What more can I say about Social Distortion other than they just completely rocked The Tabernacle stage last night in Atlanta GA. The set included their hits amongst the underground life that we all grew up and sang along to, plus new songs like “Machine Gun Blues” and an awesome cover of a Hank Williams song “Alone” from the new album “Hard Times and Nursery Rhymes” to be released in mid January. [nggallery id=94]
For me, I’d have to say it was one of my all time favorite shows. Pure raw power and a handsome crowd made a combination of energy that only Social D could deliver! The chemistry within the band showed the hard life of struggle and they brought it out in full force. Mike Ness, with a voice we’re all familiar with was on top of his game, telling stories between songs that the crowd could relate to. You had the suits and the punk rockers of all ages in one place together at the same time, weird I know but we all were there to get a taste of real music and to see how it’s really done!
Hat’s off to the opening bands Frank Turner and Lucero for getting us fired up for Social D. All in all great venue, great staff, great music and a great time!!! Rock -n- Roll will never die!!!
[box]You can find the author of this post playing around the Southeast and beyond with his band SOULBREAD [/box]
Jonah Parzen-Johnson at Lilypad
Jonah Parzen-Johnson has an innate ability to make the baritone sax sound like bagpipes, and maybe that’s why I cried.
Mostly I cried because Jonah tells radiant stories with his saxophone and analog synth, working the brass and pedals to recreate the framework which surrounds his album Remember When Things Were Better Tomorrow: Parzen-Johnson wanted to make “something of myself that’s for everybody else.”
Jonah opened his set with “Stay There, I’ll Come to You,” showcasing the harmony between synth and sax right off the bat. With haunting lilts, the two combined into a ribbon of melody, pulsating inside the ear as well as the heart. Much like the song’s title, Jonah was the one approaching the audience as an experimental troubadour of tête-à-tête.
The back stories and thoughts behind each song tied in so well with the raw, almost throaty sax, developing such strong, emotional resonance with the musical layers. The skeleton shook.
Speedy Ortiz “riiiiise above and gliiiiiide away” at The Sinclair
The Sinclair was a packed house Wednesday night for the Speedy Ortiz CD release party; as a hometown gig for the Northampton, MA-based band, kinetic warmth buzzed through friends and fans alike as Sadie Dupuis and crew played their freshly-release Foil Deer track-by-track.
What’s a party without some guests, though? That’s where Krill and Mitski come in.
Krill kicked off the night with some tracks from A Distant Fist Unclenching, other goods from Lucky Leaves. Lead singer/bassist Jonah Furman brought to mind early (read: good) Billy Corgan, which I’m not sure he will appreciate. But I think he’ll appreciate this: I couldn’t stop laughing because then I kept thinking about Marilyn Manson telling Billy Corgan that he looked like Charlie Brown.
Opening with “Theme from Krill,” the Boston trio has a knack for rhythm and melody that burrows into your brain. The dreamy bleakness of “Purity of Heart.” The discordant garage rock and hiccupping guitar and warbly Scooter-ness of “Foot.” Krill’s sound is a good, comfy noise that keeps you wiggling and all that good stuff. Be sure to catch the band at Boston Calling.
Years & Years at Royale Boston
During winter storm Juno, UK electro pop group Years & Years were forced to cancel the first show of their two-night stint in New York City back in January. After the snow finally melted, they made the rounds again this past March, playing several shows in California, South by Southwest before finally landing in Boston.
Due to popular demand, the show was moved from The Sinclair to the Royale in downtown’s Theater District.
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