreamer by night, sleeper by day / The clouds roll by, you don’t have much to say / But when darkness falls, can you show me the way / Back to her” leave a lasting impact long after the song has faded out. <br /><br />While <i>Moonlight Road</i> is vastly different from the Silver Seas' previous four releases, Tashian’s melodic flair is present during the album, and indeed the best songs here are the ones that incorporate both the melodic and electronic aspects. However, the album in its entirety is excitingly innovative and an overall solid progression for the band.</p><div style="text-align: center;"><br /></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"></div><div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="275" src="https://www.youtube.com/embed/13XR0atypkI" title="YouTube video player" width="500"></iframe> </div><div style="text-align: center;"> </div><div style="text-align: center;"></div><div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="275" src="https://www.youtube.com/embed/AdqNQoMe_fQ" title="YouTube video player" width="500"></iframe> </div><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="275" src="https://www.youtube.com/embed/YOXglFHWgCU" title="YouTube video player" width="500"></iframe> </div><div style="text-align: center;"><br /></div><div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="275" src="https://www.youtube.com/embed/pE7tvCdTwyY" title="YouTube video player" width="500"></iframe></div>Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-58188842755684681602019-11-30T15:42:00.013-08:002021-04-11T06:34:25.504-07:00John Mayer UK Tour - October 2019<div class="separator" style="clear: both; text-align: center;">
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<b>O2 Arena, London - 13/10/2019</b><br />
<b>O2 Arena, London - 14/10/2019</b><br />
<b>Manchester Arena - 18/10/2019</b><br />
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On his latest tour, John Mayer took the unique approach of forgoing a support act in favour of delivering two full headline sets. This is a very exciting concept that more artists seem to be embracing. A gig without an opening act allows the artist more freedom to play what they want, while pleasing fans with a more varied setlist. In Mayer’s case, with no new album to support since 2017’s <i>The Search for Everything</i>, the setlist possibilities were endless, adding a further sense of excitement to this tour.<br />
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With this in mind, and as a fan of Mayer’s earlier work, I attended all three UK shows with the hope of hearing more rarities from his debut album <i>Room for Squares</i> and its follow-up release, <i>Heavier Things</i> to balance out his more recent material. The first of these shows at the O2 was solid; the overall performance showcased a decent mix of Mayer’s back catalogue, though the rarities that one would have hoped for in a gig formed of two headline sets were lacking. Mayer did touch upon his early albums with songs like ‘Why Georgia’ and ‘Daughters’, though a solo acoustic version of ‘Neon’ was the evening’s highlight. <br />
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Whereas the first gig at the O2 felt a bit unadventurous, Mayer’s second night at the venue really hit its stride with further acoustic offerings from <i>Room for Squares</i>, including ‘3x5’ and ‘Your Body Is a Wonderland’, in addition to a nostalgic, full-band rendition of 'No Such Thing'. Furthermore, Mayer played a generous seven tracks from arguably his strongest album, 2006’s <i>Continuum</i>, including the irresistibly groove-infused ‘I Don’t Trust Myself (With Loving You)’ and an emotionally-charged ‘Stop This Train'. <br />
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The amazing setlist of that second O2 show made it a tough gig to follow, however, there was a certain energy about Mayer’s final UK date at Manchester Arena that just about made it my favourite on the tour. The musicianship seemed bolder and more spontaneous, resulting in some much welcome extended jam sessions during songs. The most noteworthy examples of this came by way of Mayer’s later catalogue; on <i>The Search for Everything's</i> 'Rosie', Mayer masterfully steered an already satisfying guitar solo into Michael Jackson’s 'Wanna Be Startin' Somethin', while 'Queen of California', from 2012's <i>Born and Raised</i>, featured a gloriously mounting instrumental break that further demonstrated the talent and on-stage chemistry of Mayer’s band. <br />
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The standout moment of the Manchester gig was 'Clarity', primarily as it's my all-time favourite Mayer song, but also because this live arrangement with Jamie Muhoberac’s keys section was beautiful. Sadly, 'Clarity', along with 'Daughters', were the only two tracks to appear from the <i>Heavier Things</i> album across all three dates. Mayer’s seeming disregard for this album was frustratingly evident given that the generous set length of this current tour had the potential for a greater focus on material that would perhaps be overlooked on the more time-restricted nature of a standard tour<style>. W<!--
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-.</style>. With <i>Heavier Things</i> being the most frequently neglected album of recent past tours, its absence here felt like a missed opportunity.<br />
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Despite not delving quite as far into the back catalogue as hoped, Mayer fully triumphed in breathing new life into much of the material he did play throughout all three gigs. While it was great to hear some of the yearned-for rarities, I also gained new appreciation for songs I’ve heard countless times at previous shows – songs like 'Slow Dancing in a Burning Room' and 'Gravity' flourished due to fresh arrangements, innovative guitar solos and general impressive musicianship from Mayer and his band.<br />
<br />Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-56547467776441152332019-03-21T16:46:00.009-07:002023-01-03T14:40:23.377-08:00Steven Wilson at the Copenhagen Opera House - 21/02/2019<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;">I’m pretty much a newcomer to the music of Steven Wilson. Though familiar with a few tracks from his former band Porcupine Tree, it’s only in the past few months that I have begun to explore his solo work, starting with latest release <i>To the Bone</i> and working backwards through his catalogue. I therefore attended Wilson’s recent gig at the Copenhagen Opera House as very much a casual fan looking to expand my ear on more of his music, in addition to hearing how the songs that I was familiar with, would transpire to the beautiful live setting of the Opera House. This gig was one of the final dates in support of <i>To the Bone</i>, an album which, while – as typical of Wilson – is dark lyrically, is not as conceptual as previous releases <i>Hand. Cannot. Erase</i> and <i>The Raven That Refused to Sing (And Other Stories)</i>. Musically, <i>To the Bone</i> takes a more mainstream pop/rock direction – a perhaps brave departure from the prog rock genre that Wilson is renowned for. </span><br />
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<span style="font-family: inherit;">The set began with a short film montage in which various photographs were superimposed with words that seemingly represent their meaning. These images were then repeatedly replayed with the words mismatched, to convey the theme of perception and the alternative, </span><span style="font-family: inherit;">and at times more sinister,</span><span style="font-family: inherit;"> realities that exist in life. The mounting urgency in which the montage progressed, coupled with the unsettling instrumental audio effects that gradually increased in intensity, provided an ominous tension that finally made way for Wilson’s entrance to the stage for the anthemic pop/rock of ‘Nowhere Now’. </span><br />
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<span style="font-family: inherit;">This intro sequence set the scene for what was musically and visually a stunning show, with Wilson incorporating cinematic video backdrops and holograms into the generous three-hour set. One of those key audio-visual moments was 'Pariah', a duet with Ninet Tayeb. Arguably one of the strongest tracks off <i>To</i> <i>the Bone</i>, the song sounded even more haunting live, due to Tayeb’s vocals being projected on a huge video backdrop, adding a more intimate element to the track. </span><br />
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<span style="font-family: inherit;">As anticipated, much of the gig featured heavy musical arrangements and lyrically dark themes; on 'Index', Wilson depicted the character of a lonely man with a compulsion to “collect anything I find”, backed by eerily sombre instrumentation that hinted at a much more disturbing undertone. However, with a set as unusually long as this one, Wilson was able to incorporate a range of genres into the performance, most memorably on ‘Detonation’, which featured an impressive keys-based jazz instrumental that progressed into an irresistible funk groove, while poignant lyrics were offset against a musically softer tone on 'Lazarus' </span><span style="font-family: inherit;"><span style="font-family: inherit;">–</span> a fan favourite from the Porcupine Tree catalogue. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">An observation from my perspective as a new fan to Wilson’s music, is that the heavier material he did play, really emphasised the different musical approach he has taken on <i>To the Bone</i>. The most notable example of this was the blisteringly upbeat piano pop of ‘Permanating’ </span><span style="font-family: inherit;">– </span><span style="font-family: inherit;">a song so strikingly different to any other I heard during the evening’s performance, that even Wilson himself referred to it as the "disco" portion of the set. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">Wilson aptly closed the set with a beautiful rendition of ‘The Raven That Refused to Sing’ </span><span style="font-family: inherit;"><span style="font-family: inherit;">–</span> possibly the best song of the evening, definitely the most melancholic. However, among the hard-hitting, and at times, depressing lyrics that comprise much of Wilson’s work, there are some glimmers of optimism, even if it isn’t always immediately obvious. ‘Song of Unborn’ addresses the fear and negativity in the world, concluding with the line “Don't be afraid to die / Don't be afraid to be alive”, a powerful lyric that serves as a message to live life to the fullest. It’s lyrics like these that resonated the most in what was a very compelling, thought-provoking and intense gig.</span><br />
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<a name='more'></a><span style="font-family: inherit;"><b>Setlist</b></span><br />
<span style="font-family: inherit;">Nowhere Now</span><br />
<span style="font-family: inherit;">Pariah</span><br />
<span style="font-family: inherit;">Home Invasion / Regret #9</span><br />
<span style="font-family: inherit;">Don't Hate Me (Porcupine Tree song)</span><br />
<span style="font-family: inherit;">The Same Asylum as Before</span><br />
<span style="font-family: inherit;">Get All You Deserve</span><br />
<span style="font-family: inherit;">Ancestral</span><br />
<span style="font-family: inherit;">No Twilight Within the Courts of the Sun</span><br />
<span style="font-family: inherit;">Index</span><br />
<span style="font-family: inherit;">Permanating</span><br />
<span style="font-family: inherit;">Song of I</span><br />
<span style="font-family: inherit;">Lazarus (Porcupine Tree song)</span><br />
<span style="font-family: inherit;">Detonation</span><br />
<span style="font-family: inherit;">Song of Unborn</span><br />
<span style="font-family: inherit;">Vermillioncore</span><br />
<span style="font-family: inherit;">Sleep Together (Porcupine Tree song) </span><br />
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<span style="font-family: inherit;">Blackfield (Blackfield song)</span><br />
<span style="font-family: inherit;">Sentimental (Porcupine Tree song)</span><br />
<span style="font-family: inherit;">The Sound of Muzak (Porcupine Tree song)</span><br />
<span style="font-family: inherit;">The Raven That Refused to Sing </span><br />
<br />Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-8189951521725319342018-09-23T16:09:00.000-07:002021-03-07T10:05:18.843-08:00The Real Cost of Sitting in the Front Row<div class="separator" style="clear: both; text-align: center;">
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Ticketmaster has recently announced plans to close its two resale sites GetMeIn and Seatwave, in an attempt to combat touts who exploit the sites to sell tickets at inflated prices. The closure of these secondary ticketing sites, which will come into effect from next month, is certainly a positive step forward for music fans, with the added benefit that, in place of the secondary sites, Ticketmaster will be introducing a fan-to-fan exchange platform that will allow tickets to be sold at face value plus 15%, or below. However, it appears that Ticketmaster will still continue to operate its Platinum Tickets scheme, whereby premium seats for live music events are sold directly from the artist via Ticketmaster for amounts considerably higher than face value, which – according to Ticketmaster – provides fans with “fair and safe access to in demand areas at market driven prices”. <br />
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The concept that fans can have safer access to some of the best seats in a venue, without having to resort to purchasing tickets from touts, is strong in theory, but it’s questionable as to whether the often hugely inflated prices of most of the tickets being offered through the Platinum scheme – some of which are sold for up to four times the face value – offer the average music-loving fan a fair ticket purchasing experience. As an example, third row seats for John Mayer’s 2017 O2 gigs – where tickets had an initial face value of £50.00 – were being sold through Ticketmaster Platinum at a hefty £270.00 per ticket, while more recently, after an unsuccessful attempt at purchasing tickets for Jason Mraz’s upcoming (and supposedly) sold-out Royal Albert Hall gig, I was disappointed to then see Platinum tickets appear for up to £170.00 each – a steep increase on the face value, which was around £40.00-£50.00 per ticket. <br />
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In light of this, purchasing decent tickets for major artists has never been so frustrating. From a music fan’s perspective, it is easy to place the blame solely with Ticketmaster. However, while Platinum’s direct-to-fan approach enables the company to generate a much healthier profit, it also aids in reducing the amount of touts in the process, and from that angle, it’s a smart – and inevitable – business move for a company that specialises in ticket distribution. Furthermore, and perhaps most importantly, the decision to opt into Platinum lies with the artists themselves, of whom also hugely benefit from the hiked ticket prices that are sold through the scheme. Ticketmaster claim that it is the promoters, organisers and venues that set the ticket prices, and that ticket costs are adjusted according to supply and demand. With this in mind, it is probable that any unsold Platinum tickets are subsequently sold on at face value, meaning that a Platinum consumer could potentially be sat next to someone who has purchased an equally good seat at a fraction of the cost – though, surely, if this is indeed the case, it contradicts Ticketmaster’s reasoning that Platinum provides fans with “fair and safe access” to premium tickets. <br />
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With most of the Platinum packages offered through Ticketmaster being for highly successful mainstream artists, the question then turns to why such artists – who are clearly established enough to be playing venues at arena level – are so heavily affiliating themselves with the Platinum scheme, and allowing Ticketmaster to sell these select tickets at such a large increase, at the potential risk of alienating long-time fans. The early impact that the digital age had on the music industry is a likely factor, as the rise of legal and illegal downloading resulted in a decline of physical album sales. In more recent years, streaming subscription services have taken prominence, though, like legal downloads, streaming generates a much smaller income for rights owners compared to that of CD sales. The ever-increasing popularity of digital distribution has therefore shifted the relevancy of a revenue stream which was formerly the largest generator of income, and in turn, live music and the potentially lucrative sources associated with live music, such as exclusive ticket packages and merchandise, has positioned itself as a leading source of income, especially for these established, major label artists. <br />
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One thing is for sure; the excitement of potentially getting a seat in the first few rows is pretty much gone since the introduction of Ticketmaster Platinum, when, not only are fans having to compete with touts, but with the actual ticket distributor. But with so many major artists associated with Platinum, what is the solution going forward? While Ticketmaster’s upcoming fan-to-fan exchange looks promising, in addition to similar functioning platforms such as Twickets, the initial responsibility essentially lies with the artists and their management to offer fans greater access to premium seats, even if it is just a selected allocation. This could be achieved through a stronger emphasis on fan presales – a method of which is totally feasible in the digital age’s sea of social media platforms, or, alternatively – though less likely – artists could distance themselves altogether from the dynamic pricing of Platinum and take lead from artists like the Arctic Monkeys, whose concert tickets are set at one price range throughout a venue. <br />
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Realistically though, Ticketmaster Platinum probably isn’t going away any time soon, and understandably, artists want to maximise their revenue, but surely there must be a middle ground in which fans aren’t totally being ripped off in the process.<br />
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</style>Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-62163814043424702082018-05-31T16:53:00.000-07:002021-04-11T06:29:07.082-07:00Josh Rouse at The Garage, London - 25/04/2018<div class="separator" style="clear: both; text-align: center;">
<a href="https://images-eu.ssl-images-amazon.com/images/I/510A1td4%2BxL._SS500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://images-eu.ssl-images-amazon.com/images/I/510A1td4%2BxL._SS500.jpg" width="320" /></a></div>
<br />
With a career spanning 20 years, Josh Rouse is an artist who continues to stylistically evolve with each new release. Originating with the alt country rock of 1998 debut <i>Dressed Up Like Nebraska</i>, his experimental creative approach has formed a catalogue that covers a multitude of genres, notably the 70s inspired pop/soul of <i>1972</i>, Spanish influenced <i>El Turista</i>, and the atmospherically cinematic arrangements of <i>Bedroom Classics Vol. 2</i>, to name but a few. <br />
<br />
However, <i>Love in the Modern Age</i> – Rouse’s latest offering, may be his bravest transition yet, with an overriding 80s electro sound that is worlds apart from the rootsy, thought provoking, and at times, poetic aspects of previous release, <i>The Embers of Time</i>. Drawing inspiration from bands such as The Blue Nile and Roxy Music, the 80s influence is very much present throughout on <i>Love in the Modern Age</i>, from the keyboard and synth focused arrangement, right down to the Bryan Ferry-esque album artwork. On a side note, the album is reminiscent in places to the self-titled <i>She’s Spanish, I’m American</i> EP that Rouse released as a side project with wife Paz Suay in 2007. Suay also appears on <i>Love in the Modern Age</i>, providing background vocals that further enhance the authentic 80s vibe of the album – perhaps to most effect on the title track, which is also noteworthy for its impressive sax solo. <br />
<br />
At his recent gig at The Garage, Rouse performed seven of the nine songs that comprise <i>Love in the Modern Age</i>, in addition to a solid selection of tracks from previous releases. The electronic 80s sound of the new album was most successfully conveyed by Rouse's band on the breezy synth-led 'Salton Sea', and perhaps more surprisingly on 'Businessman' – a track that sounds overly brash on record, but seemed to translate more fluently in a live setting. A further highlight of the new material was the dreamy 'Tropic Moon', while the uplifting vocal harmonies of 'I’m Your Man' seemed to evoke a sense of euphoria among the crowd. <br />
<br />
Rouse offset the new material with a satisfyingly varied mix of classic tracks from the first half of his catalogue; my favourite song of the night was a full band version of 'Under Cold Blue Stars' – a song that has proved somewhat of a rarity during previous tours, but slotted in perfectly amongst the 80s theme of the new material. Other standout tracks came courtesy of the <i>1972</i> and <i>Nashville</i> albums - <i>1972’s</i> title track in particular, sounded as timeless and sublime as ever, while Rouse later embarked on an encore that featured a solo acoustic version of 'Sad Eyes', that, midway through, progressed into a dynamic anthem when his three fellow band members re-joined him on stage. The equally addictive 'Love Vibration', the final chorus of which prompted a rapturous call-and-response exchange between Rouse and the crowd, drew the set to a joyous close.<br />
<br />
<a name='more'></a><br />
<div style="text-align: center;">
<b>Setlist</b></div>
<div style="text-align: center;">
It Looks Like Love</div>
<div style="text-align: center;">
Ordinary People, Ordinary Lives</div>
<div style="text-align: center;">
Comeback (Light Therapy)</div>
<div style="text-align: center;">
I'm Your Man </div>
<div style="text-align: center;">
Salton Sea</div>
<div style="text-align: center;">
Winter in the Hamptons</div>
<div style="text-align: center;">
My Love Has Gone </div>
<div style="text-align: center;">
Love in the Modern Age</div>
<div style="text-align: center;">
Businessman</div>
<div style="text-align: center;">
It’s the Nighttime </div>
<div style="text-align: center;">
1972</div>
<div style="text-align: center;">
Under Cold Blue Stars</div>
<div style="text-align: center;">
Dressed Up Like Nebraska </div>
<div style="text-align: center;">
Tropic Moon</div>
<div style="text-align: center;">
Directions</div>
<div style="text-align: center;">
Women and the Wind </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Sad Eyes</div>
<div style="text-align: center;">
Love Vibration </div>
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</style><br />Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-63688657744439987542017-11-08T16:08:00.000-08:002021-04-11T06:34:25.504-07:00Steely Dan at the O2 Arena, London - 29/10/2017<div class="separator" style="clear: both; text-align: center;">
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--></style>“We are a little different from what we were a few months ago. But I’ve got to live with that,” Donald Fagen told the audience a few songs in to Steely Dan’s first UK gig in just under a decade. This reference to the recent passing of the band’s co-founder, Walter Becker, was accompanied by a poignantly placed empty mic stand that remained centre stage for the duration of the 90-minute Bluesfest headline set at London’s O2 arena. <br />
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Despite an understated onstage entrance, perhaps made more evident following The Doobie Brothers’ electric opening set, “The Steely Dan Organisation” – a term Fagen used in acknowledgement to his 12-piece band – kicked off the performance with the rousingly upbeat ‘Bodhisattva’. The irresistible funk groove of ‘Black Cow’ was an early highlight, while ‘Hey Nineteen’, the intro of which is so instantly recognisable, set the crowd momentum soaring. It would have been difficult to top this opening trio of songs, had it not been for Fagen then proceeding to surprise the crowd with ‘New Frontier’ – a track from his 1882 solo album, <i>The Nightfly</i>. Arguably a bold decision so soon in the set, albeit one that pleased long-time fans. <br />
<br />
For a band that became renowned for their well-crafted and precise studio work, the entire set, which mostly comprised songs from <i>Aja</i> and <i>Gaucho</i>, translated fantastically in a live setting – an especially impressive feat in this instance, given the size of the venue. The skilled complexity of the onstage musicianship was most evident during <i>Aja’s</i> jazz-infused title track, in which a flowing tenor sax solo by Walt Weiskopf effortlessly intertwined with Keith Carlock’s extended drum breaks to perfectly offset against a more spacious keys section. <i>Aja’s</i> other highlight of the evening came by way of ‘Peg’, in which Fagen’s vocal – always confident in delivery, if at times gritty in tone – showed no sign of becoming lost among the bright four-piece horn section. The song was further elevated by Jon Herington’s incredible guitar solo. <br />
<br />
Although the set leaned heavily on Steely Dan’s later work, glimpses of the early catalogue shone through to add some diversity to a performance that had potential to be a lot more varied had the band not been restricted to a 90-minute slot imposed by the venue’s 10:30pm curfew, a restriction that didn’t go unmentioned by Fagen – "We'd play a bit longer if we got permission from the substitute teacher". Key moments from the early albums included a soulful rendition of <i>Can’t Buy a Thrill’s</i> ‘Dirty Work’, in which lead vocals were provided by backing trio The Danettes, while later in the set, the band returned to the upbeat funk for ‘Kid Charlemagne’, from 1976’s <i>The Royal Scam</i>, complete with another of Herington’s remarkable guitar solos. <br />
<br />
Upon reflection of the gig – my first experience seeing the band live – I could not have been more delighted with the setlist. As a <i>Gaucho</i> fan, I was particularly thrilled that this album was so generously represented; the sublime shuffle of ‘Babylon Sisters’ followed by the rhythmically tight ‘Time Out of Mind’, brought an overriding sense of euphoria that lingered right through to the climactic encore of ‘Reelin’ in the Years’.<br />
<br />
<a name='more'></a><br />
<div style="text-align: center;">
<b>Setlist</b></div>
<div style="text-align: center;">
Bodhisattva</div>
<div style="text-align: center;">
Black Cow</div>
<div style="text-align: center;">
Hey Nineteen</div>
<div style="text-align: center;">
New Frontier</div>
<div style="text-align: center;">
Aja</div>
<div style="text-align: center;">
Black Friday</div>
<div style="text-align: center;">
Babylon Sisters</div>
<div style="text-align: center;">
Time Out of Mind</div>
<div style="text-align: center;">
Dirty Work</div>
<div style="text-align: center;">
Peg</div>
<div style="text-align: center;">
I Want To (Do Everything For You)</div>
<div style="text-align: center;">
Josie</div>
<div style="text-align: center;">
My Old School</div>
<div style="text-align: center;">
Kid Charlemagne</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Reelin’ in the Years</div>
<div style="text-align: center;">
The Untouchables<span style="font-family: "calibri"; font-size: 12.0pt;"><br style="mso-special-character: line-break;" />
</span>
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-47115772013952373712017-05-30T17:14:00.000-07:002021-04-11T06:29:07.081-07:00John Mayer at the O2 Arena, London - 11/05/2017<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJY-AVTQ1a21927EqXGOrntbnfECrLPxmKUw9mxa350FXcWAwn0P5FvKR2CtcC36QyttUhxmNHaaOwUf_N416L8ZL3u3KabxOII12AapyP8UByCXIn72iWzjmM6fmVAYz078iMsAU3D9g/s1600/IMG_20170511_214810+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1477" data-original-width="1600" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJY-AVTQ1a21927EqXGOrntbnfECrLPxmKUw9mxa350FXcWAwn0P5FvKR2CtcC36QyttUhxmNHaaOwUf_N416L8ZL3u3KabxOII12AapyP8UByCXIn72iWzjmM6fmVAYz078iMsAU3D9g/s320/IMG_20170511_214810+%25281%2529.jpg" width="320" /></a></div>
<br />
John Mayer’s recent two-night consecutive run at the O2 Arena marked a long-awaited return for the musician, who last performed at this same venue three years ago. Mayer’s current tour is in support of latest album <i>The Search for Everything</i> – a project that was released in two gradual ‘waves’ as four-track EPs, followed by the arrival of the complete album last month. With a keener emphasis on pop and soul, the twelve tracks that comprise <i>The Search for Everything</i> indicate an evident shift from the folk/country sound that has dominated previous releases, <i>Paradise Valley</i> and <i>Born and Raised</i>, though the country influence still lingers in places.<br />
<br />
<i>The Search for Everything</i> tour is structured in a chapter format, accompanied by scenic onscreen visuals and stage lighting which provided a cinematic quality that was unlike any past Mayer gig I had attended. After opening the first of the O2 gigs with a solid rendition of ‘Heartbreak Warfare’ from 2010’s <i>Battle Studies</i>, Mayer and his band launched straight into the new material, kicking up a steady funk groove on ‘Moving On and Getting Over’ and ‘Rosie’ that rivalled the lighter, R&B tones of the album versions. Drawing this first chapter of the gig to a climactic close was an acoustic version of ‘Blues Run the Game’ that evolved into a dynamic, full band-led ‘Queen of California’.<br />
<br />
Mayer opened Chapter two’s acoustic set with the heartfelt ‘Emoji of a Wave’ — one of my personal favourites from the current album and a definite highlight of the gig. While Mayer’s vocals were in top shape throughout the concert, his range showed most strength and consistency in this segment, accompanied by minimal instrumentation. The fine acoustics of the O2, probably the best I have experienced at this venue, further complemented Mayer’s soulful voice.<br />
<br />
The standout tracks of the evening came by way of the John Mayer Trio set that formed Chapter three. Having never previously seen the Trio perform, it was an absolute treat hearing 'Vultures' and 'Who Did You Think I Was' played by this bluesy line-up; the musicianship and on-stage chemistry between Pino Palladino, Steve Jordan and Mayer was electric. On a side note, the documentary chronicling the Trio’s return that played prior to the band’s set, proved the perfect build, prompting further excitement throughout the crowd, while the onscreen visuals accompanying the actual performance were among the most inspired of the entire concert. With only three songs included in this chapter, and given the Trio’s eclectic repertoire, my only gripe was that the set wasn’t longer.<br />
<br />
The full band returned on stage for the final chapter with ‘Helpless’, the track on <i>The Search for Everything</i> that, along with the aforementioned ‘Rosie’, bears most likeness to the <i>Heavier Things </i>era of Mayer’s earlier catalogue. The energetic, rock-driven song transpired fantastically in the O2, and succeeded in maintaining the momentum gained from the Trio’s epic performance. However, of the current material, 'In the Blood' had the strongest emotional impact; the song’s powerful lyrics and moody arrangement conveyed a deep sense of poignancy that was well received by the crowd.<br />
<br />
The talent of Mayer’s band was apparent throughout, though key moments included Isaiah Sharkey’s extended guitar solo on ‘If I Ever Get Around To Living’ and David Ryan Harris’ vocally impressive interpretation of Prince’s ‘The Beautiful Ones’, which effortlessly transitioned into ‘Slow Dancing in a Burning Room’. ‘Gravity’ — the third, and strongest track of the evening to appear from 2006’s <i>Continuum</i>, was a natural choice to begin the encore, after which Mayer made a final, solo return to the stage for self-accompanied piano ballad ‘You’re Gonna Live Forever in Me’.<br />
<br />
At one point before the encore, Mayer took a moment to thank the enthused crowd. Upon doing so, he humbly reflected on the more intimately sized audiences of past UK tours, in which he "played for all the American kids" — a nostalgic reference to the fact that, until more recent years, Mayer has experienced the majority of his success in the US, while maintaining a somewhat modest fan base in the UK. As he progressed into ‘Why Georgia’, I glanced round the packed venue and reminisced on my own memories of attending those intimate shows in the early stages of my fourteen years as a JM fan. Though I miss the atmosphere of the smaller venues, it is great to see Mayer receiving the recognition he deserves and filling arenas like the O2 - a feat that truly reflects his ever-growing fan base here in the UK.<br />
<br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
</div>
<a name='more'></a><br />
<b>Setlist</b><br />
<br />
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<i>Full Band</i></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
Heartbreak Warfare </div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
Moving On and Getting Over </div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
Rosie <br />
Who Says </div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
Blues Run the Game > Queen of California <br />
<br />
<i>Acoustic</i><br />
Emoji of a Wave </div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
In Your Atmosphere <br />
Daughters<br />
Free Fallin' <br />
<br />
<i>John Mayer Trio</i></div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
Bright Lights, Big City<br />
Vultures </div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
Who Did You Think I Was<br />
<br />
<i>Full Band</i><br />
Helpless </div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
In the Blood <br />
The Beautiful Ones > Slow Dancing in a Burning Room </div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
If I Ever Get Around To Living </div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
Why Georgia <br />
<br />
<i>Encore</i><br />
Gravity </div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
You're Gonna Live Forever in Me</div>
<div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<br /></div>
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-75759918718887467532016-09-25T12:00:00.010-07:002021-03-07T10:05:18.850-08:00Is the Concept of "Selling Out" Relevant to Music in the Digital Age?<div class="separator" style="clear: both; text-align: center;">
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I am currently enrolled on Berklee College of Music’s <span style="color: #351c75;"><a href="https://online.berklee.edu/" target="_blank"><span style="color: #351c75;"><span style="color: #351c75;"><span style="color: #351c75;"><span style="color: #351c75;"><span style="color: #351c75;"><span style="color: #351c75;"><span style="color: #351c75;">Online</span></span></span></span></span></span></span></a></span> Music Supervision Professional Certificate. This multi-course programme specialises in all the key areas of music supervision – a field which involves the synchronisation of music with visual media, notably TV, film, advertising and video games. Of the five courses that comprise the <span style="color: #351c75;"><a href="https://online.berklee.edu/certificates/music-supervision-professional" target="_blank"><span style="color: #351c75;"><span style="color: #351c75;"><span style="color: #351c75;"><span style="color: #351c75;"><span style="color: #351c75;"><span style="color: #351c75;"><span style="color: #351c75;">certificate</span></span></span></span></span></span></span></a></span>, I have so far completed Music Publishing 101, Copyright Law, Music Licensing and Music Production Analysis, and I am just about to begin Music Supervision – the final and most vital module in this particular certificate. <br />
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As an aspiring music supervisor, I am fascinated by the avenues to which music is placed in TV and film, processes that are extensively covered in the Music Licensing module. A theme that was discussed in this course, is the one surrounding the concept of “selling out”, and whether such a notion is relevant in today’s digital-focused music industry. The course cites the unprecedented licensing of Moby’s 1999 album, <i>Play</i> – in which Moby turned to TV, film and advert placement opportunities when conventional promotional methods did not succeed in expanding his fan base – as a prime example of the shift towards a more creative and inventive approach to licensing. <i>Play</i> became the first album to have every track licensed, and in turn challenged conventional artistic standards in relation to licensing music commercially. <br />
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If I were an artist, I would embrace opportunities to have my music placed in TV shows, films or adverts. The music industry’s digital shift saw the physical CD lose its relevance as the main generator of income for artists, and as a result, the ways in which music is distributed have changed drastically. In today’s digital climate — in which most music fans/consumers are discovering new music through the internet, whether it be through streaming services or social media — placements are a much sought after opportunity for today’s upcoming indie artists, many of which are building their musical presence by way of a DIY approach through digital means. In this respect, the hype that can be generated through the use of a song in an advert, or popular TV show/film is especially invaluable for these types of artists. <br />
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On this basis, I believe the concept of “selling out” is, for the most part, no longer relevant, especially for these lesser known indie bands, for which every advert, TV show, or film placement, not only benefits the artist financially, but is essentially another opportunity for their music to be discovered by a wider audience. Furthermore, advancements in technology, including music recognition apps such as Shazam, have provided music fans with an efficient method for identifying songs they hear through placements. I can’t count the number of times I’ve been enthused over a particular song on a TV show or movie, and after identifying the song and band, have then subsequently gone on to become fans of the artist as a result of exploring their back catalogue and attending their live shows. From a fan perspective, there is something particularly satisfying about being turned on to artists via a TV show or movie — artists of which I may have never discovered had it not been for such kinds of placements. <br />
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For mainstream artists, the concept of “selling out” might prove a more difficult notion to escape from, on the reasoning that the success of these artists surely places them in a position for which they can be selective over the uses of their music. However, the status of these more established artists also places them in a position of leverage when negotiating licence fees, which in turn, most likely secures them a more lucrative deal. One could therefore argue that this is not “selling out”; rather, it is an alternative method of generating income in an industry where constantly evolving technologies, along with the decreasing relevance of the physical CD, has led to significant profit loss for artists as a result of illegal downloading and streaming sites — the latter of which does not provide much in the way of compensation for rights owners. This coupled with the fact that consumers now have the convenience of being able to download individual songs, without the need to purchase an entire album, has ultimately left the music industry with a lot to adapt to. In light of these notable changes that have occurred as a result of the digital age, I feel that placements are more valuable than ever, and that the notion of “selling out” is rapidly losing relevance within the music industry.<br />
<br />Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-43843975882712018772016-04-30T14:22:00.000-07:002021-04-11T06:29:07.081-07:00Bryan Ferry at the London Palladium - 20/04/2016<div class="separator" style="clear: both; text-align: center;">
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Bryan Ferry returned to London last week for the first of two nights at the Palladium. The gig was an especially anticipated event in light of 2015’s postponed Royal Albert Hall show, in which a throat infection caused Ferry to cancel the performance just moments before he was due on stage. However, the inevitable disappointment that was experienced by fans as a result of the abrupt cancellation was outweighed by concern, especially following news that the remaining leg of UK tour dates had also been cancelled. Fans were therefore both relieved and thrilled following the announcement that the Albert Hall show would be rescheduled by way of two dates at the equally iconic setting that is the London Palladium.<br />
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Ferry opened the set with the intensely atmospheric title track from current album <i>Avonmore</i>. This was surprisingly the only song — albeit one of the strongest — from the 2014 record to appear in the set, despite the current tour being in support of this latest release. The overall absence of Ferry’s recent solo material, however, was evident, particularly in the first half of the performance — which I found to be somewhat lacking, and could have benefited from <i>Avonmore’s</i> lead single ‘Loop De Li’, or the much loved ‘Reason or Rhyme’ from 2010’s <i>Olympia</i>. As it is, <i>Olympia</i> was completely absent, and much missed, from the set. That being said, Ferry did touch on the early Roxy Music catalogue, treating the crowd to classics such as <i>For Your Pleasure’s</i> ‘Beauty Queen’, while later in the gig delivering a greatly received rendition of ‘Virginia Plain’ from Roxy Music’s self-titled debut.<br />
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The second half of the set had a greater sense of fluency in terms of track selection, while Ferry’s vocals showed increasing strength and clarity as the night progressed, though were also further enhanced by backing vocalists Fonzi Thornton and Bobbie Gordon. A beautifully extended version of ‘Tara’ not only highlighted the fantastic musicianship of saxophone and keys player Jorja Chalmers, but also marked the first of a generous six tracks from 1982’s <i>Avalon</i>. With <i>Avalon</i> being my favourite Roxy Music album, I am probably biased in concluding that these songs were among the most enjoyable of the performance, however, the rarely-played ‘While My Heart is Still Beating’ and ‘The Space Between’, in addition to a full-band version of ‘More Than This’, were defining moments in the set, with the latter bringing the seated audience to their feet in appreciation. <br />
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Ferry and his band were on top form throughout the performance, and the acoustics in the Palladium could not be faulted, however, many of the songs were considerably shortened. While this technique allows for the inclusion of more songs, in this instance, it resulted in parts of the set feeling rushed and the lingering sense that many tracks were over before they had really begun. The reduction in song length is even more apparent when compared to Ferry’s last tour in support of 2012’s <i>The Jazz Age</i> — which featured a set that superbly transitioned from an orchestral-led performance to Ferry’s regular tour band, all the while allowing Ferry’s band to fully showcase the extent of their musicianship by way of spacious intros and guitar solos. <br />
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However, in respect of an extensive catalogue spanning both solo material and his career as part of Roxy Music, Ferry always succeeds in compiling varied setlists that include a healthy balance of both crowd-pleasing hits and rarities. While there was an obvious lack in recent solo material throughout this performance, the crowd were treated to unexpected songs from Ferry’s earlier solo work, such as <i>Mamouna’s</i> ‘The 39 Steps’ and the title track from <i>Bête Noire</i>. Furthermore, it was a joy to hear so much early Roxy Music material in one set, most memorably a rousing rendition of ‘Do the Strand’, that was perfectly placed among the gig’s finale of fan favourites like ‘Love is the Drug’ and ‘Let’s Stick Together’. The excitement proved too much for one fan who invaded the stage during these final moments. An unfazed Ferry carried on as if nothing happened, before effortlessly drawing the night to a close with ‘Jealous Guy’.<br />
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<b>Setlist</b></div>
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Avonmore</div>
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Slave to Love</div>
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Beauty Queen</div>
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Ladytron</div>
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Bob Dylan’s dream</div>
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Don’t Think Twice, It’s All Right</div>
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Oh Yeah</div>
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Smoke Gets in Your Eyes</div>
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Bête Noire</div>
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Zamba</div>
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Stronger Through the Years</div>
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Tara</div>
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Take a Chance with Me</div>
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While My Heart Is Still Beating</div>
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The Space Between</div>
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The 39 Steps</div>
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If There Is Something</div>
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More Than This</div>
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Avalon</div>
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Love Is the Drug</div>
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Virginia Plain</div>
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Do The Strand</div>
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Let’s Stick Together</div>
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Jealous Guy </div>
<br />Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-53120152250533259492016-02-07T14:51:00.002-08:002021-04-11T07:22:59.257-07:00The Midnight Rambler - 'Tales From The Nightshift'<div class="separator" style="clear: both; text-align: center;">
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Reading-based band The Midnight Rambler, fronted by lead vocalist and guitarist Mike Lemin, offer up an eclectic mix of heavy blues and alternative rock on debut release <i>Tales From The Nightshift</i>. Though the album is wholly consistent in its delivery of infectious melodies and inspired lyrics, standout tracks come by way of the punchy, riff-driven ‘Shockwave', while ‘Nightswimming’ has all the key elements that contribute to a memorable album opener, with furiously fast-paced hooks and dynamic vocals that soar over an addictive chorus.<br />
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On the equally noteworthy 'Parallel', lyrics like “Somewhere / There’s another version of me / Living / The life I was meant to lead” are structured perfectly in a pre-chorus that fully succeeds in transforming the delicate, ballad-like simplicity of the keys-led verse, into a mid-tempo chorus that is complemented by a satisfyingly richer instrumentation. The song’s fine production and arrangement techniques, however, are qualities that are evident throughout the record. While the tracks mentioned here offer a strong overall representation of The Midnight Rambler’s impressively varied genre mix, the album in its entirety is a solid listen.<br />
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<br />Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-29858395166254742752015-06-21T15:39:00.000-07:002021-04-11T06:34:25.503-07:00Brandon Flowers at Brixton Academy, London - 21/05/2015<div class="separator" style="clear: both; text-align: center;">
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In terms of venues, I have been spoilt by my last two live music events, both of which have taken place in intimate settings with strong acoustics, adding to my overall enjoyment of the gig-going experience. Although Brixton Academy boasts an impressive interior and thriving atmosphere, it is, at times, notable for its muddy sound, an attribute that was present, but didn't detract from the dynamic horns of Brandon Flowers' set opener, 'Dreams Come True' - the first track from latest release, <i>The Desired Effect</i>. Within moments however, any less than clear acoustics seemed to either subside or go unnoticed, as lead single 'Can't Deny My Love' gained full crowd investment and set the standard for a gig that fully embraced Flowers' solo work, while also touching upon a few Killers classics. <br />
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The release of <i>The Desired Effect</i> makes for a refreshing addition to Flowers' repertoire, and the eclectic feel of the 80's inspired songs were further enhanced in a live setting due to an impressive eight-piece band. Along with the set's opening two tracks, other key moments from the current album included the gospel / synth infused 'I Can Change' and 'Between Me and You', in which Flowers was joined on stage by Chrissie Hynde, with the pair also duetting on The Pretenders' 'Don't Get Me Wrong'.<br />
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Flowers' last tour - in support of 2010 debut <i>Flamingo</i> - seemed sparse at times, and with shows based entirely on the ten short but sweet tracks from that album, Flowers' turned to Killers songs and cover versions to fill sets. This time round, the set flowed more naturally, with the <i>Flamingo</i> material - 'Crossfire' and 'Only The Young' being the most memorable - generously slotted around the new songs. </div>
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Though Flowers' solo work should be viewed as a separate entity, comparisons to the Killers are inevitable, and from a crowd perspective, there was a running sense of urgent longing for his band's material throughout the gig. While re-worked versions of <i>Hot Fuss </i>classics such as a stripped-down 'Jenny Was a Friend of Mine' and the Jacques Lu Cont Remix of 'Mr. Brightside' may not have fully satisfied fans who were solely in attendance for Killers material, <i>Sam's Town</i>'s anthemic 'Read My Mind' more than compensated to became an overall set highlight. <br />
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<i>The Desired Effect</i> sets a fine balance which sees Flowers boldly evolving musically, without completely straying from the synth-led, stadium-rock that initially shaped the success of the Killers - a quality that not only suggests promise for future solo releases, but will most likely draw new fans as his career progresses, without alienating longtime Killers supporters.<br />
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<b>Setlist</b></div>
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'Dreams Come True'</div>
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'Can't Deny My Love'</div>
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'Crossfire'<br />
'Magdalena' <br />
'Hard Enough' <br />
'Jenny Was a Friend of Mine' <br />
'Lonely Town' <br />
'I Can Change' <br />
'Read My Mind' <br />
'Swallow It' <br />
'Only the Young' <br />
'Mr. Brightside'</div>
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'Don't Get Me Wrong' <br />
'Between Me and You' <br />
'Still Want You' <br />
'The Way It's Always Been'</div>
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-59447149539487287822015-05-11T15:57:00.000-07:002021-04-11T06:29:07.082-07:00Josh Rouse at Kings Place, London - 23/04/2015As part of his most recent UK tour, Josh Rouse came to London's Kings Place last month for a performance in support of latest album, <i>The Embers of Time</i>. This release comes two years after <i>The Happiness Waltz</i>, a record in which themes of growing older and family life, are effectively depicted through Rouse's atmospheric lyrics. <i>The Embers of Time</i> follows in a similar vein with songs like 'JR Worried Blues' ("I've got a stack of bills this high / I've got worries, worries on my mind") and 'Time' ("Early forties, how ya' doing / What's the deal / How am I supposed to look, how am I supposed to feel") touching upon these previously addressed themes. Rouse's music has mellowed considerably since the darker, moodier sound of 1998 debut <i>Dressed Up Like Nebraska</i>, though it is 2005's <i>Nashville</i> that is often regarded as his best work to date. While the soft, folk/pop of <i>The Embers of Time</i> will come as no real surprise to fans familiar with Rouse's last few offerings, the album's melancholy lyrics, offset against bright instrumentation, culminate to an overall well-crafted collection of songs.<br />
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Rouse got the set underway with the three strongest tracks from the new record; 'Some Days I'm Golden All Night' made for a natural set opener, with a country shuffle that conveyed warmth, even in the absence of the strings that are such a noteworthy addition to the album version. The subtly rhythmic 'Too Many Things On My Mind' followed, although of the latest material, it was 'New Young' - enhanced by the uplifting vocal harmonies and general vibrant musicianship of Rouse's four-piece band - that made the most impact. Later in the set, further highlights from the current album included the reflective 'Time', while the relaxed jazz vibes of 'You Walked Through The Door', proved reminiscent of 2006's <i>Subtitulo</i>. <br />
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It's difficult not to compare this performance with Rouse's <a href="http://www.themusicnoteuk.blogspot.co.uk/2013/05/josh-rouse-at-islington-assembly-hall.html" target="_blank"><span class="Apple-style-span" style="color: #351c75;">previous</span></a> London shows, all of which have been masterfully varied across a career spanning 11 studio albums. Though this gig was inevitably geared towards <i>The Embers of Time</i>, the complete lack of material pre-<i>1972</i> noticed. In a set that covered the latter half of Rouse's catalogue, the two tracks to come from 2010's Spanish inspired <i>El Turista</i> - 'I Will Live On Islands' and the vocally pleasing, if slightly random encore track, 'Las Vacos' - were among the most enjoyable of the evening. <i>Nashville</i> was generously represented and provided rarities like 'Why Won't You Tell Me What' and 'Carolina', alongside setlist regulars 'It's The Nighttime' and 'Winter In The Hamptons', although the long-time fan in me yearned for the likes of 'Streetlights' and 'Sad Eyes' (as did the crowd, who repeatedly shouted requests for both tracks). The audience were, however, treated to <i>1972</i>'s 'Love Vibration', along with the instantly recognisable groove-led bass of 'Comeback (Light Therapy)', though a solo acoustic rendition of the album's title track could have benefited from fuller instrumentation - most notably keys - in order to capture the subliminal tone that is present on the studio version. <br />
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From our third row seats, the acoustics at Kings Place - a stylishly modern arts centre - were superb throughout, probably the best of any music venue I have experienced. Rouse's signature smooth vocals effortlessly eased across all the albums touched upon, from the authentic Spanish sounds of <i>El Turista</i>, to the country/folk of the current release. While <i>The Embers of Times</i> makes a solid addition to Rouse's discography, with this year marking the ten year anniversary of the much-loved <i>Nashville</i>, I am holding out hope for a potential one-off celebratory tour in support of this album, with perhaps a wider focus on both the classics and rarities from his earlier work.<br />
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-41211607490917847072015-03-30T15:58:00.001-07:002021-04-11T06:29:07.081-07:00Guster at Bush Hall, London - 04/03/2015Following the release of latest album <i>Evermotion</i>, Guster returned to London earlier this month for a one-off, intimate gig at Bush Hall. Although the album arrived in the UK only a few days prior to the gig, initial online previews had already indicated a strong transition from 2010's <i>Easy Wonderful</i>, with this latest effort driven towards a more spacious and atmospheric sound - a clear departure from its predecessor. This long-awaited performance marked the band's first London show in nearly a decade, a fact that was no doubt reflected by the anticipation of the thriving crowd, in both the lead-up and all throughout the 90-minute set. <br />
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The band opened the show with a haunting rendition of 'Ruby Falls', in which the heightened dynamics of the extended outro was enough to rival the studio version that appears on 2006's <i>Ganging Up On The Sun</i>. Acoustic fan favourite 'Do You Love Me' followed, though it was the defining synths and powerful vocals of 'Endlessly' that, as the first of the night's tracks to come from <i>Evermotion</i>, proved an early highlight and ultimately set the momentum for the proceeding songs. Other standout tracks from the new record included 'Long Night', and 'Kid Dreams', the latter of which translated fantastically in a live setting, but was perhaps most noteworthy due to the irresistible fusion of keys and bass. Though the band effortlessly switched instruments throughout the 20-track set, it was the bass that my ear was tuned to throughout, and along with Ryan Miller's impressive lead vocal, I found this aspect of the instrumentation to be most key to my overall enjoyment of the performance. <br />
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Although the set naturally centred around <i>Evermotion</i>, the band's previous three albums shaped the remainder of the gig, with material being equally drawn from <i>Easy Wonderful</i> and <i>Ganging Up On The Sun</i>. Their 2003 release, <i>Keep It Together</i>, was also touched upon, as the crowd were treated to the album's title track, along with 'Diane' and an unexpected final encore of 'Jesus On The Radio' - all of which made welcome additions to an already brilliant song line-up. While the absence of material from their first three studio albums was perhaps a bold move, the setlist was satisfyingly varied enough to appeal to both the long-time and casual fan. The much-loved 'Satellite' received a particularly rapturous response, adding further weight as to why the latter half of Guster's catalogue is arguably their best, however the new material truly shone in the fine acoustic settings of the ever-consistent Bush Hall, and with the tight musicianship of the band adding further substance, the night ultimately belonged to <i>Evermotion</i>.<br />
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<b>Setlist</b></div>
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-30070913082496876902015-03-01T14:34:00.000-08:002021-04-11T06:34:25.504-07:00Hidden Treasures: Ball & Chain - Bus StopBus Stop were a North Carolina-based, pop/rock band, formed in 1990 by vocalist Evan Olson and lead guitarist Britt "Snuzz" Uzzell. Completing the line-up were bassist Chuck Folds and drummer Eddie Walker, though the band is also notable for the involvement of Chuck's brother Ben, who contributed piano to a number of tracks over the course of their four LPs. I first came across Bus Stop after hearing a brief snippet of their music on a TV show. The clip was literally a ten-second instrumental intro section, but it was punchy and energetic, and I was immediately hooked. The track in question - 'What You Do' - and the album from which it appears - 2000's Japanese compilation release, <i>Ball & Chain</i> - offered me a solid introduction to the band's music. <br />
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The most endearing aspect of <i>Ball & Chain</i>, is how stylistically diverse it is. There is no one sound that dominates, with a tracklist spontaneously spanning multiple genres throughout its 23 songs. The strongest tracks appear in the album's first half; 'Arrow From My Heart' makes for a timeless, mid-tempo opener, accompanied by spacious riffs that run alongside effortless vocals, while the rock-infused, sharp hooks of the aforementioned 'What You Do', progress to an even more satisfying guitar solo. Another key moment, and an overall vocal highlight of the record, is the infectiously melodic title track, with the addition of Ben Folds on piano, further complimenting what is probably the most 'complete' sounding song on the album. On the latter half of the record, standout moments come by way of the funk-driven 'Mr. Midnight', while the breezy, euphoric instrumentation of 'Livin', Lovin' revisits the sublime tone that is captured so well on earlier parts of the album. <br />
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<i>Ball & Chain</i> was Bus Stop's final release, and as of yet, the only album of theirs that I have been able to find a physical copy of. It is hardly surprising that their music is difficult to obtain, considering that all of their material was released prior to today's digital age, in which music is so readily available. With that being said, I am eager to track down Bus Stop's other LPs, if only to see how they fare in comparison to the strength and consistency that is so evident on <i>Ball & Chain</i>.<br />
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com5tag:blogger.com,1999:blog-8023165475034153825.post-26370598723370556942014-11-12T15:03:00.001-08:002021-04-11T07:35:51.768-07:00Bryan Ferry on Later... with Jools Holland<p>Last week, Bryan Ferry appeared on Later... with Jools Holland to perform 'Loop De Li', the first track to be lifted from upcoming album <i>Avonmore</i>. Though it lacks the immediate impact of previous lead single 'You Can Dance' (from 2010's <i>Olympia</i>), 'Loop De Li' embodies the classic sound that is reminiscent of Ferry's 1994 album, <i>Mamouna</i>. Subtle beats, smooth sax and timeless vocals culminate to a track that shines further with each listen. </p><p> </p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/fCriwORA4E4" width="320" youtube-src-id="fCriwORA4E4"></iframe></div><br />Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-89283350248066859372014-08-31T15:30:00.004-07:002021-03-07T10:05:18.853-08:00Fine Acoustic Listens: Red SailsRed Sails' penchant for infectious grooves and tight harmonies are perfectly captured in these acoustic sessions, recorded earlier in the year. A re-working of 'She Had It All' demonstrates the band's strong musicianship for effortless hooks and slick instrumentation, while new song 'Warzones' sets an atmospheric tone that is enhanced by spacious keys and haunting vocal harmonies. Both videos have been beautifully shot, though the fine acoustic surroundings of Liverpool's Nordic Church lends a further warmth to the latter track.<br />
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-41792579703595135302014-06-25T15:21:00.000-07:002021-04-11T06:34:25.504-07:00John Mayer at the O2 Arena, London - 09/06/14<div>
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Eight months after his last UK tour, John Mayer returned to London a few weeks ago, for a one-off date at the O2 Arena. Much like last year's October shows, this gig once again centred around Mayer's 2012 <i>Born And Raised</i> album, along with current release, <i>Paradise Valley</i>. Upon entering the O2, I was curious as to how this gig would compare to the previous year's strong, but not overly spontaneous set - especially when considering the relatively short space of time that has passed since those last UK shows.</div>
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Mayer opened the set with 'Queen Of California', followed by the instantly recognisable grooves of 'I Don't Trust Myself (With Loving You)' - a welcome nod to the <i>Continuum</i> album, refreshingly early on in the performance. These initial songs noticeably got the crowd invested in the music, all the while setting the pace for a gig that touched upon the majority of Mayer's back catalogue, including some much-yearned for early material and rarities.<br />
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Though I haven't warmed to <i>Born And Raised</i> and <i>Paradise Valley</i> in the same way as his earlier work, in my previous Mayer <a href="http://themusicnoteuk.blogspot.co.uk/2013/10/john-mayer-at-o2-arena-london-201013.html" target="_blank"><span class="Apple-style-span" style="color: #351c75;">review</span></a>, I spoke of how some of these newer songs thrived in a live setting at the last O2 show. Much like that gig, this performance delivered some songs which, although haven't captivated me on record, came to life with the support of a live band, in the dynamic surroundings of the venue. 'Speak For Me' was the most notable example of this; Mayer's harmonic vocal intro, finely complimented by backing vocalists Carlos Ricketts Jr. and Tiffany Palme<span class="Apple-style-span" style="color: #333333; font-family: "arial" , "tahoma" , "helvetica" , "freesans" , sans-serif;"><span class="Apple-style-span" style="font-size: 14px; line-height: 20px;">r, </span></span>in addition to the increased pace and momentum of the final chorus, gave the track a much more melodic, yet bold sound in comparison to the studio version that appears on <i>Born And Raised</i>.<br />
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In a setlist that was typically standard for this tour, early favourites like 'Neon' proved a highlight for long-time fans, and added more variety to the evening. Within this solo acoustic section of the set, Mayer also teased 'Something's Missing', and as frustrating as it was that he didn't play the <i>Heavier Things</i> track in its entirety, the crowd was instead treated to another surprise rarity in the form of 'In Your Atmosphere'.<br />
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Other key moments of the night naturally came by way of the <i>Continuum</i> record. 'Waiting On The World To Change', complete with Aaron Sterling's impressive extended drum intro was particularly memorable, while a single encore track of 'Gravity', was made all the more bittersweet by Mayer's revelation earlier in the set, that this gig would be his last UK performance in support of the <i>Born And Raised / Paradise Valley</i> albums. With this in mind, I felt that Mayer once again delivered a well-rounded set, which though wasn't that generous in length, managed to span most of his previous releases - particularly <i>Continuum</i> - while still keeping a focus on the current material, and allowing for some unexpected rarities along the way. The prospect of a new Mayer album has me intrigued as to what direction his music will now progress to, following two albums that have been so similar in genre, yet have for the most part, flourished in a live setting.<br />
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All photos courtesy of Ian McAllister</span><br />
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'Queen Of California'</div>
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'I Don't Trust Myself (With Loving You)'</div>
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'Half Of My Heart'</div>
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'Paper Doll'</div>
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'Belief'</div>
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'Who Says'</div>
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'And It Stoned Me'</div>
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'Slow Dancing In A Burning Room'</div>
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'Something's Missing' Tease <br />
'In Your Atmosphere'</div>
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'XO'</div>
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'Edge Of Desire'</div>
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'Neon'</div>
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'Wildfire' </div>
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'Speak For Me'</div>
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'Born And Raised'</div>
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'Waiting On The World To Change'<br />
'Why Georgia'<br />
'Dear Marie' <br />
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'Gravity'<br />
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-87173087764845184192014-05-09T17:23:00.000-07:002021-04-11T06:34:25.505-07:00The Bedroom Hour at Paradise, London - 27/04/14<div>
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In my previous post, I raved about the infectiously unique sounds of The Bedroom Hour, and their <i>Themes </i>EP - an album which I have been listening to non-stop since I first downloaded it from <a href="https://itunes.apple.com/gb/album/themes-ep/id639762289" target="_blank"><span class="Apple-style-span" style="color: #351c75;">iTunes</span></a> at the beginning of the year. Last week, I was fortunate enough to attend the band's gig at Paradise - a charming and characteristic venue in Kensal Green. On arrival, I was taken aback by the luxe decor, spacious rooms, and overall thriving atmosphere of the place. This aside, I was primarily there for the live music, and The Bedroom Hour certainly did not disappoint, delivering an eclectic set that featured both material from <i>Themes</i> and new tracks from their upcoming album.<br />
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The band took to the stage at around 8:00pm for a thirty-minute slot, which though brief in length, was more than compensated by the sheer energy and tight musicianship that was evident throughout the impressive seven-track set. Both songs played from <i>Themes</i> - 'Heart Will Haunt' and 'Shadow Boxer' - translated fantastically in a live setting, with heightened dynamics that sounded just as thrilling onstage as on record. Just as awe-inspiring were Stu Drummond's powerful vocals, which remained on top form throughout the performance.<br />
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Key moments of the night centred around the new songs - most notably 'Sea Without Water', in which epically spacious synths rode high alongside poignant lyrics, while the bass-driven, steady beats of 'I See Suns', kept the set's momentum strong. Another highlight was the melodically enchanting 'Nocturnal', which proved a fine choice for a set -closer, even if it did leave the crowd yearning for more.<br />
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Upon reflection of the gig, it is apparent that The Bedroom Hour are a band whose bold instrumentation and dynamic vocals are suited to venues such as Paradise. However, they could just as easily be envisioned in arenas and stadiums, such is the anthemic sound their music holds. Though I enjoyed hearing the much-loved <i>Themes</i> material live, it was the new tracks that ultimately shaped the set, and left me eager for the release of their upcoming debut studio album - available now for pre-order through <a href="http://www.pledgemusic.com/projects/tbhp1" target="_blank"><span class="Apple-style-span" style="color: #351c75;">PledgeMusic.com</span></a>.<br />
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<b>Setlist</b></div>
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'A Map Made From My Bones' </div>
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'Sea Without Water'</div>
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'Ghost Of A Smile'</div>
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'Heart Will Haunt'</div>
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'I See Suns'</div>
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'Shadow Boxer'</div>
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'Nocturnal'</div>
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-89418547235124797452014-03-27T16:47:00.000-07:002021-04-11T06:34:25.505-07:00The Bedroom HourThe Bedroom Hour are a band I initially discovered through recommendation from fellow bloggers, in addition to the general enthusiasm and excitement that surrounds their music on Twitter and the various other social media platforms. Upon hearing their songs 'Nocturnal' and 'Heart Will Haunt', I was instantly drawn to the impressive vocal range demonstrated by frontman Stuart Drummond, along with the lush synths, dominant bass and other instrumentation that contribute to the overall solid production of their music. To say that both tracks left me eager to find out more about this West London based five-piece, and to hear further material, is a major understatement.<br />
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The Bedroom Hour's music is unique in that it is anthemic, yet structurally spacious, a quality that was evident in last year's <i>Themes</i> EP. Though all six tracks are consistently strong, upon the first few listens of the EP, 'Midnight Game' stood out as an early favourite. Lyrics like "The dark will not destroy your heart / There is enough light and love when you're with me" are particularly captivating, and further enhance the moody and atmospheric tone that is running throughout the song. Another key track is the dynamic 'X Marks The Spot', in which romantically inspired lines of "I will discover you from head to toe / There's not one inch of you I don't want to know" are followed by a beautifully intense guitar solo, that is backed by dreamy vocal harmonies.<br />
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<i>Themes</i> is a fine representation of a band that successfully fuse passionate and thought-provoking lyrics with haunting melodies, sharp hooks and energetic beats, amounting to an EP that is an endearingly authentic listen from start to finish.<br />
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<br />Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-65632533842835627842014-01-12T17:03:00.016-08:002021-04-11T08:59:52.528-07:00Great Songs of 2013<p>I've been meaning to compile one of these lists for a while now. A selection of songs that were my personal favourites throughout 2013, all of which feature regularly on my day to day playlists, yet still sound as fresh and innovative as the moment I first heard them. In the near two years that I have been writing this blog, I have been fortunate enough to have discovered some fantastic music from both emerging and established bands, many of which are unsigned or on independent labels. The list below features a selection of these tracks, along with key songs from more mainstream and universally recognised bands - all in all, a delightfully random mix of good songs.<br />
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<b>'Ain't Messin 'Round' - Gary Clark Jr.</b><br />
On 'Ain't Messin 'Round', bright horns and momentous grooves offset perfectly against Gary Clark Jr.'s soulfully raw vocals. A furiously addictive guitar solo provides further edge to the whole structural arrangement. The track may well be the most 'complete' sounding song among Clark's <i>Blak And Blu</i>, a record that delivers a fine array of fierce blues / rock, fused with contemporary R&B.<br />
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<b> </b></p><p><b> 'A Lot Like Magic' - Josh Rouse</b><br />
Another horn-centred track, albeit one of an entirely different genre, 'A Lot Like Magic' and the album from which it is lifted from - <i>The Happiness Waltz</i> - marks a return to the sounds of Josh Rouse's earlier albums, most notably <i>1972</i> and <i>Nashville</i> - arguably his best releases to date. While <i>The Happiness Waltz</i> doesn't quite match the musical greatness of these previous releases, it is a warm and uplifting record, full of the infectious melodies and atmospheric lyrics that Rouse is renowned for. 'A Lot Like Magic' is the standout track, and upon listening, begs the question of how a musician like Rouse hasn't experienced more commercial success throughout his career.<br />
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<b>'Kemosabe' and 'Duet' - Everything Everything</b><br />
Everything Everything's 2010 debut <i>Man Alive</i>, was a flurry of crazy hooks, off-beat tempos, quirky lyrics and falsetto vocals. Their follow-up, <i>Arc, </i>remains true to the elements that made the first album so refreshingly unique, while also demonstrating a musical progression that is reflected in the tracklist. <i>Arc</i> shows more consistency than <i>Man Alive</i>, with tracks that hold more substance and depth. 'Kemosabe' is the finest example of this, though 'Duet' is wonderfully melodic - a quality that was perhaps lacking on their debut.</p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/A9r2ul5hv4Q" width="320" youtube-src-id="A9r2ul5hv4Q"></iframe></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"> <div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/SoNHw9BiBTM" width="320" youtube-src-id="SoNHw9BiBTM"></iframe> </div></div><p><br /></p><p></p><p></p><p></p><p></p><p><b>'Paper Doll' - John Mayer</b><br />
I haven't been captured by John Mayer's last two albums, <i>Born And Raised </i>and<i> Paradise Valley,</i> in the same way as previous releases. Though there are elements of blues in places, both records are evidently dominated by a country and folk genre, resulting in material that has a quiet, and at times, subdued feel - an obvious contrast to the rich, solid sounds of 2006's <i>Continuum</i>. While I prefer Mayer's earlier work, his latest releases do have clear moments of strength, most notably on <i>Paradise Valley's </i>'Paper Doll'. The track is perhaps, ironically, the first single of his that I have loved since any of the material released throughout the <i>Continuum </i>era. Delicate guitars and rich vocals amount to a song that is equally uplifting as it is melancholy.<br />
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<b>'Right Action' - Franz Ferdinand</b><br />
Four years after their last studio album <i>Tonight</i> was released to mixed reviews, Franz Ferdinand made an eagerly awaited return in 2013 with <i>Right Thoughts, Right Words, Right Action</i>. Lead single 'Right Action', features the signature anthemic sounds of sharp hooks and tight rhythms that made their first two records so irresistible. The rest of the album largely follows in the same vein, proving a much welcome return to form for the band. <br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/RqTsUtQLRFk" width="320" youtube-src-id="RqTsUtQLRFk"></iframe></div> <p></p><p></p><p></p><p></p><p></p><p></p><p></p><p><br />
<b>'Alaska' - The Silver Seas</b><br />
Upon its release, The Silver Seas described third studio album <i>Alaska </i>as being their "country record". The album definitely marks a departure from the immediate pop catchiness of debut <i>High Society </i>and follow-up <i>Chateau Revenge</i>. Unlike these previous releases, <i>Alaska </i>is a collection of songs that while initially, may not be instantly addictive, grow to reveal more depth on each further listen. The title track is by far the highlight of the album, with atmospheric lyrics that set the mood for the songs that follow. The album is made all the more timeless by Daniel Tashian's crisp vocals, which remain powerful and consistent throughout.</p><p></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Sle538DuIls" width="320" youtube-src-id="Sle538DuIls"></iframe></div><br /><p><br />
<b>'Looking Out To Sea' - Red Sails</b><br />
'Looking Out To Sea' by Red Sails was easily my favourite song of 2013. The track's superb production is apparent from first listen, with sublime instrumentation of smooth guitars, tinkering keys and crashing drums, riding effortlessly alongside lush vocals and backing harmonies. The overall result is a gloriously melodic song that is littered with interesting and unpredictable hooks from start to finish. I'm very much looking forward to hearing more music from this brilliant band in the near future.<br />
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<br /></p>Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-31052280427923956922013-11-23T19:28:00.004-08:002021-05-10T10:14:39.530-07:00Bryan Ferry at the Royal Albert Hall, London - 04/11/13<div class="separator" style="clear: both; text-align: center;">
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As part of his most recent UK tour, Bryan Ferry returned to London a fortnight ago, for a unique 'Evening With' performance at the Royal Albert Hall. The concert comes almost a year after the release of <i>The Jazz Age</i>, a record that offers a unique approach to both Roxy Music's catalogue and Ferry's solo work, with a collection of songs recorded instrumentally by the Bryan Ferry Orchestra. The album is an intriguing listen in that it features such an eclectic track listing, from the classics ('Love Is The Drug', 'Slave To Love') to the arguably not so predictable ('Just Like You', 'The Only Face'), all the while remaining authentic to the inspiration that is the basis for the album - the jazz sounds of the 1920's, which not only defined the era, but has proved a major influence on music in years since.<br />
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The Bryan Ferry Orchestra opened the two-hour set with 'Do The Strand', which effortlessly progressed into a further selection of instrumental tracks from <i>The Jazz Age</i>. Ferry then joined the musicians for a slick, fast-paced rendition of 'The Way You Look Tonight', which, along with 'Avalon' were early favourites in this initial part of the set. Though the orchestra sounded fantastic in the intimate surroundings of the Royal Albert Hall, it was the appearance of Ferry's tour band who kicked in midway through 'Reason Or Rhyme', that added a heightened intensity and excitement to the music. The addition of the band and the timing in which they entered into the song, was a key moment of the evening, and an enticing indication of what was to come.<br />
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Backed by both bands, Ferry then eased into the rhythmically smooth 'Don't Stop The Dance' and 'Oh Yeah', two tracks which have become setlist regulars in past tours for good reason. This gig was no exception, as both songs saw the crowd take to their feet, appreciatively clapping in time to the music. 'A Song For Europe', complete with a poignant, but beautifully extended piano intro was another key moment of the evening. The set was heavily dominated by covers, with Ferry performing four Bob Dylan tracks, two of which feature on 2007's <i>Dylanesque </i>album, though 'Don’t Think Twice, It’s All Right' was by far, the most memorable of this selection.<br />
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The latter half of the gig felt more consistent, with a steady flow of fan-favourites keeping momentum high in the venue. 'Jealous Guy', 'Love Is The Drug' and 'Street Life' were the most notable crowd-pleasers of the night, but my personal highlight was 'Take A Chance With Me', a rarity from 1982's <i>Avalon</i>. Perhaps the only less than stellar track was a stripped-down rendition of 'Casanova', which lacked the impact of the studio version that appears on <i>Country Life</i>.<br />
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Overall, Ferry delivered a generous setlist that was finely structured to include just the right balance of material from <i>The Jazz Age</i>. Though the orchestra were a welcome addition, the duration of the gig was quite rightly owned by Ferry and his outstanding tour band (guitarist Oliver Thompson, especially), who, as in previous tours, demonstrated great musicianship throughout.<br />
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<b>Setlist</b></div>
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'Do The Strand'<br />
'Slave To Love'<br />
'The Bogus Man'<br />
'Avalon'<br />
'Just Like You'<br />
'Young And Beautiful' <br />
'The Way You Look Tonight'<br />
'The Only Face'<br />
'Reason Or Rhyme' <br />
'Same Old Blues' <br />
'Just Like Tom Thumb’s Blues'<br />
'Don’t Stop The Dance'<br />
'Oh Yeah'<br />
'Carrickfergus'<br />
'N.Y.C'<br />
'Smoke Gets In Your Eyes'<br />
'Knockin’ On Heaven’s Door'<br />
'A Song For Europe'<br />
'I Thought'<br />
'This Island Earth'<br />
'Out Of The Blue'<br />
'When She Walks In The Room'<br />
'Don’t Think Twice, It’s All Right'<br />
'Take A Chance With Me'<br />
'Jealous Guy'<br />
'Casanova'<br />
'Street Life'<br />
'Love Is The Drug'<br />
'Shame, Shame, Shame' <br />
'Let’s Stick Together'<br />
'Hold On I’m Coming'<br />
'Editions Of You'<br />
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'A Hard Rain’s A-Gonna Fall'</div>
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0tag:blogger.com,1999:blog-8023165475034153825.post-66321751052403707092013-10-25T17:30:00.002-07:002021-04-11T06:34:25.505-07:00John Mayer at the O2 Arena, London - 20/10/13The last time I saw John Mayer live was in 2010, when he embarked on his first ever UK arena tour, in support of fourth studio album - 2009's <i>Battle Studies</i>. The past three years has seen Mayer undergo surgery for a throat condition, and subsequently go on to release 2012's <i>Born And Raised</i>, followed by <i>Paradise Valley</i> just over a year later. Admittedly, I haven't been overly enthralled with any of the studio albums released since 2006's <i>Continuum</i>. While I feel that <i>Battle Studies</i> lacks the strength and consistency of <i>Continuum</i>, I viewed it as a transitional album, and envisioned that his next release would be more along the lines of a John Mayer Trio inspired studio record, or even something of a jazz-orientated genre. As it is, the last two releases have had a mostly country sound, with both albums having a more 'quiet' feel than any of his previous efforts. This is by no means a criticism, there are standout tracks on both records, particularly <i>Born And Raised</i>, I just haven't been drawn to them in the same way that I was - and still am - with the first three albums. Taking this into account, I attended the O2 gig last Sunday with an open mind as to how the new material would transpire in such a large venue (and with an almost entirely new band), but also confident in the knowledge that Mayer is a gifted musician, both live and on record.<br />
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Mayer opened the two-hour set with 'Wildfire', followed by 'Half Of My Heart', the latter of which progressed into an impressively soulful middle eight breakdown featuring call-and-response vocals. However, it was the unmistakable extended intro that led into a nine-minute 'I Don't Trust Myself (With Loving You)', that really got the gig underway, and was without doubt, my favourite track of the evening. Of the other songs played from <i>Continuum</i>, 'Slow Dancing In A Burning Room' and 'Belief' were also key moments of the set, and went down a treat with the crowd.<br />
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Much of the new material, in particular, 'Paper Doll' and 'If I Ever Get Around To Living', translated fantastically in a live setting, more so than I expected. Even if I haven't quite taken to the most recent albums in the same way as his earlier work, I thoroughly enjoyed hearing these new songs played in an atmospheric venue. Mayer's band demonstrated great musicianship throughout, but sounded most tight on 'Queen Of California' - probably the most solid track of the evening, and one that gave me a new appreciation for the studio version that appears on <i>Born And Raised</i>. Equally as impressive were Mayer's vocals, which were on fine form, and didn't show any sign of strain throughout the gig - a clear indication he has recovered well from his throat surgery. His range was particularly impressive on a cover of 'Can't Find My Way Home', in which he sang the majority of the track falsetto. His vocals were further complimented by backing vocalists Carlos Ricketts Jr. and Tiffany Palmer, whose rich harmonies added a further warmth to the songs. This was most apparent on 'Something Like Olivia', though the main vocal highlight was final encore track 'Gravity', which featured an interlude of Otis Redding's 'I've Got Dreams To Remember'.<br />
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Reflecting on the gig, it is evident that the setlist perhaps, wasn't as spontaneous as in previous years, with no real surprise tracks or rarities emerging. While I was thrilled with<i> </i>the selection of songs played from <i>Continuum</i>, it was slightly disappointing that Mayer barely touched upon his first two releases, with just one track - 'Why Georgia' - from 2001 debut <i>Room For Squares</i>, appearing in the set. However, considering he is currently into his sixth studio album, and this tour was inevitably centred around both <i>Born And Raised</i> and <i>Paradise Valley</i>, I feel he delivered a well balanced setlist that engaged both the casual and long-time fan. It was brilliant to hear the new material in a live setting, along with favourites from <i>Continuum. </i>Mayer has a talent for playing songs with a uniqueness that sets them apart from the versions that appear on his records, and this gig was no exception.<br />
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<b>Setlist </b></div>
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'Wildfire'</div>
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'Half Of My Heart'</div>
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'Paper Doll'</div>
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'I Don't Trust Myself (With Loving You)'</div>
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'Something Like Olivia'</div>
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'Going Down The Road Feeling Bad'</div>
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'Slow Dancing In A Burning Room'</div>
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'Free Falling'</div>
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'Blues Run The Game'</div>
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'Queen Of California'</div>
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'Dear Marie'</div>
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'If I Ever Get Around To Living'</div>
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'Belief'</div>
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'Waiting On The World To Change'</div>
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'The Age Of Worry'</div>
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'Why Georgia'</div>
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'Can't Find My Way Home'</div>
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'Gravity'</div>
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Stephhttp://www.blogger.com/profile/15610822958498898156noreply@blogger.com0