Late last year I saw Black Box Revelation open a show at The Wiltern. I had to reference Google to remember what show it was, but I had no problem remembering Black Box Revelation.
What struck me about their show at The Wiltern was its authenticity. It didn’t feel like it was about money or fame, a “hit” nor a label. With Jan Paternoster and Dries Van Dijck (Black Box Revelation) it was simply: music. After that initial show, I vowed to see them the next time they came to L.A.
October 17th was a particularly busy night in Los Angeles, musically speaking. There were, at minimum, five competing shows I would have liked to see. Depending on the set times and the distance between venues – if you’re not drinking – it is possible to see 2-3 shows in one night in Los Angeles. I’ve done it before, but on this particular Wednesday night I was drinking and I was determined to see one band: Black Box Revelation, at The Troubadour.
When Paternoster and Van Dijck started playing, I forgot about all the other places I had considered going, the other bands I might have seen. There was a reason I vowed to see Black Box Revelation the next time they played in L.A. and I was rewarded for sticking to the plan.
Perhaps it’s because they hail from Brussels where, I imagine, if you’re playing music, it’s truly for the sake of playing music. It could be the lack of props and a light show that keeps the focus on the music. Or, maybe it’s the way some people compare them to The Black Keys and The White Stripes, which makes sense in that they play rock music and it feels familiar. Yet, Black Box Revelation is different. Perhaps the familiar feeling is the comfort that comes with consistency in quality.
During the course of two shows, I’ve identified numerous things I find appealing about Black Box Revelation, yet they still maintain a sense of mystery. Not only do they play rock & roll music, they are rock & roll, to the core. Their music is your invitation into their world. The rest is up to you. Don’t expect this band to put out a lyrics video. They won’t stop the show to explain the meaning of the next song they’re going to play. They don’t hard-sell you to visit the merch table. Black Box Revelation doesn’t insult your intelligence. They trust you’ll get it.
Before the music business there was music. Black Box Revelation is keeping that era alive.
Somebody should have recorded the sound of the crowd following the first encore. I think that would best express what happened when David Byrne, St. Vincent, and their phenomenal brass band performed at The Greek Theatre Saturday night.
In fact, if that’s all you heard about the show – the sound of the audience as it concluded – that should be enough to get you to seek out a time and a place to catch this tour. David Byrne and St. Vincent took the notion of a “concert” and created something so unique it shouldn’t be classified. It was more like a spectacular dream than anything else you’d have experienced musically.
The evening unfolded, surprising and unique, every step of the way. It’d probably serve you best not to seek out the videos captured on cell phones, the set list, nor look at photos posted on Instagram. Even if you come away thinking you know what this show is about, you won’t know until you experience it. It’s so special that I’m only going to share bits and pieces.
Even if I wanted to, I don’t have more photos to share. I couldn’t be bothered to take more than 3 pictures. It was all I could do not to spill my wine, I was so mesmerized. Here’s what I can tell you:
From the moment the audience entered the amphitheater, they were part of the experience, before the “show” began. This provided the opportunity to transition out of the day, beyond traffic, parking, the world at large, and into “the night” (as interpreted by David Byrne and St. Vincent).
The songs danced in harmony with the voices in my head. We’re not alone in this world, especially when you consider the beautiful absurdity of it all.
Annie Clark (“St. Vincent”) is phenomenal.
The one woman in the audience who was encouraging people to sit down was sorely outnumbered. She eventually stood up.
This is a show that’s worth paying more for, in order to have seats closer to the stage. You can always watch the video monitors, but you’re going to want to see their feet.
Byrne and Clark don’t appear to perform music. Music appears to perform them. You can see every note winding its way through each of them. The music takes form inside of them, before it’s articulated into sound externally.
There are certain tones in music that hit corresponding points in the body. You can feel the notes move through you and understand how they move through Byrne and Clark. It’s a two-way conversation, this David Byrne/St. Vincent show.
If you’ve been listening to their album, Love This Giant, this show’s arrangement will be an additional treat for you.
The guy behind me was jumping up and down before the show began. “I can’t help it! I’m just so excited!” he exclaimed. I looked at him, smiled, and screamed, “I’m excited too!”
Metric shows are always a lot of fun. The mere thought of their high energy performance is enough to fuel fans before the show begins and carry them all the way through to the next show. Their performance at The Greek Theatre in Los Angeles Tuesday night was no exception.
Shouts of “I love you Emily!” roared through the night sky between every song, the audience expressing their appreciation of the dynamic and captivating lead singer, Emily Haines. Typically the passionate cheers occurred as Haines was setting up for the next song. Without stopping, without breaking concentration, it was apparent Haines felt the love. A smile would start to appear on Haines’ face and then she and the band would launch into yet another crowd favorite – the musical equivalent of “I love you too”.
Rather than make the audience wait, wonder, and hope they’ll play it, Metric played “Help I’m Alive” fairly early in the set. It was a kind of gift, as if to say, “Now you can relax and enjoy the remainder of the show, without wondering if or when we’ll play that song.” Playing the encore-worthy hit early in their set was also quite a testament to Metric. The songs that preceded “Help I’m Alive” and the songs that followed punctuated the fact that Metric is no one-hit-wonder. Every song in their set is equally strong and infectious.
Metric’s concert at the 5,900-capacity Greek Theatre signifies quite a journey from the nights they used to play Club Spaceland (capacity: 260). During one of several moments in which she expressed gratitude to all in attendance, Haines reflected on those early days in Los Angeles. “As I sing these songs it brings me back to that time. I remember eating expired Power Bars from the 99 Cent store,” she said with laughter.
“I guess – when you look back on your life story – you want your life to be a collection of really great jokes” – Emily Haines
As I listened to Haines speak and reflected on their lyrics, I realized what I like most about Metric is that they celebrate all aspects of life, even the things others would classify as “fucked up”. It’s what makes us who we are – the good things and the challenges. The celebration is that we’re here to experience it all, together.
“I guess – when you look back on your life story – you want your life to be a collection of really great jokes. ” Haines continued.
As Metric played “Clone”, the crowd sang along, making the song their own personal anthem. “Nothing I’ve ever done right happened on the safe side. . .” the voices of the audience joined Haines proudly. Then, in celebration of it all, “My regret only makes me stronger yet!”
Listening to Metric, experiencing their live shows, embarking on the journey from clubs to amphitheaters with them, it’s easy to understand why the audience adopts their songs as personal anthems. Truth and acceptance. The truth is ok. Embrace it. Accept and celebrate who you are.
The light display along the back of the stage transformed into a countdown clock prior to the encore. Again, a kind of gift, alerting the crowd that the band would of course return, no need to worry. Rather than expend a lot of energy, creating thunderous applause and ear-piercing cheers to woo the band back to the stage, the audience gained energy in anticipation of the band’s return. As the moment neared, the audience roared, “Ten. . . nine. . . eight. . . seven. . . six. . . five. . . four. . . three. . . two. . . one!” and Metric took the stage again.
“It’s rock and roll, for fuck sake. I’m glad we survived. I’m glad you’re here with us. This is something we built together, at this point,” Haines said, once again thanking, and metaphorically sharing the stage with, the audience. The passionate anthem sing-a-longs continued until Metric left the stage and the house lights came on.
In addition to being a great band, Metric is an example of hard work and perseverance paying off. Even as they celebrate their successes now, they continue to work hard. I saw them play, back in the day, at Spaceland – Metric has been giving it everything they’ve got, every step of the way.
During the rare occasions when I consider the possibility of leaving Los Angeles, I remember experiences like Damien Rice playing at The Hotel Cafe Sunday night. It’s a “once in a lifetime” opportunity which thankfully has happened more than once in this lifetime.
L.A. – where you can wake up on a Sunday morning, ease into your day somewhat aimlessly, and find out that one of your favorite musicians – somebody who typically sells out much larger rooms – is playing a last-minute show, that same night, at one of your favorite and most intimate venues.
On Sunday morning, October 7th, it was announced that Damien Rice would be playing as part of Nic Harcourt‘s 88.5 KCSN Presents show at The Hotel Cafe later that night. It was the first in what is to become a monthly series hosted by Harcourt at The Hotel Cafe. It was also the first time Rice has played in Los Angeles since 2007.
The show sold-out in a matter of minutes. People who didn’t have tickets lined up 6-7 hours early in hopes additional tickets would be released at the door. People who did have tickets lined up 6-7 hours early with the goal of obtaining a prime position, close to the stage, for the standing room only event.
The evening’s openers, Kita Klane and The Lonely Wild, had an exceptionally rewarding and equally challenging job before them: opening for Damien Rice. Harcourt kicked off the evening, introducing the radio station (one of my favorites) and his new, curated, monthly concert series. He expressed his enthusiasm that Rice agreed to join the line-up, while sharing his concurrent enthusiasm about introducing the audience to two newer bands he’s passionate about. Harcourt did an amazing job of setting the tone for the evening and the audience was attentive, receptive, and engaged, during both opening performances.
The crowd’s attention to Kita Klane and The Lonely Wild is quite a testament to each band. What was once going to be an important, yet more low-key evening, was suddenly an even higher-profile show, playing to what could have been – and in many cases would have been – a difficult audience. Kita Klane and The Lonely Wild stepped up to the challenge in a way that inferred “we’re this good all the time, not just tonight.”
The spectacular evening was also a testament to the crowd. Rice’s fans appreciate music. They listen. They dance, laugh, clap, and cheer, when appropriate. They trust the venue and the evening’s curator to present shows that will be of the highest quality. Their expectations are high, as is their confidence that expectations will be met.
Rice began with “Delicate” and concluded with “Volcano”, complete with a crowd sing-along, in the round. Everything in between was as exceptional. Rice’s voice is impeccable, his songs honest.
Rice guided the audience through his set, describing the various stages of his failed relationships, the resulting introspection, and the songs that emerged in the end. He sang with eyes closed most of the time, but opened them each time he belted, “I remember it well. . . ”
His honesty and humor shared the stage with his music. Introducing “The Professor & La Fille Danse,” Rice asked the crowd to imagine if, when they were younger, someone gave them a million dollars every day, along with the advice, “do good with it.” Then, the next day they show up to give you another million dollars, and so on, for the rest of your life. “Well, we are given a million sperm each day,” he said, adding that this is the root of failed relationships. Later, endearingly labeling himself an “asshole,” Rice debuted a new song, “Greatest Bastard”.
What happens when Rice sings – and consider this your warning – is he unsuspectingly draws you in with his exquisite voice. Then, you’re enveloped in the story and you begin to feel what he’s experiencing. The pain is mitigated by his voice, his sense of humor about it all, and the drink in your hand. As Rice sings, and the songs build, you realize you’re fucked. Welcome to Damien’s world.
His relationships may fail, but his shows are always a success.
Great Northern kicked off the evening with songs and a performance that sucked you in like a good novel. It almost felt like a trick; a welcome trick. The songs went places I didn’t expect them to go, not because they were new to me, but because they actually had an arc, momentum, story, and fervor to them that (I feel) is becoming a lost art in both mainstream and indie music.
Becky Stark took the stage next and cooed songs about love. Optimism and naivety were in a constant dance. On the surface, rose-colored glasses. Yet Stark allows you to peer through the window, and deep into the uncertainty that sparks a once silent prayer into a song.
Next up was one of my favorites, Daniel Lanois. Among the things I love and respect about Lanois:
He’s a kind, wonderful person
He’s a brilliant musician
He has produced some of my favorite albums
His instrumental songs express more than many songs that have lyrics
He is a reminder to make sure we let people know how much we appreciate them, every time we have the opportunity
Lanois sounded amazing. His shows are always a treat. They will spoil you, as you constantly feel you’re being rewarded, just for being there, just for being alive. If you don’t think you’ll remember to check his website for shows in your area, set up a Google alert. If you’ve seen Lanois before, see him again. And again. And again.
Father John Misty’s entertaining set concluded the night. This was my first time experiencing Josh Tillman’s solo endeavor, though I’ve surely heard the buzz. At this point, buzz makes me skeptical so I’ve been cautiously and intentionally avoiding Father John Misty. Last night’s performance was a buzz killer – in a good way.
Tillman’s voice, his expressiveness, the content of his songs and the improvisational way that he delivers them is refreshing. Tillman is an artist who’s adept at integrating the current environment into his show, giving me confidence that although I’ve only seen him once, every show is unique. The audience’s enthusiasm often sparked banter, mid-song, that Tillman artfully wove into his performance, so that it was additive rather than distracting.
Tillman’s quick wit is as admirable as it is entertaining. It requires full presence and awareness in each moment, while he is simultaneously lost in song. I look forward to seeing him again.