Music Archives - Page 6 of 53

The Wood Brothers Play The Troubadour

The Wood Brothers first came my attention after seeing Medeski, Martin & Wood (MMW) perform at El Rey theater in Los Angeles upon another musician’s invite who was sitting in for a jam session with the improvisational, free-jazz group. That musician is Tony Beliveau of Crash Kings, who plays a clavinet coupled with a whammy bar, making his unique style perfect for an appearance with MMW. Knowing nothing as I entered the venue proved an asset for a free-dive into their high-level avant-jazz jam session. Though I remember feeling as if it was completely over my head, I followed up on that curious evening and discovered that Chris Wood is now a member of the The Wood Brothers alongside his brother, Oliver Wood, and multi-instrumentalist Jano Rix.

When you see Chris (upright bass) and Oliver (lead vocals, acoustic and electric guitar) perform together, the question immediately arises as to why the brothers, who formed their band in 2004, didn’t do that their entire lives. When asked about potential “brother baggage,” Chris is quick to counter the stereotype, saying they “get along pretty damn good.” Though he enjoys the challenge of MMW, he admittedly missed his love for words, having grown up with a published poet for a mother. That thirst is quenched with The Wood Brothers, where his jazz chops now beautifully coincide with extremely moving lyrics co-written with Oliver. What was born of a side project, has now become a main staple in their lives after Billy Martin expressed his desire to slow down from touring with MMW.

To see The Wood Brothers perform live at one of Los Angeles’ most celebrated venues, is a true privilege. It would be a disservice to call them a jam band, given that much of their musical riffs, though both challenging and engaging, do not stray far from their rich melody. I have an innate aversion to indulgent performances, as they often take away from the artist’s connection to the audience, as if the musicians are playing in their own garage — for themselves. The Wood Brothers are far from that. They’re playing for each and every person in front of them, and one song is better than the next. It’s hard to top their recordings, but their live show does just that. Their new record, ‘Live At The Barn,’ is available now. It was recorded at Levon Helm’s studio in Woodstock, New York.

New Music Rundown: Lorde and more

LORDE

Lorde can do no wrong. I love her voice, her face, her performance style, and most of all — her songs. Her new album is admittedly about her ex-boyfriend, and it has incredibly relatable, cutting lyrics, such as, “I know about what you did and I wanna scream the truth/She thinks you love the beach, you’re such a damn liar.” 20-year-old Grant Singer directed the video for “Green Light.”

LEA MICHELE

I want to like Lea Michele’s original music, especially given her uniquely incredible voice. But I just don’t think she stands alone as a solo artist. Sure she can hold down Broadway, which is an incredible accomplishment, but theater stars don’t always make it as soloists. Her new song is part of a new direction, gearing less toward pop and more toward showcasing her voice with power-ballads like her idol, Barbra Streisand. It feels indulgent. Perhaps it’s just not a good song.

JENNIFER HUDSON

Jennifer Hudson’s new song is an example of power vocals combined with a catchy tune. Her new single, “Remember Me,” is part of her fourth LP and it has the power of LA Reid’s support via Epic Records.

MEGHAN TRAINOR

Meghan Trainor is back with her usual energy in the video for “I’m a Lady. The song will be featured on the soundtrack of the upcoming 3D animated feature Smurfs: The Lost Village. It’s slightly forced, and though the video somewhat makes up for it, the melody just isn’t strong enough. It’s as if Columbia Pictures asked for something much similar to her previous hits, and she changed the chords around for a poor man’s replica (or a sub-part Ariana Grande tune). Trainer is obviously talented, but she’s a bit of a hit-writing machine. And though you can say the same for Sia, the difference is that when Sia sings her songs, she ADDS soul to it, making you realize what the original song should actually sound like. For those that don’t know, Trainor began her career as a songwriter, and it shows. That’s not a bad thing, but I’d like to see her take her pop-chops down a notch and amp up the authenticity with a pulled back performance that showcases her skill set.

KATY PERRY

Katy Perry might be the shrewdest pop star out there. She knows her brand, she sticks to it, and she doesn’t take any sh*t from anyone. That being said, I’m sick of this Candyland crap. You’d think she’d do something new for “Chained to the Rhythm,” but this feels like much of what I’ve already seen. It’s obviously very expensive, and thought-out, but that’s not enough for me. A for effort, b for execution.

RUN THE JEWELS

I’m late on posting this one, but who can resist a band with such a big presence in such a small room? Listen to Run the Jewels perform on NPR’s Tiny Desk Series.

Legendary Songwriter Steve Dorff Delivers an Unforgettable Evening

Steve Dorff’s songwriting catalog spans decades, ranging from iconic television theme songs (‘Growing Pains,’ ‘Reba,’ ‘Murphy Brown,’ ‘My Sister Sam’ starring the late Rebecca Schaeffer, and more), to a string of hits for legendary artists such as Barbra Streisand, Celine Dion, Whitney Houston, Willie Nelson, Blake Shelton, Dolly Parton, and George Strait. But despite his prolific career, like most songwriters, he’s comfortable sitting back and letting others be the face of his tunes. That all changed last night when he treated a packed audience to the inside story behind his most beloved classics at the Thousand Oaks Civic Arts Center.

Dorff recently lost his son Andrew, who followed in his father’s footsteps to become one of the most successful songwriters in Nashville. Andrew’s hits include “Neon Light” by Blake Shelton, “Bleed Red” by Ronnie Dunn,” “Ride” by Martina McBride, and many more. The family’s talent also extends to Dorff’s other son Stephen, who has enjoyed a successful movie career, including a very memorable role in ‘Blade’ beside Wesley Snipes. Stephen took the stage to perform a heartbreaking original song he penned for his late brother, which I can only hope one day makes it to the radio. He also performed a song from his film, ‘Wheeler,’ which he wrote with his brother.

Other notable acts took the stage last night, all of which are featured below. It makes sense that each and every one of them are supremely talented, given that Dorff has elite taste and he had Jan Rosenthal by his side, who used her creative eye to produce the captivating show. This includes: Dylan Chambers, whose guitar-playing made it sound as if ten people were on stage; Norwood, whose voice and presence had me feeling like I’ll see him again very soon; UK ‘X Factor’ winner Sam Bailey, who tore the roof of the joint; and singer/songwriter Bobby Tomberlin, whose performance of the song “One More Day” that he wrote for Diamond Rio had me in tears.

I’m sure Steve Dorff will do this again, and when he does, you should be there.

DYLAN CHAMBERS

SAM BAILEY

NORWOOD

BOBBY TOMBERLIN

STEPHEN DORFF

Ed Sheeran Covers British GQ: Read Quotes Now

Ed Sheeran covered the March issue of British GQ to promote his upcoming album, and the hit singer/songwriter brought out his competitive side. Though I’m not sure it’s the best idea for sweet, nice guy to show his salty side, Sheeran is currently on top of the world. His two new singles are topping the charts, and he shockingly has a cut off Justin Bieber’s record, which was nominated for Album of the Year at this year’s Grammy Awards. Check out some choice quotes below, and head on over to GQ for more. It’s available now for digital download, and it hits newsstands Thursday.

On his biggest competition:

“Adele is the one person who’s sold more records than me in the past ten years. She’s the only person I need to sell more records than. That’s a big f***ing feat because her last album sold 20 million. But if I don’t set her as the benchmark then I’m selling myself short. I’m not in competition [creatively] because we all sit in our own lanes, but once the creative product is out there is a race to the finish line.”

On whether he’s aware of Sheeran-lite copycats on the scene:

“There are a lot of singer-songwriters around now. I’m not the first but there are more than before. I’m very happy for everyone to be in the same race as me, even if they copy every single thing I’ve done. In a 100m sprint to get a No1 album I just know I’m going to win. I don’t care who’s doing what. I just know I’m going to win. I’m going to make sure I come first.”

On why he’s so driven:

“There’s an underdog element to it. Taylor [Swift] was never the popular kid in school. I was never the popular kid in school. Then you get to the point when you become the most popular kid in school – and we both take it a bit too far. She wants to be the biggest female artist in the world and I want to be the biggest male artist in the world. It also comes from always being told that you can’t do something and being like, ‘F*** you. I can.’”

Sturgill Simpson Takes On ‘Saturday Night Live’

When Sturgill Simpson’s album, ‘A Sailor’s Guide to Earth,’ was nominated for Album of the Year for the 59th Grammy Awards, he humbly proclaimed that he “would’ve liked to see Frank Ocean’s name where [his] is,” because he thought Ocean’s record, ‘Blonde,’ was “really groundbreaking.” Funny enough, Ocean did not submit his album for consideration, thereby removing him from contention. Ocean believes the “infrastructure of the awarding system and the nomination system and screening system is dated,” and he might be right, but Simpson’s nomination represents a much bigger movement in the music industry, and here’s hoping it sends a message. First and foremost, he’s the only artist who wrote his entire album. Adele is a close second, with just one co-songwriter, but Beyonce’s much-praised ‘Lemonade’ has more songwriters than bagels at Yom Kippur. The same goes for Drake. And though I’m not a Bieber hater, I need not explain the alarming juxtaposition between the two artists, and It begs a bigger question about the what the Grammys truly represent. If Starry Night had been a collaborative effort between Vincent van Gough and his 25 cohorts, would we see it through the same lens?

Simpson has long been called a country music outlaw, refusing to cater to the confines of what has now become a homogenized songwriting factory in Nashville. There’s no more Johnny Cash, Merle Haggard, Waylon Jennings, or Willie Nelson, and Simpson is therefore considered to be the “savior” of a dying genre. Simpson himself might not see himself this way, and judging by his performance on Saturday Night Live, all he really sees is the music. His blues riff on “Call to Arms” lets his 11-piece band make a tiny stage with a small audience seem like an amphitheater. Watch both performances below.

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Mariah Carey v. Dick Clark Productions: Who’s at Fault?

If Adele were on the stage for New Year’s Eve to perform for the world and her sound failed, absolutely no one would question whose fault it was. That’s the benefit of being a consummate professional who is always on point. You get a pass with production fails. But when you’re Mariah Carey, whose diva antics often make the news, you are not afforded that luxury. If you simply watch Mariah’s own reality show on E!, she showed up two hours late to a concert because no one on her team was aware that the city in which she was performing had a time change. In fact, the gaffe was realized on the plane, which means the concert began while in route to the venue. She was rightfully booed by her fans upon arrival. This type of behavior is unacceptable. She hired her team, and she is also capable of telling time, which means she either has bad judgment in her staff, or she is far too detached from her responsibilities as a business mogul. In fact, Ellen brought this up directly, and Mariah simply brushed it off.
I believe that Mariah’s sound failed on New Year’s. If her in-ears were not working, it makes sense that the on-stage monitors were not loud enough to serve as a supplement. That being said, she doesn’t get a pass from me. Mariah claims it was sabotage for ratings, and Dick Clark Productions was predictably pissed, saying:

As the premier producer of live television events for nearly 50 years, we pride ourselves on our reputation and long-standing relationships with artists. To suggest that DCP, as producer of music shows including the American Music Awards, Billboard Music Awards, New Year’s Rockin’ Eve and Academy of Country Music Awards, would ever intentionally compromise the success of any artist is defamatory, outrageous and frankly absurd. In very rare instances there are of course technical errors that can occur with live television, however, an initial investigation has indicated that [Dick Clark Productions] had no involvement in the challenges associated with Ms. Carey’s New Year’s Eve performance. We want to be clear that we have the utmost respect for Ms. Carey as an artist and acknowledge her tremendous accomplishments in the industry.

I’d encourage Mariah to put her tatas away, ditch the dated sparkly leotards, and remind everyone who she is and how she got there. People will forgive you for just about everything but entitled, diva behavior.

The Hi Hat Welcomes Kate Nash

Los Angeles hipsters have a new hangout, as Silverlake has become far too expensive for the great unwashed, who have now migrated to Highland Park. The emerging multicultural hub is located in Northeast Los Angeles, and it’s building a reputation as “L.A.’s most excellent enclave.”

The York Boulevard corridor is bustling with bars, vinyl music shops, and indie furniture makers. As I strolled the street in search of a way to pass the time before a Kate Nash performance at The Hi Hat to benefit the NELA Winter Shelter for the Homeless, it might be a stretch to suggest I felt like I was meandering through the backstreets of Venice, Italy, with one window more enticing than the next. In this land of eclectic chaos, this beanie-loving, don’t-care crowd brings a sense of peace. After all, isn’t there relief in knowing that somewhere in the land of the trendless urbanites, someone appreciates messy man-buns, odd graphic tees, and severely mismatched clothing?

Having extensive experience at Los Angeles music venues, it’s fair to say I’m picky, and The Hi Hat far exceeded my expectations, as did the music lineup. I’ve always been a casual fan of Kate Nash, but her live performance solidified my support. Her kick-ass, all-girl band rocked the stage, and her magnetic energy had the crowd thirsting for more. Though her style was far different from her albums, I welcome the refreshing spin. If I wanted to hear her record, I’d hear her record. This was live, and she knows how to put on a show. As for Kera & the Lesbians, my first experience was a great one. Their front-woman is a polished leader who knows exactly what she’s doing. And given my previous comments about fashion, it’s worth noting that she is branding her look to her benefit. She’s shrewd, and I like shrewd.

Camila Cabello Quits Fifth Harmony — Good for Her

A few months ago, I wrote a piece about a disturbing Billboard article which revealed Camila Cabello’s personal battle with anxiety. She detailed “awful mental health situations” and said of stardom:

“They sell you this present of rainbows and butterflies, and as a 16-year-old that’s what I bought. It’s why I did X Factor and why I ended up in a group. But then you’re working so hard, so young. [Meanwhile] my friends are in college, telling me about their days and what they’re studying. You’re having to put on a smile on a red carpet. It’s like, ‘Who am I? Am I for myself or for this?’ “

Though many might think it’s daunting to dismiss such a glamorous life, after reading that article, I completely support her decision to move on and quit the group that launched her career. Plus, Zayn Malik set the stage for releasing a high-quality solo album that drastically differs from his work in One Direction. He also suffers from anxiety, and I can only imagine that the grueling demands of his pop-group contributed to his crippling panic attacks. But judging from Fifth Harmony’s response to Cabello’s decision to quit, they are less than happy to hear the news, saying, “After four and a half years of being together, we have been informed via her representatives that Camila has decided to leave Fifth Harmony. We wish her well.” Their latent aggression is dismissive at best.

Let this be a lesson to anyone in pursuit of fame. It’s not all “rainbows and butterflies.” It’s hard work, and you’re only young once. Is it worth it? Cabello doesn’t think so, and neither do I. Good luck, Fifth Harmony, and here’s hoping you are actually enjoying the ride. As for your statement, I’d say “grow up,” but I imagine you are already doing that . . . too fast.

Vintage Trouble Plays the Firepit Sessions

When my buddy Adam Labov alerted me to his most recent Firepit Sessions in Silverlake, I demanded he keep the performers quiet. Adam always keeps it quiet, but I could have used our friendship to find out the lineup, and I deliberately did not. Labov has elite taste, and I trust him. Also, there’s nothing like a private concert around a firepit in someone’s backyard, and a surprise just adds to the intimacy of the event. But when I arrived and entered Adam’s abode to use the restroom, a very kind gentleman introduced himself to me, and I immediately knew his identity. It was Ty Taylor, the lead singer of Vintage Trouble, and he had just finished performing with the Dixie Chicks on tour. Taylor’s kind demeanor was only confirmed by his on-stage performance, with the electric singer explaining that at the end of the day, music is really about performing for your friends in someone’s backyard. Music is about connections, and how better to connect than at these Firepit Sessions? Vintage Trouble lived up to every expectation, proving that their live performance is just as strong, if not stronger than their album. Their energy is ummatched, as is the quality of sound in Labov’s backyard. He’s a humble maestro. Watch Vintage Trouble perform at the Firepit Sessions below, and visit the Session website here for more info.

Emily Keener to Play Hotel Cafe

Just who is Emily Keener, and why is she worth seeing live at Hotel Cafe, a staple for music lovers in Los Angeles and the home of today’s talented up-and-comers? The seventeen year old singer/songwriter from Ohio gained fame as a top 12 contestant on ‘The Voice,’ and her avid passion for music has produced nearly 100 original songs, three EPs and two LPs. Her new album, “Breakfast,” is a breath of fresh air at the end of a long day (I would know, since I played it at the end of my long day), and it’s worth a listen. According to Keener, “This record is the result of the most intense and transformative year of [her] life,” and though she had some stunning performances on ‘The Voice’ covering classics (i.e. Paul Simon’s “Still Crazy After All These Years“), she’s at heart a songwriter, and she’s ready to spread her wings with original tunes. And now’s your chance to see her live. Head to Hotel Cafe on Wednesday, December 7, at 7:00 pm (doors open at 6:30).