Live Music Reviews

Live Review: Strung Out playing Exile in Oblivion

strungout pears nz tour
Standard

Strung Out playing Exile in Oblivion plus hits

w/ Night Gaunts and PEARS

San Fran, Wellington

Friday 1 April 2016

Strung Out San Fran Wellington (1)

Strung Out. Jake Kiley (L), Jason Cruz (R)

Albany act Night Gaunts started the night off with their upbeat high-pitched ska. They bounced around and got the small crowd grooving along to dub styled offbeat strumming, complemented by saxophone. I’m not sure why I was surprised, but they were far more polished than I expected. Their chirpy happy-go-lucky sound didn’t quite match the tone on the other two bands of the night, but they played well nonetheless.

PEARS have been through a lot on this tour, so we were lucky to even have them. Their bassist had dropped out of the tour mere days before the tour, leaving them scrambling to find players to fill in. Hayden from Night Gaunts obliged for most of their set, with super-smiley Strung Out  bassist Chris Aiken taking over for the last few songs.

Vocalist Zach Quinn had recently bust his fist PUNCHING THE STAGE on the Australian leg of the tour, resulting in pricey hospital bills and leaving him in a wrist brace/cast that you can see in the picture below. I recently broke a few bones in my wrist and I can tell you straight away that there is no way I would have been attempting half the stuff Quinn was doing on stage. He threw himself about with abandon, like violent interpretive dance. He jumped down into the audience and walked around – you know, just because – before climbing back onstage and writhing around on the floor.

PEARS San Fran (8)

PEARS vocalist Zach Quinn, with Jarrett Nathan behind him on drums.

When bands have members like this it always makes for a captivating show. It was so unpredictable. I don’t think the band members themselves even know quite what to expect.Guitarist Brian Pretus played front man, and rather than just rattling off obligatory nonsense to fill time between songs, he actually was worth paying attention to. He told stories, cracked jokes, and had the crowd chanting.

The date actually coincided with the release of the second PEARS album, Green Star, which meant that the band were in good spirits. I guess that this, combined with the show being the last of the tour, meant that the band really wanted to give their all. This was great to watch, with the performance being super high energy and frantic. As chaotic and wild as it seemed, there was still evidence of talent beneath the whirlwind. Quinn and Pretus shared some great vocal harmonies when they weren’t launching about the stage. Pretus displayed great abilities and drummer Jarrett Nathan kept them on their toes with his lightning beats. It looked like loads of punters were already loyal fans of the band and there were singalongs aplenty, especially when PEARS covered The Ramones’ “Judy is a Punk”.

Strung Out San Fran Wellington (3)

Jake Kiley (L), Chris Aiken (R)

As always, when bands play an entire album you know what to expect [examples: Nas performing Illmatic, Jimmy Eat World playing Futures], but also hope to hear handful of hits from other albums as well. Strung Out have been playing a selection of their albums start to finish over this Australasian tour. Last night was Twisted by Design in Auckland, and tonight they played Exile in Oblivion.

After a sound check the band kept us in suspense by playing a handful of old jazz numbers through the public address system, knowing that we were expecting one such song to be the intro to”Analog”, to first track of Exile. When said track finally played everyone cheered, knowing that this signaled the start of a brilliant set to complete an already-great night.

They’re tight, and play rippingly fast. And you can tell that they’re on top of their game. Exile came out 11 years ago, and they were able to play it through without a hitch. And on top of that, they’ve been playing many of their other albums in their entirety at other stops on their tour, showing that they are exceptionally rehearsed. They ripped through Exile, and followed up with half a dozen tracks from the rest of their catalogue.

Sweat dripped and the audience swarmed as fans rocked out and sang along to favourite tunes from one of their most beloved bands. Strung Out reciprocated, clearly appreciative that their fans enable them to play music for a living. Singer Jason Cruz told about how the band got a bit tired and jaded when they were first touring Exile on Warped Tour in 2005, until a crew member had told them to suck it up and take a reality check. This made an impact on them, and it is clear that they make the most of their opportunities and give back to the fans who support them to get where they are now.

This was the last night of the tour, and you could tell the PEARS and Strung Out had built a special camaraderie over the course of their time together. Throughout both sets, band members and crew from side of stage would throw bananas and potato chips at the band playing. During the last song – a cover of “Soulmate” by late No Use For a Name singer Tony Sly – members of PEARS and the crew started stealing away pieces of the drum kit one by one, making drummer Jordan Burns work extra hard as he tried to improvise with less equipment at his disposal. Somehow, by the end of the song the drum kit was scattered around the stage, with Strung Out singer Cruz stuck underneath a pile of the drums.

Strung Out San Fran Wellington (2)

Chris Aiken on bass


Although  we have had punk bands like GBH and The Buzzcocks come recently, it is a rare treat to have more modern international punk acts make their way to Wellington. Thanks to Chicks That Scream for organising shows like these. For me personally, gigs like this one are often key highlights of my year.

Special mention to Jordan Burns’ mother, who passed away three years ago. This show was dedicated to her.

Joseph James

Live review with gallery: Jakob at San Fran, Wellington

Gallery

Jakob Wellington Auckland 2016.jpg

Jakob

w/ Titan

San Francisco Bathhouse, Wellington

Saturday 12 March 2016

Napier trio Jakob are never anything short of superb, and last night was no exception. I’ve seen them play roughly half a dozen times now, and mostly at this same venue. To be honest, other than the support acts, these shows are rarely any different. But it’s hard to improve a show when it is already so close to perfection.

Guitarist Jeff Boyle hypnotises us as he rocks back and forward, strumming and picking and rolling the volume knob to create swirling waves of sound. The venue vibrates and rib cages rattle as hairy behemoth Maurice Beckett plucks at his bass strings. Drummer Jason Johnston ties in with the throbbing bass lines by smashing tribal rhythms out his kit. He hits with power and control, economic with his movements. Lights bathe the trio in various colours as they cast an enchantment with their musical spells.

Go pros and cameras were on stage filming the entire set, and the merch guy told me that they are expecting new shirt designs in the next few weeks, so I wonder if there will be an exciting announcement to follow?

I’ve said it before, and I’ll say it again. Jakob are one of the best in the world – essential viewing every single time. I saw them last time they came, co-headlining with Beastwars. I saw them the time before that, touring their new album Sines. I’ve seen them play around half a dozen times now, many times headlining, and other times supporting acts like Tool, Russian Circles and Butterfly Effect. And when the standard of the talent is so high, I don’t see why I would ever stop attending Jakob shows when they come to town.

Joseph James

 

Live Review: Sufjan Stevens at Michael Fowler Centre, Wellington

Sufjan Stevens Wellington Michael Fowler Centre
Standard

Sufjan Stevens

w/ Dawn Landes

Michael Fowler Centre, Wellington

Monday 7 March 2016

 

The night commenced with Dawn Landes playing her first of three sets. A member of Stevens’ band, Landes previewed some of the talent that would follow by starting us off on her own material. She had a great voice, and proved adept on many different stringed instruments, chiefly guitar and piano. The highlight of the set was her song “Bodyguard”, which proved livelier than many of her other sweet sleepy songs.

A short break between acts allowed me to marvel at the Michael Fowler Centre. In these fickle times, more and more venues are closing, which isn’t helped by many building being deemed earthquake risks. This makes me question why the Michael Fowler Centre is underutilised as a live music venue, with its striking wooden panelling and great acoustics. It was certainly the perfect venue for this show.

Sufjan Stevens and his band put on one of the most impressive stage shows that I’ve seen in a while. The lights were brilliant, thoughtfully planned out to synchronise with parts of the set. From dazzling spotlights, to coloured beams, to the use of two disco balls, they really added to the mood, made obvious from the stage fog and smoke from the incense sticks onstage. Behind the band were 12 vertical screens, showing images of stunning scenery and clips of Stevens’ home videos from his childhood.

The set drew predominantly from Stevens’ most recent album Carrie and Lowell, save for two songs near the end that clearly didn’t fit in with the rest. It was a sombre affair, the album being named after Stevens’ parents, with a strong focus on death and mortality. His mother had more than her fair share of mental issues, and had died of cancer in 2012. At one point Stevens appeared to be overwhelmed by revisiting such a personal topics, drawing a sharp breath at the end of one song and covering his face.

The musicians were all incredible, all accomplished on a number of instruments. Most members ended up playing piano, synth, mandolin, ukulele throughout the course of the night, and most songs featured the most gorgeous three part harmonies. It was a lovely marriage of old and new, full of juxtaposition. Chimes and incense sat next to bright lights and Tron-like neon tape, and muddy distorted synthesisers let loose before tender piano breaks and recorder tunes.

Following a short break, the band returned for a second unplugged set, with all five band members crowding around one microphone. This was a more jovial affair, with the musicians showing a less professional, but more accessible side of them. Most of them had changed into brighter clothing backstage, and they appeared more relaxed. One funny moments involved a banjo string snapping whilst being tuned, prompting Stevens to forget the lyrics to his own song. Stevens hadn’t even talked to the crowd beforehand, but now was happy to talk banter and share some thoughts. He told some stories about his upbringing, being one of six children, with a gazillion pets. These stories brought levity to the until-then somewhat depressing tale of his parents.

From the mesmerising first set of Carrie and Lowell, to the lighter, stripped back second set of hits, Stevens’ and his band kept us spellbound. There was no shortage of talent, and the visuals complemented the music perfectly. They inevitably ended with their hit song “Chicago”, leaving everyone humming the refrain well into the night.

Sufjan Stevens Wellington setlist

Joseph James

Live Review – Thundercat at San Fran, Wellington

Thundercat San Fran Wellington
Standard

Thundercat

w/ Orchestra of Spheres and Thanks

San Francisco Bathhouse, Wellington

Wednesday 3 February 2016

Thundercat is the stage name of virtuoso Stephen Bruner, most famously known for his work playing bass with acts such as Kendrick Lamar, Flying Lotus, Suicidal Tendancies and The Red Hot Chili Peppers. None of these are acts that I listen to often, including Bruner’s own music,  but I knew that it would be foolish to miss this show. Why? Because Thundercat has a reputation for being insanely good at playing the bass guitar, and with that much talent, the show promised to be good regardless of what he played.

Thundercat songs are smooth, soulful R&B styled tunes sung in falsetto. Bruner played his six string bass like a guitar, eliciting mellow tones that juxtaposed beautifully against his high singing voice. Jazzy, bluesy, and eccentric all in one, the vibrant fusion songs pulsated and writhed as the three musos onstage played off each other. They would coast along nicely, before breaking loose into chaotic tangents and solos that showcased the talents of the trio playing.

Thundercat San Fran Wellington, Ben Stewart Photography (2)

Image: Ben Stewart Photography

Bruner was at home on stage. He wore an unassuming black tshirt and pants, with a red five panel hat showing a Japanese flag on his head, and white Birkenstock sandals and long grey socks on his feet. He would approach the mic for banter, pause, and just giggle to himself before gaining composure to say something. He discussed the merits of drinking water, having recently sworn off alcohol. He also dedicated a song to Peter Jackson, commenting on the Lord of The Rings installations he had seen at Wellington Airport. “What would you do if you actually saw an eagle that big?” he asked, before giggling and answering himself: “Die. Just die”.

He would hunch his shoulders forward and grimace with his eyes closed as he played. Hands like thick legged spiders scurried up and down his fretboard with finesse, churning out the groovy dancing melodies. He usually either bobbed up and down on the spot, or did a stationary strut, like a cocky rooster nodding it’s neck back and forward.

Thundercat San Fran Wellington, Ben Stewart Photography (1)

Image: Ben Stewart Photography

Like Mitch Mitchell (of Jimi Hendrix fame), drummer Justin Brown not only held his own, but sometimes overshadowed his frontman. Having two snare drums allowed him to play both open handed and cross handed with ease, not that having just the one snare would have slowed him down at all. He coloured the sound with lightning quick fills and busy ghost notes, tirelessly playing with unmatchable energy and talent. The one slip-up I noticed was met with applause, as he lost grip of his drumstick and dropped it, only to pick up a spare and continue without missing a beat. As a drummer myself, I rate Brown as one of the most impressive drummers I’ve seen live, on par with The Mars Volta’s Thomas Pridgen.

Dennis Hamm rounded out the sound on the keys, giving more treble to a mix dominated by low-end. His spacey effects added to the swirly cosmic sound. The three were clearly well rehearsed, but you could tell that they had flexibility in their playing, because now and again Brown or Hamm would play something that sent Bruner into small fits of laughter over how monstrously talented they were.

Thundercat San Fran Wellington, Ben Stewart Photography (3)

Image: Ben Stewart Photography

 

I attended the sold-out show expecting to be impressed by some slick playing. Well, I got that in spades. Awe-inspiring, mind-blowing – choose a hyperbole and it probably applies. I expected to see a world class musician show me his skills. Not only did I get that, but he had a world class drummer and keyboard player to match.

Joseph James

 

Thanks to Ben Stewart Photography for supplying the photos. Go ahead and like his Facebook  page to see more.

The above video was uploaded by In The Nick Of The Rhyme, another new Wellington  based music site. As you can see, Thundercat kept punters happy by playing some Kendrick Lamar and Flying Lotus material.

2015 in Review – Live Music at Will Not Fade

Will Not Fade Logo jpeg
Standard

What a year it has been! We’ve been blessed to have so many amazing bands to come to our shores this year, and we are just as lucky to have strong local talent that we can depend on seeing throughout the year as well. I’ve summarised below some of the highlights and letdowns of my year, concluding with a discussion of the live music scene.

The best shows of 2015

Jurassic 5 blew me away with their incredibly fun and interactive show. Great music, great showmanship.

Frank Turner has been one of my favourite artists for years now. There’s no way that I could see him play his rousing music and it not be a highlight of my year. It was a cool bonus to meet him and have a chat outside the venue after the show as well. His new album, released a few months later, was also excellent.

Image: Fergus Cunningham

This Will Destroy You. Image: Fergus Cunningham

I actually thought that Australian post-rockers sleepmakeswaves put on a far better set than the more established headliners This Will Destroy You. There was so much energy and joy on stage. Many post-rock acts just let their music do the talking, but sleepmakeswaves put on a show as well as playing great music.

Most insane show award would go to either powermetal lords Dragonforce or mathcore act Dillinger Escape Plan. Although both could be classed as metal bands, they are at different (extreme) ends of the spectrum. Both played at a packed out Valhalla, and both bands featured musicians who were ridiculously proficient at their instruments.

I finally got to see what I consider an original hardcore/punk band this year. I’ve seen OFF!, Misfits and Corrosion of Conformity in the past, but they may as well be covers band,featuring more ring-ins than original members. A group of us hired a van and drove up to Auckland to see Gorilla Biscuits play at The Kings Arms. I think it is as close as I’ll ever get to seeing one of those pioneering punk/hardcore groups live, and it was great. Such a fun and positive band.

It is always a pleasure seeing perennial local heroes Jakob and Beastwars (the two bands toured as a double bill), and I managed to see my favourites Shihad play three times this year (at Homegrown and AC/DC).

The set that Shihad played both nights. They also played the song "Pacifier" for the encore on Sunday.

The set that Shihad played both nights of Homegrown. They also played the song “Pacifier” for the encore on Sunday.

My last highlight was Declaration AD, although I say this with a hint of sadness. They released their final album (Sometimes It’s Us) earlier on in the year, along with the announcement that their time as a band was coming to an end. The lineup for their final show at Zeal included some of the best current punk/hardcore/metal acts in New Zealand.  Declaration played a mammoth 16 songs and finished on a high. They made a big impact, not only in Wellington, but also in the wider New Zealand hardcore scene.

Disappointments

Every show I attended in Auckland this year left me feeling disappointed.

It started off with Foo Fighters cancelling their intimate Town Hall show because a truck with their gear had en route, leaving them without the equipment they needed. My friends and I took the opportunity to see American rapper Freddie Gibbs  instead. Gibbs was brilliant, but making fans wait for hours just to see a short 40 minute set was disrespectful to those who paid good money to see him perform.

The following night wasn’t much better. The Foo Fighters weren’t bad, but it was nothing compared to their previous few NZ concerts. They had stopped trying, choosing instead to rest on their laurels. They included a handful of covers throughout the set that dragged, and I was bored and ready to go home well before they had finished. I was glad to see that Rise Against were on form though. I didn’t think much of their latest album, and their opening set wasn’t very long, but it was actually one of the better sets I’ve seen them play.

A month later I was up in Auckland again for Westfest. I was most excited to see grunge icons Soundgarden. They started off with my favourite song of theirs, “Spoonman”, and it sounded terrible. Frontman Chris Cornell’s voice sounded strained and the band couldn’t keep energy up. I ended up leaving halfway through their set, because a free ride back to where we were staying was more attractive than seeing one of my favourite bands struggling onstage. Thankfully my other drawcard, Faith No More, were great, and metal pioneers Judas Priest put on an outstanding show earlier in the day, making Westfest worth attending overall. Cornell came back to New Zealand at the end of the year and all the reviews I read were glowing, but I couldn’t bring myself to buy a ticket to attend after he had put on such a dismal display at Westfest.

Faith No More playing at Westfest in Auckland. Photo taken from Faith No More's Facebook page

Faith No More playing at Westfest in Auckland. Photo taken from Faith No More’s Facebook page

Wellington venues

Venue Shed 6 has been refurbished as an alternative to the infamous TSB Arena that it sits beside. I saw both Gary Clark Jr and Jurassic 5 both play there, and had no complaints either time. It’s a versatile space and I hope that it gets utilised more in the future.

I attended two concerts at the Westpac Arena this year, and I would hesitate to attend another there. I have no issue with Elton John’s show, but his fans were totally ripped off, being charged extortionate fees for limited visibility. Likewise, AC/DC put on a brilliant show, but when 40 minute delays left fans exposed in the cold wind and rain I doubt many present were happy about the choice of venue. Sound and visibility issues coupled with overpriced tickets and cramped seating do little to suggest value for money.

Robbie Williams played a successful show at the Basin Reserve in October, indicating that the Basin could be a better alternative as Wellington’s primary outdoor venue.

Image: Bradley Garner Photography.

Mogwai at James Cabaret. Image: Bradley Garner Photography.

At one time Wellington’s best live venue, James Cabaret really let things slip. Lack of adequate air conditioning and no passouts made it hard to cope with the hot overcrowded conditions, especially when shows ran later than advertised. It was a real let down during Nas and Run The Jewels. And I don’t know if it was the venue’s fault, but there were complaints made about the excessive noise levels at Mogwai. After a handful of bad experiences I was seriously considering if I ever wanted to attend the venue again. And then without warning, the venue closed. Gorillaz Sound System had been booked to play James Cabaret, but got switched to Bodega last-minute. That was the last I ever heard of the venue.

We still have the trusty old bars Bodega and San Fran, who tend to get most bands. Meow has also been hosting more big bands this year. I’m embarrassed to admit that I still haven’t been to the new venue MOON in Newtown yet. I hope that the Town Hall will get revived one day, but from what I hear about the costs of earthquake restrengthening, it is too costly to be considered viable.

The festival scene

The established staples in the festival scene seem to be surviving. Homegrown promises to be exactly the same as it has always been. It’s almost the musical equivalent to the 7’s rugby tournament. Hipsterfest Laneway is potentially expanding next year. Raggamuffin promises to be a hit, with Wu Tang Clan announced as headliners.

Trusty old Big Day Out has experienced a rocky past few years, and has since been re-branded as Auckland City Limits, with affiliations to the similarly named Austin festival. It will be interesting to see how well ACL fares. Headliner Kendrick Lamar will be a major drawcard, and it is held later in the year, so won’t be competing against other festivals and events to the same degree.

It’s a risky time for promoters at the moment. Soulfest was cancelled last-minute due to poor ticket sales. New festival Mclaren Falls had to change venues due to complaints from locals. After the change of location they renamed as Echofest. And Echofest also cancelled and announced liquidation, leaving ticket holders potentially unable to get refunds.

Westfest16

The future of Westfest 16 is up in the air. NOFX have confirmed that they will not be coming.

Somewhat related, Australian festival Soundwave has ended. Promoter AJ Maddah has a history of dodgy dealings, and it sounds like the responsibility for the festival can be shared between Maddah and ticketing agency Eventopia. Fans are understandably upset, especially because neither party are willing to refund ticket holders. This has wider implications for live music in Austalasia, because it has undermined concertgoers faith in promoters and ticketing outlets. There is no way that Soundwave’s cancellation is a good thing, although some people are trying to crowdfund a Soundwave replacement called Legion.

It also places the future of Auckland heavy music festival Westfest in question. Westfest has ridden on the coattails of Soundwave for a few years now, offering very similar lineups. Westfest 14 and 15 both ran at a loss, and Westfest 16 had a noticably smaller lineup, reflecting and foreshadowing Soundwave’s issues. With many bands no longer travelling to Australia for Soundwave, it remains uncertain if they will travel further to New Zealand. However, despite being unprofitable, Westfest has done wonders to boost ODR Productions’ profile, and I have faith that whether they retain their festival or not, ODR will continue to organise most of the best shows for heavy music fans in New Zealand.

2016

2016 still looks bright. Wellington is offering their bi-annual Arts Festival, with acts like Sufjan Stevens and Death Cab For Cutie attending. I’m sure that we will have plenty of sideshows from Laneway and Byron Bays Bluesfest to look forward to as well.

Iron Maiden Book of Souls tour

David Dallas is playing at Victoria University O Week, and although I expect that will be awesome, I’m apprehensive about going to a gig that will likely feature a crowd of 17-year-old drunk first year students (probably dressed in togas as well). I’m also looking forward to seeing Iron Maiden play in Christchurch in April, and comedy/percussion show Blue Man Group in June.

 

What were the best shows you attended in 2015? And which ones are you looking forward to attending next year?

 

Joseph James