Live Review: Ty Dolla $ign at Shed 6, Wellington

Ty Dolla $ign

w/ DJ Sir-Vere, TeeCee 4800 and DJ Dre Sinatra

Shed 6, Wellington

Tuesday 31 January 2017

Ty Dolla $ign began the NZ leg of his Campaign tour in Wellington off the back of his mixtape of the same name,

This show excited me for two reasons. Firstly (and more obviously) I am a fan of his and what better way to experience his music then performed live. Secondly, I was excited to contribute to Will Not Fade by writing about Hip Hop/RnB – a genre that may not get as much coverage on this site.

First coming into the spotlight on the track “Toot It and Boot It” by YG back in 2010, Ty Dolla $ign has since release 2 EP’s, 9 mixtapes and 2 albums, and founded a music production team (D.R.U.G.S). He has also contributed his song writing skills to hits like “FourFiveSeconds” (Kanye West/Rihanna/Paul McCartney), “Loyal” (Chris Brown/Lil Wayne/French Montana/Too Short/Tyga) and “Post to Be” (Omarion/Chris Brown/Jhene Aiko).

A standout in the ever-growing category of singer-rapper (think Drake, Future etc.),Ty Dolla $ign’s sound has elements of Hip-Hop, RnB and Soul. Among his influences are 2Pac, Prince and Stevie Wonder. Music production plays a big part in his artistry, being a multi-instrumentalist.

We arrived at Shed 6 to see it roughly half full. Shed 6 is an underutilized venue that I would like to see more acts play. It reminds me of the now-defunct James Cabaret, although is twice as large. A DJ was walking around on stage trying to amp up the crowd.

Ty Dolla $ign’s cousin Teecee 4800 succeeded in elevating the mood. The audience notably perked up in response to the live performance after having listened to prerecorded tracks through the PA for the past few hours.

And as much as they loved Teecee, it was nothing compared to the star attraction. Ty Dolla $ign arrived onstage larger than life. He wore a Hawaiian styled jacket atop a black Gucci t-shirt – both of which were removed before long. His dreadlocked hair was tied back under a cap, and he wore round sunglasses to protect his eyes from the harsh red stage lights.

He was clearly excited to be in New Zealand. He commented on how much he had enjoyed Wellington since landing at the airport and complimented us on our potent strains of marijuana before lighting up a large blunt and taking a big drag before throwing it into the crowd. A risky move considering that it was an all-ages show, but I get the impression that this didn’t concern him too much.

It was a real buzz to run around in the photographers pit taking photos from all angles. It’s a shame that red lights – the bane of the photographer – dominated the entire show. Steam cannons lined the front edge of the stage to shoot geysers of steam into the air at certain moments.

Ty Dolla $ign treated us by playing all manner of tracks from his varied career, showcasing his strength as a collaborator. It’s a shame that autotune is so prevalent in many of his songs because he has great singing talent. It was terribly fun and it was clear that everyone in the building was having a blast.

It was interesting trying to figure out who the true Ty was. A large, heavily tattooed rapper drinking gin out of the bottle. A talented musician with illustrious credits to his name. He proudly brought his daughter and sister onstage, but then later let his DJ stop the set to pull girls up onstage to dance. Is it possible to be both a family man and womanizer? He brought TeeCee 4800 back out to tag team on some tracks with him.

The once-fun set got derailed and lost all momentum as DJ Dre Sinatra spent five minutes beckoning girls up onstage to dance for the final track before taking them backstage for the “after party”. As lame as it was halting the show to seek out groupies, Ty Dolla $ign did end on a fun note, with Fifth Harmony’s “Work“, and ventured into the audience to do a spot of crowd surfing.

Overall it was a fantastically fun gig – certainly worth staying up late on a Tuesday night for.

Words by Jayden Sulufaiga and Joseph James

Photos by Joseph James

Live Review and Photo Gallery: Caligula’s Horse at Valhalla, Wellington

Caligula’s Horse

w/ Clæmus and ELIM

Valhalla, Wellington

Wednesday 1 February

Sadly I missed ELIM’s set, but was able to catch the other support act, Clæmus, who proved themselves a great choice to open for Brisbane prog-rockers Caligula’s Horse. Clæmus have a similar progressive sound, and plenty of energy to bring their set to life. It’s amazing how such talented locals keep coming out of the woodwork. Where do they keep hiding? Anyway, now that I’ve discovered them I’ll be sure to attend more gigs that they play.

This was a last-minute show, announced mere weeks before the event. Caligula’s Horse were due to come to NZ for the first time to support Opeth at their gig in Auckland, and seemingly decided to add a Wellington date the night beforehand, much to our pleasure.

The lads in Caligula’s Horse were buzzing to see such a turnout. And it wasn’t bad, but it was hardly packed either. It was however, a case of quality over quantity. Valhalla wasn’t filled to the brim, but the fans who had shown up were diehards, many of whom sang all along to all the words, much to singer Jim Grey’s delight.

I think Caligula’s Horse strike a great balance. They described their own music as “prog-wank”, but I disagree.Sure, the songs are long, and have noodly solos, but they don’t venture into boring territory like some other prog-rock bands. The solos are interesting, the music makes you want to move, and the vocals are on point.

I’m writing this a few days late, having been out-of-town yesterday for the Opeth gig. So with hindsight on my side, I can safely say that it was worth seeing Caligula’s Horse play at Valhalla. OK, it was worth it regardless, but the Valhalla set was far better than the set that they played opening for Opeth in Auckland. This is not to say that the band played badly in Auckland, but there are only so many songs you can fit into a half hour set when you play prog-rock. A band of this calibre deserves more than 30 minutes to show off their talents on stage. This headlining show gave provided us Wellingtonians the opportunity to see Caligula’s Horse let loose at their peak, and not constrained into a supporting slot.

Something I loved was seeing guitarist Sam Vallen’s grandmother positioned just in front of the stage filming her grandson’s band on her smart phone. I wouldn’t usually expect to see that generation at a gig, let alone at a metal bar late on a Wednesday night! It certainly brought a grin to my face to see a grandmother so proud of her grandson.

It was an absolute pleasure watching the band play, drawing from a music new and old. Half way through their set, my mate turned to me and said “I think that this is the best band I’ve seen play at Valhalla!” I thought about it for a minute, and I agree. Caligula’s Horse are a band worth seeing, and I am happy that we saw them play their own unbridled set as well as an opening set for Opeth the following night.

Links:

Website: http://caligulashorse.com/

Facebook: https://www.facebook.com/caligulashorseband/

Twitter: https://twitter.com/CaligulasHorse

Youtube: https://www.youtube.com/samvallen

Instagram: https://www.instagram.com/caligulashorse/

Words and photos by Joseph James

An Ode To An Important Local Venue: Bar Bodega

Bodega

Bar Bodega hosts some of my most revered memories.

Florida punks Against Me! played there back in 2011, back when their front man was still a man. Sweat dripped from the ceilings as the crammed-in crowd tussled, swayed and shouted along to the songs. There were stage dives aplenty, but not many came off the stage. My friend Steve and I took turns boosting each other up. We cupped our hands near our knees for the other person to step onto and launch off.

I remember my first time witnessing a Guitar Wolf show. I’d seen Foo Fighters play in Auckland the night beforehand, and struggle to decide which band put on the better performance. Guitar Wolf were almost cartoonish – Japanese rockers fully buying into the stereotypes. They preferred to suffer under intense heat rather than ditch their leather jackets and sunglasses. There was thumb wrestling, human pyramids, and a LOT of noise. The music wasn’t that good, but never mind that, it was about the overall experience.

Cody ChessnuTT blessed us with his smooth, soulful R&B beats on the night of his 40^th birthday. I had been awake for roughly 36 hours trying to juggle university assignments around work, but as exhausted as I was, it was worth staying awake late into that Monday night.

I’ve marvelled at my favourite singer Frank Turner as he spread the folk punk gospel from his pulpit, and was inducted into some other-worldly ritual when Killing Joke tried to set off the apocalypse from the stage.

Locals and internationals; punks, rockers, soul-singers, blues-players, beat-layers, rappers, wailers and crooners have all graced the stage, amongst many others. Look around the bar and you will see many records, photos, posters and backstage passes that lay testament to the many musical memories that still linger within the venue. Furthermore are the memories of first bar, from its original site on Willis Street 25 years ago.

Bodega has now followed the likes of Mighty Mighty, James Cabaret, and Puppies by closing up shop. May the memories remain long after the doors have shut.

Joseph James

Live Review: Tortoise at San Fran, Wellington

Tortoise

w/ fFolks and Hiboux

San Fran, Wellington

Saturday 3 December 2016

I arrived at San Fran just in time for local act Hiboux, who set the mood beautifully for Tortoise. The five piece act played mesmerising rock music that had me moving, and even had a camera crew documenting their set (which didn’t help my confidence when taking photos – my entire camera is only a third of the size of many of the other photographers’ lenses!) I loved the atmosphere that they created, and bonus points for including saxophone in a few songs.

Hiboux. Bern Stock (L) and Lester Litchfield (R)

Watching roadies set the stage for Tortoise was an interesting affair. They carried item after item onstage and arranged the instruments accordingly. I was excited to see two drum kits facing each other at the front of stage. Funnily enough the kits were different brands (Pearl and Sonar). Does that mean the band has two different endorsements with drum companies? A a large vibrophone sat on the right of stage, and on the other end of the stage sat something that looked like a trigger pad crossed with a piano.Selections of guitars and basses stood in formation along rear, and a number of synths, sequencers and other electronic things sporting dials filled the spaces left.

Tortoise boasted some very talented players. And not only was each muso talented, but they all took turns playing different instruments, like Sufjan Stevens’ band. I wonder what this looks like at band practice when they are writing new material? How do they decide who plays what for each song when they don’t have set defined roles?

I think I figured out the answer to this from observing the band play. For the most part, the Santa-looking Doug McCombs ties the songs together with his bass guitar, while Jeff Parker sets the melody on guitar. This leaves the three other members free to share their time between percussion and synths.

I am a drummer myself, and I loved being able to see two drummers playing off from each other right at the front of the stage, rather than having someone hidden away at the back in the shadows like we usually see. I remember being captivated by Genesis DVDs as a teenager, watching Phil Collins and Chester Thompson become one when both sat down behind their kits. I’ve seen a number of bands use two drummers in the past (Bon Iver, Death Cab For Cutie, Shihad, Incubus and The Roots spring to mind) but never in a revolving sense like Tortoise.

John McEntire is the groove master, sitting in the pocket and playing incredibly tight, uncomplicated beats, using the butt of the sticks on the snare. He takes the throne when the song needs something simple to lock in with McCombs. He also grimaces and looks like he is in pain while he plays. John Herndon, however, doesn’t merely play the drums, he beats them into submission. He is the monster, unleashing his frenetic energy to add busy percussive flavour to the mix. Dan Bitney sits in the middle, complementing everyone as drum duets form. He adds those extra elements that one drummer cannot offer with four limbs alone.

Tortoise play exciting music. Exciting because of how interesting and experimental it is. Gone is the verse-chorus-bridge type structure that we are accustomed to. Gone are the vocals. Why have a singer when you can have three drummers and vibes? Songs grew and layered in ways that are unique even within post-rock circles, with subtle frequencies taking turns to flash themselves at us.

It was a marvel to watch interactions between band members. Two drummers would become one, with bass slotting in perfectly. Members would casually move around the stage, playing a game of musical chairs. I would watch how they split their time. Someone would adjust a dial and set the right effects, then add some colour using mallets on the vibes, then shake a tambourine or shakers, and finish off strumming on a guitar. And that’s all within one song!

: Set list

: Odd socks

Tortoise are stunning. Visually, they put on a brilliant show. Not because of lights and screens – but because of how they arrange the stage and share responsibilities. And musically, they create sounds that are so unconventional and intriguing that one cannot help but listen with amazement. I caught myself grinning many times throughout the set. Grinning at the sheer… weirdness… talent… brilliance…? I’m not sure what exactly, but I cannot recommend seeing Tortoise highly enough.

All photos and words by Joseph James