The Tea Party, a Canadian rock band formed in 1996 in Windsor, Ontario, Canada started their fall 2023 tour in Buffalo on Oct 13, to a sold-out crowd at the famous Town Ballroom.
The evening began with an intimate VIP acoustic set from the band to a crowd of steadfast fans on the Oxford Pennant stage of the Town Ballroom. This smaller stage worked well for this intimate VIP crowd of around seventy people. A handful of stories from the road along with the songs played made the moment quite special.
The opening act, Human Kebab, a Canadian DJ from Stouffville, Ontario, Canada began the night in the main ballroom in support of The Tea Party by spinning and mixing many genres of high-energy music, including, but not limited to Hip-Hop, Rock, Alternative, Electronic and more.
For the main event, fans of The Tea Party lined up early for night one of this two-night run at the Ballroom as to make sure to get a great spot as close to the stage as possible for what would be an evening they would not soon forget.
As the house lights went down and the walk-on music started, the sold-out crowd erupted with cheers and applause. The energy was high from the beginning all the way to the end of the show with everyone in attendance hanging on to every word sung, and every note played throughout the night.
Setlist: The River, the Bazaar, Psychopomp, Fire in the Head, The Messenger, Black River, Heaven, Save Me, Release, Temptation Encore: Sister Awake
In 1972, City Lights Books published The Fall of America: Poems of The States 1965 – 1971, a searing collection of poetry about the turbulent state of the nation from Allen Ginsberg. It was simply some of the best work ever committed to page by the man who kicked off the Beat Revolution with his epic 1956 poem “Howl,” a collection that would go on to be rightfully honored with the National Book Award for Poetry.
This assemblage included Ginsberg’s condemnation of America’s actions in Vietnam, along with commentary about the moon landing, the 1968 Democratic National Convention, the trials of Black Panther Bobby Seale and The Manson Family, the death of Che Guevara and more personal events such as the passing of Ginsberg’s friend and former lover, Neal Cassady. Many of the poems were initially composed on an Uher Tape recorder purchased by Ginsberg with the help of Bob Dylan.
Now some of the world’s most creative musicians and sound artists have come together to add a sonic sheen to these works in The Fall of America Volume II (Allen Ginsberg Recordings). This astounding musical tribute to Ginsberg benefits a most worthy not-for-profit Pen America, an organization that has protected the rights of writers and free speech here and abroad since its founding in 1922. The album, a digital, CD and vinyl release, features performances by Ai Weiwei, Philip Glass, Anne Waldman, Thurston Moore With Saul Williams, Devendra Banhart, Miho Hatori, Jack Dangers, Yoni Wolf, Fennesz & Taylor Deupree, Stephen Hillage & Miquette Giraudy, Kai Campos & CJ Mirra, DJ Spooky / Aka That Subliminal Kid Feat Antoine Drye, and more.
The work on Cassady, “Cremation Piece – On Neal’s Ashes,” is my favorite. The NYC poet and artist No Land joins forces with street poet/noise guitarist Oliver Ray, a former Patti Smith collaborator, to conjure a landscape of electronics and strings that weaves around the recitations by Ginsberg and the cross-talking of the poetess. British DJ and electronic musician Jack Dangers of Meat Beat Manifesto manifests a similar vibe for Ginsburg’s ruminations on gods and spirituality in “Holy Ghost on the Nod Over the Body of Bliss.” It is Indonesian Gamelan meets Indian tablas meets old European string quartet on a Martian soundscape dressing the poet’s riffs on Kali, Krishna and “Zeus riding a reindeer.” The band WHY? brings an ultra-slow groove to their treatment of “Death on All Fronts.” It, and the similarly bouncy “Bixby Canyon,” are perhaps the most commercial entries on this experimental album, a slow dance sway to lyrics that capture Hallmark moments like “poison rats in the chicken house.”
Another worthy track is “Pentagon Exorcism.” Here the great NYC poet Anne Waldman recites Ginsberg’s anti defense industrial complex piece against a backdrop that marries hip hop beats and Art Ensemble of Chicago muted trumpet jazz, something that goes well with the poet’s bebop-inspired word play. Dave Harrington joins up with multi-instrumentalist Will Epstein for “Pertussin.” It’s another slow and dreamy outing with lots of texture and instrumental crunch that brings to mind another musician who I wish had a go at a collaboration here, ECM Records’ guitarist Steve Tibbetts. System 7, a collaboration of GONG’s guitarist Steve Hillage and keyboardist Miquette Giraudy, adds tasty and spacey treatments to “Sonora Desert Edge (The Abyss). It’s an ideal spin for your next rave – all synth washes, echoes and periodic dance beats – a sound visioning of the colors, vegetation and animals of the desert. Only regret here is that Hillage doesn’t inject the king of fleet-fingered, melodic guitaring that has been a signature of his earlier band and solo releases.
There are a couple of misses here too. This list is led by Thurston Moore’s mercifully brief (:55!) “A Prophecy,” a tuneless strum (or loop) that goes nowhere fast. Also work worthy of hitting the skip for is the album opener, “Hum Bom!” In this, the great poet serves up a non-sensical word salad, one unfortunately read by the brave Chinese artist and activist Ai Weiwei, to very bad (ironic?) synth that sounds like the theme for a Grade-D James Bond movie knockoff. But thanks to Philip Glass, the album closes on a high point with “Have You Seen This Movie?” It’s a nine-plus minute epic rant from Ginsberg set to a slowly building heavenly solo piano, one that brings to mind the work of Cal Cobbs on Albert Ayler’s live recording of “Angels.”
I have always been a fan of the marriage of poetry and music, as heard in the works of John Cooper Clarke, Jack Kerouac, William Burroughs and Material and one of my own humble projects, Vapor Vespers, with Alaskan poet Mark Muro. I also love that this benefits Pen America. Pen is a group I had the pleasure of working with in my former life as a PR executive, through which I met many of the brave writers and artists it honored like Salman Rushdie, Pussy Riot and the editors of Charlie Hebdo.
While you can stream this on Spotify, why not pony up and get the vinyl with the killer bonus track by the always excellent DJ Spooky? It’s a purchase that will not only delight your ears, mind and soul. It is something that will support free speech and the many journalists, authors and artists around the world who are endangered and jailed for simply seeking to disseminate truth and facts.
Digital Track Listing:
Ai Weiwei with O Future & Aliah Rosenthal – Hum Bom!
Anne Waldman and Fast Speaking Music – Pentagon Exorcism
Thurston Moore feat. Saul Williams – A Prophecy
Kai Campos and CJ Mirra – Bixby Canyon
Devendra Banhart – Dear Queer Bar
Jack Dangers – Holy Ghost on the Nod Over the Body of Bliss
System 7 – Sonora Desert Edge (The Abyss)
WHY? – Death on All Fronts
Seb Taylor – Over Denver Again
Fennesz & Taylor Deupree – Guru
Ashes (Bill Laswell, Eraldo Bernocchi & Reeno) – September on Jessore Road
Oliver Ray and No Land – Cremation Piece (On Neal’s Ashes)
Metric is one of those bands I had heard so much about over the last 20 years, yet never got to see live, that is until Tuesday, October 10 at New York’s intimate Bowery Ballroom.
Fresh off the Gargage/Noel Gallagher tour this summer, the band has often been comfortable as an opening act, even opening up for Paramore at Madison Square Garden. To Celebrate the 20th Anniversary of their first album Old World Underground, Where Are You Now? they set out on a short run of small intimate clubs.
The Canadian synthpop four-piece (though this night they were nothing short of high energy rock show) really held nothing back last night as they strolled out in style onto the stage at the Bowery. No fluff, not even an opening act booked, just doors at 8pm, Metric at 9pm, as the sign at the door stated. Front woman Emily Haines came out with nothing to prove as the room erupted and the band plowed through a few songs before she addressed the crowd.
It’s hard to keep your eyes off her on stage, the band was really tight and energetic, a crammed stage full of keyboards facing pretty much every direction, rotating between rock, pop and some acoustic numbers. Half the set was of course songs off Old World, followed by 5 off Formentera, a few covers and one song off the new Album out Today, Formentera II.
Metric – Bowery Ballroom, NYC – Tuesday, October 10
Setlist: IOU, The List, False Dichotomy, What Feels Like Eternity, Succexy, Dead Disco, Who Would You Be for Me, Love Is a Place, Formentera, Just the Once, All Comes Crashing, Calculation Theme, On a Slow Night, Anthems for a Seventeen Year-Old Girl, Doomscroller, Hustle Rose, Combat Baby, Nothing Is Perfect
You may know Kat Wright from her big bombastic soul band, which numbered seven to nine members. But in a carryover from the pandemic, when she and a couple of bandmates took to playing in a smaller and “safer” format, they have been playing out as just a trio. Wright, joined by bassist Josh Weinstein and guitarist Bob Wagner, blew through from Vermont to Rochester to play an Honest Folk show at Good Luck on October 8.
A native of Penfield, Kat Wright was coming home again after attending, and playing at, her brother’s wedding just a few weeks prior. But this was her first headlining show in her hometown since before the pandemic, only returning for opening spots for the Wood Brothers just before the world shut down and for Ryan Montbleau Band this past summer.
On a cold and rainy Sunday, the crowd packed into the intimate space at Good Luck. Settled on the stage set between two brick walls that acted as a hearth, the band was like a glimmering flame, keeping the room cozy and warm.
The kindling was sparked with a beautiful cover of CSN’s “You Don’t Have to Cry” that allowed the band to immediately showcase its wonderful three-part harmonies. Then it was on to the original “You Have Problems,” a swinging number about that special someone who bugs you. They stoked the fire, keeping the flames alive and burning, with a mix of old tunes, new tunes from a forthcoming album, and a solid bundle of covers.
The originals rarely carried vestiges from any possible big band arrangement, sounding comfortable wearing the clothing of a three-piece folk band. When given the opportunity, Wagner’s guitar worked in some brilliant lines, while Weinstein held steady and eternally interesting grooves. Wright’s powerful voice could easily carry the music on its own, but when joined by her band mates sparks really flew. One of the new ones, “Mind Games” was described as their version of “Jolene.”
They also sprinkled in plenty of tunes that weren’t just referential to others’ music, but actual covers. Though on the whole, their covers were more like interpretations, throwing their own spin on the material. Recognizing a subtle hint of the Everly Brothers’ “Cathy’s Clown” in Harry Nillson’s “Walk Right Back,” they more overtly mashed the two together, including an ever so slight nod also to Neil Young’s “Harvest Moon,” resulting in what they referred to as a musical turducken.
The second set started up with their take on Big Brother and the Holding Company’s “Piece of My Heart,” reworking it so it sounded more like a Paul Simon song. In the encore they took another instantly recognizable song, Pink Floyd’s “Breathe” and again simmered it down to bare bones folk song, keeping the crow completely rapt. Sometimes a crowd is engaged by singing along at the top of their lungs. Here, though most everyone knew all of the words, the audience sat agape and silent. As the last echoes of sound lifted, the flame of a Sunday night fire turned to smoke and memories.
Acclaimed singer, songwriter, and producer James Blake played two sold out nights at Knockdown Center this weekend, October 5, as part of his Playing Robots Into Heaven Tour. Blake’s longtime bandmate Rob McAndrews opened the show under the stage name Airhead.
James Blake at Knockdown Center, Photograph by David Reichmann (@davidpresspass)
James Blake’s tour concludes October 20th in Los Angeles. Check out his upcoming dates here, and listen to Blake’s latest album here.
James Blake at Knockdown Center, Photograph by David Reichmann (@davidpresspass)
Our full photo gallery by David Reichmann is below.
On October 8th, music fans gathered at the LIMEHOF to celebrate “A Celebration of the Long Island Club Scene” from the 1980s. The evening’s centerpiece was a book signing by Jay Jay French, the iconic guitarist of Twisted Sister, who had recently authored his memoir, Twisted Business: Lessons from My Life in Rock and Roll. However, this evening was much more than just a book signing.
Jay Jay French initiated the event, greeting fans, signing his book, and sharing captivating rock ‘n’ roll anecdotes. Fans had the opportunity to connect with the legendary musician, acquiring signed memorabilia that would serve as treasured mementos.
After the book signing, Joe Rock from WBAB moderated an enlightening Q&A session for the crowd. The panel consisted of luminaries from the Long Island music scene, including Ken Neil and Mark “The Animal” Mendoza, the original and current bassists of Twisted Sister, Joe Franco, one of the original members of The Good Rats, Randy Jackson and Felix Hanneman of Zebra, and Mark Fowler of the Stanton Anderson Band. These musicians, each with their unique stories and experiences, painted a vivid picture of the vibrant Long Island club scene in the 1980s.
An eye-opening revelation of the evening linked Goodfellas mobsters to Speaks, a popular club in Island Park. Panelists shared stories of the mob’s role in the local music scene, illuminating Long Island’s club circuit history rarely discussed.
Jay Jay French recounted a remarkable tale of Twisted Sister’s last show at Hammer Heads, where fans were given the freedom to destroy the venue. Instead of harming their career, it propelled them to fame, with other Long Island clubs eager to host them for more wild performances. The Long Island club scene had a reputation for wild audiences, and Twisted Sister embraced it.
Following the enlightening Q&A, the audience enjoyed a musical extravaganza with all the panelists taking part. Jay Jay French, the charismatic frontman of Twisted Sister, took the lead in performing several hits. The exception was when Randy Jackson of Zebra stepped up to the microphone to deliver a powerful rendition of Zebra’s classic “Tell Me What You Want,” much to the delight of the crowd. The setlist was a dynamic mix of rock classics, including “All the Young Dudes,” “Crosscut Saw,” and captivating covers of Lou Reed‘s “Vicious” and “Walk on the Wild Side.”
The night ended with an exciting performance of Lou Reed’s “Sweet Jane,” making it a fantastic conclusion. The audience at the LIMEHOF marveled at the incredible talent and the captivating history they had just experienced.
Update: Dee Snider, the frontman of Twisted Sister, has just revealed that he will host a book signing for his debut novel, “Frats,” at the Long Island Music and Entertainment Hall of Fame located at 97 Main Street in Stony Brook. The event is scheduled for October 14th, commencing at 6pm. While the book signing is open to the public without charge, please note that entry to the museum will necessitate the purchase of a general admission ticket
It was now or never. I had not seen a show at The Chance, despite seeing shows in all parts of New York State, and somehow never made it a point to get there for a show. With the recent sale of the building and renovations slated to begin, The Chance’s final slate of shows in September and October meant that years of putting off traveling south to Poughkeepsie for a show had finally crept up to me, so a jaunt down I-87 was in order on a Saturday night, October 7, to see what this historic Hudson Valley venue held within its walls.
With a dive bar aura, cracking ceiling paint and a general ambiance best described as faded glory, The Chance feels like a time-forgotten Cohoes Music Hall, where a dedicated effort could put a shine across the venue and bring back patrons by the hundreds. Cohoes Music Hall, on the other hand, has the support of the city of Cohoes, a variety of acts and shows, active renovation efforts (in a building that is more than 30 years older than The Chance) and history on display from lobby to pit and all points in between. But the charm of The Chance, a 110 year old building that was originally designed for vaudeville, was present and the denseness of the room was palpable, with a light crowd spreading out on the lower level throughout the night.
One of the (likely) original sculptures in The Chance, overlooking the bar at Stage Left.
The Chance feels as if the history has been tucked away, with just a few stained glass windows, a painting or two, and a pair of sarcophagi flanking the stage off to the upper left and right. With the show tonight not sold out, the upstairs was not accessible, although I’m not sure what more could be seen from up above. The view from below did not leave a ton to the imagination – seating upstairs and room for folks to pack in downstairs amounts to a capacity of 900, but with only 200 or so patrons this evening, just the downstairs was rocking.
A view from the pit
On tap for this evening were a trio of tribute bands – Halen (Van Halen, obv.), Wicked Garden (Stone Temple Pilots, immediately piquing my interest) and Faceless (Godsmack). While I’ll always seek out original music before covers, tribute acts for three hard rocking bands from the last 40 years wasn’t a hard sell.
Growing on up in the 80s with equal parts Van Halen and Van Hagar on the radio, catching Halen – hailin’ from Connecticut – would be a rare chance to hear a non-jamband cover “Running with the Devil” and “Hot for Teacher.” And that was all we would catch from Halen this evening, arriving just past 8pm as they wound down their short opening set. Doors at 7pm and music starting on time at 730pm? Never would have expected that, but I would still seek out Halen again, with hope for some deep cuts next time, as well as the hits.
The stage curtain at The Chance Theatre
Having been a Stone Temple Pilots fan since Core, I was ready for a full barrage of STP classics, and Wicked Garden did not disappoint. In a scene where cover bands are plentiful, tribute acts like Wicked Garden stand out for their attention to musical detail and the ability to dive into a catalog with more than just a cursory look at the hits. The fans want those hits no doubt, but the deeper cuts, the tracks that slipped in between the radio play singles on the album, or buried on Side B, those are the money tunes to cash in on as a tribute band.
Matty Ayerz, the frontman (Scott Weiland) of Wicked Garden, had Weiland’s vocals down, his stage presence and microphone/bullhorn volume just perfect, as well as Weiland’s late career look – button down shirt, tie, jacket, with military-style cap – but saved the crowd from going full-Weiland and taking off his shirt. This evening Ayerz was dialed in, as were his bandmates, and while the bassist and guitarist were not brothers, this tribute band was otherwise as close to what you’d hope to get from an STP show, were Weiland still alive and on good terms with the DeLeo brothers.
Highlights of the set included the expected “Wicked Garden,” a refreshing revisit to “Interstate Love Song,” a tune whose excessive radio play in 1994 none could escape from, and “Lady Picture Show” – a tune I hadn’t heard in a decade or more, which settled in a little different this evening, with the vaudeville era theater giving off a glow, as if the song harkened back to the era of silent films of a century ago.
While the setlist below gives you an idea of what the band performs on stage, the actual setlist was a little more varied, slowly working through the band’s numerous hits, and ending with “Creep,” “Sex Type Thing,” “Plush” and “Dead and Bloated.” Looks, sound, energy and presence – Wicked Garden had it all this evening, and no doubt will be in the Hudson Valley again soon.
Faceless: a tribute to Godsmack, would be the final act of the evening, drawing in many fans to the previously vacant pit, prepared to rock out to the sound and live energy that Godsmack is known for.
Veteran musicians Tony, Chad, Rich and Bret crafted a phenomenal set, taking time to pay heed to the venue, recalling the memories made in the venue, bringing up Tommy Terezis (Soundquake, Body Level, Hallow Time, Them) to say kind words for the late Frank Pallet, who booked Terezis, Faceless, and hundreds of other bands in his tenure as owner of The Chance. Kudos were paid to Frank for his years of looking out for bands and booking them, giving them a shot in this intimate room.
With more playback than Wicked Garden, the build up into each Godsmack song took some time, as the band prepped for each tune, the vocals as spot on as you’d expect – close your eyes and you’re hearing Sully Erna – notably on “Voodoo” and “I Stand Alone.”
With only 10 total events (including School of Rock and karaoke, as well as a variety of bands), Hatebreed will be the final artist to perform on The Chance stage, for now. Catch them on Sunday, October 29, with doors opening at 4pm. More info can be found here.
Sydney Irving, hailing from the lively city of Syracuse, has released her newest album Unfashioned Creatures today, October 10, with 10 tracks that showcase her adaptability as a singer and songwriter.
Sydney Iriving, born and raised in the heart of the Empire State, began her musical journey drawing inspiration from legends such as Taylor Swift and Tom Petty, inspired by their story-telling abilities and the weaving in of their heart-felt personal experiences.
At the early age of 14, she released her debut album, Hello Stranger. This youthful album was followed by The Halfmoon Sessionsin 2018, which clearly showcases her growth as an artist and songwriter.
The following year, 2019, marked a pivotal year for Sydney as she released two EPs, The Greene EP which was recorded in a log cabin in Upstate New York, and The Ronan EP, recorded with her band Sydney Irving & The Mojo.
In 2020, she released her fifth album, Relax With Friends, which solidified her newfound position in the music scene. Singles like “You Can’t Forget About Me” and “Seasons Change” soared to the top of the Music Mafia Radio Top 30 Countdown. The same year, she was honored as the 2020 Young Adult Artist of the Year by the International Singer Songwriters Association, as well as Best Pop Artist at the 2023 Mississippi Music Awards. She also claimed the title Best New Artist at the prestigious Syracuse Area Music Awards in 2022. Her most recent single released this year, “I Don’t Wanna Fight You,” has already received airplay along the East Coast.
Today, Sydney has released her newest album, Unfashioned Creatures. Each track feels a little different, and you can hear the Taylor Swift inspiration in every song. Some of these songs feel more somber, while others more country-based, and even a few that likely had indie/alternative inspiration.
This album is a great choice for people who miss The Old Taylor, or for people looking to find a local musician that has great music and performing abilities. All the songs in the album are good, but “Wish That I Knew,” “Seasons Change,” and “Something Better” are particularly strong and perfect for vibing in the car with your friends.
“Wish That I Knew” opens with a beautiful acoustic guitar rift, and it oddly reminds me of “Mama’s Broken Heart” by Miranda Lambert due to the storytelling country-vibe, and raw feminine energy. This song showcases Sydney’s vocal range so well, and creatively depicts feminine rage.
Her fourth track, “Seasons Change,” has been around for a while, but to neglect talking about the complexity of this song would be such a waste. She switches up tone a little bit with even more great storytelling and showcases her range by adding more of a pop feel, shifting away from the country/rock vibe previously mentioned. Inspiration from Taylor Swift’s older songs really show up in this one.
“Something Better,” switches up again with a more relaxed and somber tone. It feels like a conversation between the listener and Sydney. She’s clearly put in the work for this album and for her writing skills– it shows up in every single track. This is one of those songs where it showcases a sadder subject, but with the contrasting happy musicality– you forget the somber topic.
This album really showcases Sydney’s growth as a singer and songwriter. Every album she writes is better than the last, so it will be exciting to see where she goes from here.
Upcoming Performance Dates
Fri Oct 13 – Theresa, NY – 3C Bowling
Fri Oct 20 – Canton, NY – SUNY Canton
Sat Oct 21 – Utica, NY – Utica Zoo
Sat Oct 21 – Marcellus, NY – The Village Tavern
Sun Oct 22 – Vernon, NY – Three Bastards Brewing
Sat Oct 28 – Oneida, NY – Frogs
Fri Nov 3 – Elizabethtown, PA – Elizabethtown College
Sat Nov 4 – Verona, NY – Motif
Fri Nov 10 – Theresa, NY – 3C Bowling
Sat Nov 11 – Liverpool, NY – Diva Nova
Wed Nov 22 – Oneida, NY – Frogs
Fri Nov 24 – Cazenovia, NY – McCarthy’s
Sat Nov 25 – Verona, NY – TS Steakhouse
Sun Dec 3 – Westmoreland, NY – Station 233
Fri Dec 8 – Chittenango, NY – YBR
Sun Dec 10 – Port Crane, NY – Beer Tree Farm
Sat Dec 23 – Liverpool, NY – Maplewood Bar
Fri Dec 29 – Verona, NY – Motif
For more information on her live performances, click here.
To listen to her newest album, Unfashioned Creatures, click here.
Nearing the half-way point of a 21-date North American tour that kicked off in mid-September, Nick Cave made a rare solo appearance this past Saturday night, October 7, on the first of two back-to-back shows at the legendary Beacon Theatre on Manhattan’s Upper West Side.
Having released Ghosteen with the Bad Seeds in 2019, and the acclaimed album Carnage in 2021 – as well as last year’s Seven Psalms EP comprised of short spoken-word pieces – with fellow Bad Seeds collaborator Warren Ellis, the 66-year old crooner from “the Land Down Under” has confirmed that new material with the Bad Seeds is on its way . . . soon!
The Beacon Theatre | Photo Credit: Michael Dinger
With Radiohead’s Colin Greenwood providing accompaniment on bass, the 130-minute, 25-song gargantuan set (including a seven song encore) commenced at 8:25 pm. Per usual, with a magnificent slick of hair, Cave was dressed ‘to the nines’ in a stunning blue suit and loose tie as he appeared onstage shortly behind Greenwood. Slowly making his way around the perimeter of the stage apron, Cave greeted his adoring followers with several waves and a blown kiss.
Nick Cave & Colin Greenwood | Photo Credit: Michael Dinger
Taking his perch at the ivories, the nearly five decade career-spanning set kicked off with “Girl in Amber” (Skeleton Tree, 2016) and concluded with “People Ain’t No Good” (The Boatman’s Call, 1997). Sandwiched in between, . . .
there was introspection:
“We are going to try and get inside these songs in some kind of way, or go on an adventure. When I perform a song, sitting at the piano, I start to work out what the song is really about in some kind of way. It’s been quite special to do [this tour] for me.”
there was humor:
“This next one (referring to the song “Galleon Ship” from Ghosteen) has got some [good] words in it. There is a bit that says ‘For we are not alone it seems. So many riders in the sky. The winds of longing in their sails. Searching for the other side.’ I thought that was pretty good. The rest [of the song] is okay. You don’t always get a full song. Sometimes four lines is enough.”
and there was reminiscence:
“When I lived in Brazil for a few years, I wrote a lot of very beautiful, lovely songs, and this is not one of them (referring to “Papa Won’t Leave You, Henry” from 1992’s Henry’s Dream). I used to sing this song to [my son] Luke when I was trying to put him to sleep. I noticed that he fell asleep [to] a faster rocking rhythm, so [this song] has that sort of thing going on. It may be the first Nick Cave song of this kind, which was that I’d go out walking and a cascade of terrible things happen to me, that start generally with the personal and end with apocalyptic. And in the center of this is [my] attempt to rock my child to sleep and the general anxiety of a parent trying to protect their child from this cascade of events.”
Nick Cave & Colin Greenwood | Photo Credit: Michael Dinger
Special treats abounded too! Topping the list (for me at least) was the intimately rendered “To Be Found,” the Bad Seed’s newest single and only the fourth time it has been performed live. Not far behind was a cover of the post-punk ballad “Shivers” (Door, Door, 1979) by The Birthday Party, of which Cave was a band member from 1977-1983 and which also led to the birth of the Bad Seeds. If that weren’t enough for the die-hard fan, Cave gifted the 2,600-capacity audience “Palaces of Montezuma” (Grinderman 2, 2010) from his garage rock side project known as Grinderman.
Watch Cave and Greenwood perform fan favorite “Into My Arms,” from the aforementioned The Boatman’s Call, below:
In support of last year’s memoir Faith, Hope and Carnage, Cave has scheduled a book tour that is taking place concurrently with his shows. Joined by Irish journalist Seán O’Hagan, the series of in-store signings focuses on his life following the tragic death of his son, Arthur, in 2015.
Setlist: Girl in Amber > Higgs Boson Blues > Jesus of the Moon > Galleon Ship > To Be Found > O Children > I Need You > Waiting for You > Papa Won’t Leave You, Henry > Balcony Man > Carnage > The Mercy Seat > Black Hair > (Are You) The One That I’ve Been Waiting For? > The Weeping Song > Into My Arms > Jubilee Street > Push the Sky Away > Encore: Idiot Prayer > Love Letter > Shivers > Palaces of Montezuma > Brompton Oratory > The Ship Song > People Ain’t No Good
UPCOMING TOUR & BOOK SIGNING DATES
10/10 – Boston, MA @ Bosh Center – Wang Theatre 10/11 – Cambridge, MA @ Harvard Book Store* 10/12 – Montreal, QC @ Salle Wilfrid-Pelletier 10/14 – Toronto, ON @ Massey Hall 10/15 – Detroit, MI @ Masonic Cathedral Theatre 10/17 – Nashville, TN @ Ryman Auditorium 10/18 – Nashville, TN @ Parnassus Books* 10/20 – Atlanta, GA @ Atlanta Symphony Hall 10/22 – Dallas, TX @ Majestic Theatre 10/23 – Austin, TX @ ACL Live at The Moody Theater 10/24 – Austin, TX @ BookPeople* 10/27 – Los Angeles, CA @ Orpheum Theatre 10/28 – Los Angeles, CA @ Orpheum Theatre 10/29 – Los Angeles, CA @ Orpheum Theatre 10/30 – West Hollywood, CA @ Book Soup*
Texas based post-rockers Explosions In The Sky just released End, their eighth studio LP and first in more than seven years. The band is currently on the road, making their way to Brooklyn’sKings Theatre on Thursday, October 5th to showcase the new record in a truly perfect setting. The historic theatre is just as cinematic as the band’s signature sprawling instrumentals, which effortlessly reverberated around the spacious theater.
Explosions In The Sky at Kings Theatre, 10/5/2023. Photo by Joseph Buscarello
Explosions In The Sky have mastered the art of the cinematic soundtrack over their career, with End being no exception. Aside from eight studio records, the band soundtracked several films including the enormously successful Friday Night Lights. The quartet’s instrumentals are uniquely suitable for the big screen as well as a focused LP. Their three-guitar approach allows them to layer lush and complex loops that suck the listener into a meditative experience. The music swells to climactic crescendos surrounded by moments of minimal beauty that keep you engaged for the entire album.
Thursday night was an exciting draw for any fan of Explosions In The Sky. The band does not tour all that often to begin with, and Kings Theatre is the type of venue that would perfectly amplify the band’s instrumentals. The show started off with an opening set from the Jim White (drums) and Marisa Anderson (guitar). For thirty minutes, the duo bounced back and forth between complex drum passages and swirling guitar arpeggios, integrating with each other at times but also playing solo here and there. The entire set felt like a singular, continuous piece that was flushed out in the moment on stage. Kings was filled in early and the crowd cheered the duo on as the set continued to evolve.
Explosions In The Sky at Kings Theatre, 10/5/2023. Photo by Joseph Buscarello
The opening duo set the tone for the night, hinting at the atmosphere that was about to take over the theater. Explosions In The Sky took to the stage to a thunderous ovation as they picked up their guitars and got ready for the show. As the first notes of “First Breath After Coma” rang out, from easily the crowd favorite 2003 LP The Earth Is Not A Cold Dead Place, the audience erupted into a joyous fervor. The band would play a couple more tracks from this album at Kings Theatre, but also added a last minute show at Bowery Ballroom on Sunday, October 8th where they would play the record in full.
The show rolled on, treating fans to a mix of songs from all over Explosions In The Sky’s catalog, blending the art of cinematic soundscapes with the live show setting to maximum effect. There is only one more stop in the U.S. on this tour, taking place on October 20th in Miami at the III Points Music Festival. After that, the band heads over to Europe for a run of shows throughout November. Head over to their website for the full itinerary and check out our photo gallery from Kings Theatre below.
