Wellington

Live review with gallery: Jakob at San Fran, Wellington

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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
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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
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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.

Live Review: AC/DC at Westpac Stadium, Wellington

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AC/DC Rock or Bust World Tour

w/ Villainy and Shihad

Westpac Stadium, Wellington

Saturday 12 December

Shihad

Shihad have played the same set the past three times I’ve seen them play (Riwaka, and twice at Homegrown), drawing extensively from their latest album, FVEY. It was refreshing to see them play a more varied set this time, playing the more well known hits from throughout their catalogue. Although it was only half an hour long, there was no filler, and the crowd welcomed their boys home accordingly.

I remember on one drunken night during my teenage years I bumped into Shihad’s Jon Toogood in Courtney Place and began fangirling because he fronted one of my favourite bands. I remember asking what it was like opening for bands like Faith No More and AC/DC, with Toogood gushing about how it was such a surreal experience.

From how he was carrying on tonight, nothing has changed. He and drummer Tom Larkin had been suspended back in school for writing “AC/DC Rules!”graffiti in the school bathroom. And over two decades later, he still stands by that statement.

And the statement appeared to ring true from the moment the Aussie rock veterans came onstage. There was a cool animation on the screens showing astronauts landing on the moon, before an explosion sends a meteor through space. The crashing of the meteor and some pyrotechnics cued the start of the set, with the rockers kicking things off by playing title track “Rock or Bust”.

Technical Issues

Unfortunately things did go bust. The sound was pretty bad, and they actually stopped altogether to work out the difficulties after the second song. It wasn’t explained exactly what was happening, but we were left to wait in the cold wind and rain for over half an hour. Presumably some rain had affected the electrics? Frontman Brian Johnson explained that they didn’t want to proceed without things being perfect, but the wait was excessive. People even started booing.

Back in Black, back on track

Finally, after a very long and wet wait, the band came back onstage to play their set. It’s hard to tell if the set was shortened due to the delays, but they covered nearly all the big hits that I expected them to play.

The show was as grand as you’d hope. The large devil-horned stage had neon scaffolding, screens on either side, and a wall of Marshall amps set up behind the band. Although they were used sparingly, the pyrotechnics added a great explosive touch, complemented by the many lights on and around the stage. Even the crowd supplied lights, because in the swaying sea of drunken bogans were thousands of flashing red devil horn headbands. The stage props also added to the fun. First a large bell was lowered for “Hells Bells”. Next we had a large inflatable Rosie, suggestively dressed and shaking to her song. But the best was the many cannons rolled out for the encore of “For Those About To Rock”, firing when Johnson ordered for a salute.

AC/DC is the band that has released the same album twenty something times, so you know what to expect. We had Angus hopping around in a schoolboy uniform, and Johnson screeching into the mic. The drums were basic but effective, and as much focus was placed on the showmanship as on the musicianship. Cannons were fired and solos were played. Fireworks and pyrotechnics added to the fun, and at the end of the day, despite the technical delays, we got the extravaganza that we’d come for.

Joseph James

Live Review: Ash Grunwald at Meow, Wellington

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Ash Grunwald

Meow, Wellington

Saturday 28 December 2015

Blues rocker Ash Grunwald started the night off with a trifecta of songs about surfing. All three were ridiculously funny, especially “Dolphin Song” – based on a true story of a pod of dolphins rescuing him from a shark. The song ended with Grunwald making absurd squeaky dolphin noises into the microphone over the top of his guitar solo which lightened up the mood of the venue.

The first song had been relatively calm, reflecting the dinner table environment that Meow had put on. But a few songs in Grunwald couldn’t help but let loose with some roaring blues numbers. Out came the resonator guitar and the slide, and there was little holding back from then on.

Ash Grunwald Meow

It was a joy to watch him wailing and stomping and letting rip on the guitar. The tunes were infectious and before long most of the people in the bar were on their feet and moving. Grunwald’s didn’t take himself too seriously, cracking jokes and making silly impersonations in the middle of songs. He was clearly having fun on stage, and projected his humour onto his audience.

I expected a small setup from a man playing a solo show, but in reality it looked like he was piloting the Starship Enterprise. Grunwald was perched atop a red stool, with an impressively large array of effects pedal to his left, two microphones in front of him, and something called a foot drum at his feet. This foot drum was ingenious. It somehow housed cymbals, a snare, egg shakers, a tambourine and a bass drum – all playable through the use of pedals. It offered more dynamics than a standard stompbox and really enhanced the overall sound. The two different microphones also helped to mix up the sound, with one having plenty of reverb and effects going through it.

Grunwald played a range of songs from his repertoire, old and new. There was no prepared setlist, he just picked songs which suited the mood. He took requests from the audience, and also played a variety of covers drawing from blues legends such as Jimi Hendrix, Son House and Howling Wolf, as well as Van Morrison and Gnarls Barkley.

Two highlights included acapella covers of “Grinnin In Your Face” and “John the Revelator”. Grunwald ditched his guitar and bellowed the songs with his powerful voice, clapping to keep the beat. For the latter song he ventured into the audience and encouraged everyone to clap and wail along.

It was a fun time. Grunwald was at home on the stage, fueled by espresso martinis and improvising as he went.  He announced his last song after having played for an hour and a half, only to have to extend his set at the request of his audience – not that he seemed to mind. Some audience members thought highly enough to each tip him $20 for his performance, despite his protests that they should at least take a CD in exchange for their money. And is there a better indicator of great show than people insistent on paying more than the price of admission to attend?

Joseph James

You can also read my interview with Ash Grunwald from a few weeks ago here.