and maybe the world will look like this forever

Here are three of the last four shows I went to this year. The fourth is Mumford & Sons at The Sound Academy in Toronto, but they get their own dedicated post. No, I'm not above showing favoritism.


Johnny Flynn @ The Hotel Cafe (11-5-10)


Originally, I wasn't going to be able to see Johnny perform because he only had one date booked at The Hotel Cafe and it was the same night as Florence + The Machine. Luckily, he decided to add another night and it was a mad dash to buy a ticket before it too sold out. I first got wind of Johnny back in 2008, along with Laura Marling, but at the time my musical interests were largely elsewhere.

I'll be the first to admit that back then, his particular brand of folk music wasn't something I gave much thought to. I was still coming down from my Warped Tour college days and you were more likely to find me in the pit at a rock show than in the quiet attendance of an acoustic set. Nowadays, I like to juggle both and thankfully he made his way back onto my radar late last year and I was able to give his music a proper listen.

Johnny Flynn is storyteller. Lyrics, arrangement, and his distinctive voice all lend to the weaving of tales that are contemporary, but are laced with classical imagery that belies his actual youth and hints at an educated background. And he does it all with such ease; there is nothing rushed about his singing or playing. He seems content enough to simply sing you his stories and then move onto the next town, a troubadour for a new age.

And that was how we found him in Los Angeles, just another stop on his journey. I had heard many a tale of his shyness and sometimes outright awkwardness on and off stage, so I feared that our small but stigmatized crowd would make him downright skittish. He too happens to be friends with a certain British actor who has found an obscene level of fame over the last couple of years, and his fans have flocked to his friends, and while this is easy promotion for up and coming musicians like Johnny, it creates a kind of frenzy amongst the new fans that has little to do with the music and almost everything to do with the association to their favorite star. How cynical of me, sure, but I've seen it firsthand, more times than I'd like, and as much as I love this town, it's LA and unfortunately how things often are, regardless of what I think.

The timing was beneficial that night, though, and his high profile friends were not in attendance, so things went without a hitch. Well, almost. As it turned out, Johnny was talkative between songs and engaging, his humor light but charming. He played the first set of the night, so it was a bit hurried, but he had a much more powerful presence on stage than I expected, his voice strong and captivating. All was going really well until he took a second during an interlude to tune his guitar. He made some quip about it being old and having to tune it often and everyone merely laughed along with his easy candor. Then one particular woman broke the moment and I was sure had ruined the night.

She rose her voice above the din of the venue and said (I'm paraphrasing here, this was a while ago, after all), "that's what Laura does too," referring to Laura Marling. Sounds harmless enough, right? Yeah, not so much. My friend Abi and I stole a look at each other before covering our faces in shame. That awkward, uncomfortable Johnny I'd heard rumor of was suddenly standing on stage. He mumbled out an almost inaudible "oh" and went back to tuning his guitar, the mood broken. We had made it almost the entire night without a fangirl stepping out of line and then that chick had to go and ruin it. My friends and I were suffering from a serious case of secondhand embarrassment and I was doing my best to tame a raging bout of contempt for these women who continue to strive to make complete asses of themselves and everyone in attendance.

Just once I'd like to see one of these musicians perform without having to worry that half or more of the audience didn't check their shame at the door in an embarrassing attempt to get closer to someone who is little more than a fantasy. Just once. I supposed this means I'll have to vacant Los Angeles. *headdesk* Don't get me wrong, there's nothing wrong with being a fan, I can fangirl with the best of them, but some of these people have taken it above and beyond what can be considered sensible and respectful behavior. But I digress, yet again. Honestly, this is a gripe and a half that I could write on for pages and pages, but I won't.

Somehow though, Johnny shook it off and when he prompted a sing-a-long to "Tickle Me Pink" as his final song, all smiles and modest cheer, I was almost proud of him. Needless to say, I'd really like to see him again, perhaps with his band The Sussex Wit. If he sounds this good by himself, I can only imagine how great he is with the support of a band.

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Florence + The Machine @ The Wiltern (11-6-10)


Florence Welch is a force of nature. Full stop.

Florence + The Machine has been a constant presence in my "Heavy Rotation" playlist on my iPod for over a year and a half now and I have a feeling this won't be changing any time soon. Oddly enough, I have Nylon Magazine to thank for this. I downloaded their Summer Playlist last year and "Cosmic Love," which was featured in the mix, was enough to having me downloading all of Lungs before the day was over. I then paid well above face value to see her perform at The Troubadour last October and it's one of the best overpriced tickets I've ever bought. The venue could barely contain the energy coming from the stage and audience. It was arguably one of the best shows I've ever been too.

Fast forward a year and she's playing The Wiltern and leveling us all with nothing but her voice and enviable energy and enthusiasm. She's a bit of an odd bird, too. In contrast to the strength of her singing voice, Florence is rather soft spoken between songs, she's delightfully quirky in the way she works the stage, and theatrical in a way that's understated and entertaining, but not comical or requiring a meat dress or enough backup dancers to mask a lack of charisma or rhythm. And it all just works.

There were moments of genuine awe where I got goosebumps and my breath caught in my chest when she hit a particular note or held one for so long I wanted to breathe for her. There were a pair of young girls, maybe sixteen, standing in front of us who were so taken with Florence, I'm not sure you could have physically shaken them from their revere. It was a treat to witness, that kind of adoration.

The two performances that really stuck with me were "Blinding" and "My Boy Builds Coffins." With the first, I was more struck by the way it was performed than anything else. Donning a bejeweled, lace cloak, the lights were turned down and a single key light behind Florence illuminated her ghostly silhouette. As the tempo of the song increased, so did the strobe light and the harder your heart beat. Again, she's theatrical, but she was able to be so with little more than posturing and her voice. Remarkable.

It's not even my favorite track, but this time "My Boy Builds Coffins" was one of those moments when I got chills and stood there gaping. The song is slightly bent and unusual but she and her band performed it in such a way that by the end the vocals and music were resonating so powerfully from the stage I was a bit taken aback. They were able to take a song I've heard countless times and they've countless more make it sound fresh and better than ever. If that's not a sign of a formidable performer, I don't know what is.

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Dear Jack Benefit (f. Matt Nathanson, Jack's Mannequin, and Something Corporate) @ The El Rey Theatre (11-18-10)




Andrew McMahon has been the voice of my evolution. Something Corporate and Jack's Mannequin are the veritable book ends to a rather tumultuous period of my life and to have the chance to see both bands live, on the same night, was like coming full circle.

In 2003 I was a sophomore in college, newly heartbroken, and untethered. Instead of going out and binge drinking at frat parties and being loose with my morals, I embraced an equally cliched response to rejection and retreated inward. For a time, it seemed I'd never find my way back from this self-implemented exile. And then I found my muse, or rather, it found me in the form Something Corporate.

I was finally getting into my upper division screenwriting courses (I have my BA in Film with an emphasis on screenwriting) and my first feature length script was written to a soundtrack of Something Corporate with "Down" as the lead track. I spent many a night and painfully early morning writing until I couldn't see straight and crying until it didn't hurt anymore and all the while it was Andrew's voice that kept my feet on the ground.

The world kept turning and before I knew it, two years had past and Andrew was the frontman and brainchild behind a new band: Jack's Mannequin. Before the release of the album in August of 2005 Andrew was diagnosed with Leukemia and it was now our turn, as fans, to support him. It's a strange relationship we have as listeners with the musicians behind the music. We come to rely so heavily on them for support and encouragement and happiness that we form this symbiotic bond that is both incredibly intimate and yet completely impersonal. So when Andrew fell ill, it was terrifying and strange and all any of us could really do was hope.

It was that hope that slowly bleed into my own life and helped me find my own way back from the dark. Andrew soon made his recovery and has been an incredible source of inspiration the entire time. He's proof that life is hard and unfair and sometimes ugly, but if you keep going and never give up, you can come out on the other side changed, but whole...and alive. Glass Passenger came out in 2008 and "The Resolution" closed the wound for good:

There's a lot that I don't know
There's a lot that I'm still learning
When I think I'm letting go
I find my body it's still burning

And you hold me down
And you got me living in the past
Come on and pick me up
Somebody clear the wreckage from the blast

Yeah I'm alive
But I don't need a witness
To know that I've survived
I'm not looking for forgiveness
Yeah I just need light
I need light in the dark
As I search for the resolution

The night of the benefit was as much a show about raising money for a wonderful cause as it was about hope and healing, whether it was a conscious thought or not. Matt Nathanson opened the night with his dirty sense of humor and infectious personality. He and Aaron Tap did a cover of of ACDC's "Highway to Hell" that was ridiculous and hilarious and entirely wonderful. He was the perfect warm up for the night and I can't wait to see him headline his own gig.

It was full steam ahead after that, with Jack's Mannequin taking the stage first. I hadn't listened to much of Jack's this year, save for seeing an impromptu show at The Viper Room in February, because Something Corporate had once again taken top priority with their reunion this year, so it was really great to hear all these songs again. "Dark Blue" still gets the most cheers and "MFEO/You Can Breath" still gives me chills like I'm hearing it for the first time. This was also the debut of Jack's new bassist Mikey "The Kid" Wagner; he fit in seamlessly.

Something Corporate closed the night with all of our favorites and all the energy we've grown accustomed to and live for when Andrew works his way around the stage and ends up on top of his piano. These songs are old friends and they'll never not make me ridiculously happy. The night ended with "La La Lie" and all the band members from both bands on stage. Again, full circle. Now we wait for the next chapter as Jack's Mannequin records their, as of yet, untitled third album. I'm anxious to see where it takes me next, but I know I'm in safe hands.

Mumford & Sons: A Really Belated Week in Review

I still have half of my trip to New York, all of Comic Con, and four shows worth of photos to sift through and upload, and the band has already concluded their entire North American tour, but there is a week back in October that takes precedent over all of those easily. And what a week it was. As evidence:


Star 98.7 Penthouse - October 18


The Hollywood Palladium - October 18


The Warfield - October 20

The acoustic set at Star 98.7's Penthouse, which was won through Twitter, was short but sweet. Ever modest and endearing with their easy charm, not only could I sit and listen to them play for hours, I'd be content to sit and listen to them ramble on about farming and football, too. What can I say, I'm a sucker for handsome, amiable, ridiculously talented British men.

A representative of Glassnote Records was there and with the show at the Palladium looming large, it was obvious that getting to spend any one on one time with the guys was just not going to happen, though that didn't stop us from being a bit disappointed when it didn't come to pass. Nonetheless, seeing them perform with only a few dozen other people with the Hollywood sign and Capitol Records Building as a backdrop is an experience I'll never turn my nose up at, especially when the cavernous expanse of the Palladium takes the term "intimate" and flattens it like a tank.

Seeing the line outside the venue Monday night, as it snaked it's way down Sunset and around the building, I instantly remembered why I prefer small venues. It also became clear that for all the people that were there for the love of the band and their music, twice as many were there simply to be "seen." Ugh. Thank you, Los Angeles, for single-handedly making the collective audience look like one giant asshole. But I digress, that discussion is for another time and with a few more cups of coffee.

Thankfully, the guys know how to put on a fantastic show and though I would have been better equipped to enjoy it had I brought my binoculars with me, I'd do it again in a heartbeat. I love them that much. Highlights: "Sister" unplugged (goddamn Marcus Mumford can project - we heard him perfectly all the way in the back) and the New Song (i.e. Below My Feet), which gets better and more powerful with each performance.

After being unceremoniously ushered out of the venue, the trek back to the car seemed like a challenge befit The Amazing Race; the immensity of pain in our feet and backs and utter dehydration makes me think my friends and I are getting to old for this shit. Luckily, denial and I are old friends. The majority of the mob had already dissipated, so when we saw that there were a few people hanging out by what turned out to be the "back door," we ventured over to see what was up.

And who do we find but Ted Dwane chatting with some fans. Out came the ticket stubs and a pen I hoped would work in place of a Sharpie. I was wrong, but after fishing out a ball point, he was gracious enough to sign our tickets while answering a couple of questions from other fans who had wandered over. This was a nice little way to cap off a pretty great day.

Took Tuesday to recoup and pack and come five Wednesday morning, my friends and I were up and loading the car for a mini road trip to San Francisco to see Mumford & Sons at The Warfield. I've been to San Francisco before and it's picturesque and vibrant and a pleasant escape from the muck and mire of Los Angeles, but the area we stayed in did everything in its power to prove otherwise. There was trouble with our hotel, the short walk to the venue was sketchy beyond belief, and we had so little time to get ready before the show, that we were all a little miserable by the time we stumbled into line a full two hours before doors.

It all worked out in the end, though. Second row pretty much made up for the days trials and tribulations and how far away we were on Monday at the Palladium. King Charles made an indelible mark once again and Mt. Desolation found welcomed verve in front of the smaller crowd. Speaking of the crowd, though fraught with hipsters like any show these days, it felt decidedly less pretentious, and we were all in it together for the music. Everyone was a little distracted by the Giants game in progress, but you can't really fault them too much for that, especially since it aided in one of the more charming moments of the night (read: Marcus' reaction to Ted on drums).

Apart from the wonderful, light little moments between songs, the entire set had a weight to it that immediately set me and my friends a bit on edge. There was a rawness and intensity to the performance that felt different from anything we'd seen in person or via the wonders of YouTube. Though each member of the band holds equal footing off stage, as the voice of the band, Marcus truly sets the tone once on stage and he held a certain stillness that was heavy with unspoken emotion from beginning to end. His usual points of inflection during certain songs were amplified and messy, but in that really incredible way that you will only ever get at a live show when you actually get to see a musician working shit out on stage through his music. It was quite a thing to behold and made for an unforgettable experience.

This is also why I believe so strongly in small(er) venues. So much is lost when performances are held in outrageously large spaces and looking back on this week of shows, the one at the Palladium feels thin and almost like it didn't happen. Will I stop going to see my favorite bands when they play these venues (prediction time: Mumford & Sons, when they return to Los Angeles, will play The Wiltern or The Greek if it's a summer tour), of course not, but I may grumble about it afterward. I'm just sayin'....

But back to the show at The Warfield, it ended with a bang. They threw us for a magnificent loop and played "Feel the Tide Turning" and "Whispers in the Dark" as part of the encore. *insert expletive ridden exclamation of joy here* There were chills and looks of awe exchanged between my friends and I and then it was sheer glee over witnessing two songs live we honestly never thought we'd get to see. Way to take it to the next level, boys. I mean, these two songs could easily end up on the next album, but as of now, it's kind of a big deal for this Mumford & Sons fan.

All in all the night was a roaring success and incredible amounts of fun were had by all involved, but most especially by me and my friends. We came together a little over a year ago because of another musician, but this band has solidified the bond in ways nothing else could have. Their music has brought focus, happiness, and hope to our lives. This could all easily be written off as the overly sentimental musings of a fangirl, which they are, but how could I ignore or cheapen it all with indifference when this band joins the ranks of bands (read: Something Corporate and Jack's Mannequin) that have changed my life for the better. I can't and I won't. So here I am owning it from my little corner of the internet. Put that on a t-shirt or have it embroidered on a pillow, I'll buy them both.

never fall away

In lieu of yet another proper post, I bring pictures from the two shows I went to last week, both of which surpassed all my expectations for very different reasons.

Laura Marling @ The El Rey Theatre (7-28-10)


Laura is stormy and soulful and a well of sadness and hope and captivating in such a raw and powerful way. You could hear a pin drop during the entirety of the set, the audience was so rapt with silent attention. I've never been part of an audience so in awe of a performer before that we all dared not speak or make a sound lest we interrupt the moment.

There's also Laura's band to mention. They are phenomenal and when they play together, the five part harmony is so full, so lush, it's spine chilling in the best possible way. Pete Roe's voice in particular blends so well with Laura's that I may or may not have gasped when he started singing on the first song.

It's hard to reconcile Laura's youth with her world wary lyrics and the depth of her earthy voice, but it's impossible not to believe ever word, feel every emotion, and marvel at her unadulterated talent.

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Civil Twilight @ The Hotel Cafe (7-29-10)


It's been a year since I first heard "Letters From the Sky" on Harper's Island (yes, that song from that episode) and after missing them when they were in town in April because I was in New York, I was determined to see them this time around. And boy am I glad that I did! Holy shit, you guys. I never expected what we got Thursday night. They were unbelievable. They are, by far, a better live band than they are a recorded one. If you've ever been to the Hotel Cafe, you know how small a venue it is and they just about brought the walls down.

Every song was over five minutes long, sweeping anthems that swelled to epic proportions and had the entire audience cheering. Andrew, the guitarist, is masterful and played every inch of his guitar in ways I've never seen before (he did play it with a bow at one point, one of my favorite tricks). Steven, Andrew's brother, lead singer, and bass and keyboard player, sounds even more incredible live, with a stunningly solid falsetto voice and considerably more rhythm than you'd expect.

Absolute Punk's review of their album pretty much says it all.

Needless to say, I was stoked to find out that they'll be opening for Jimmy Eat World in the fall. I can't wait to see them again!


You can find the rest of my photos at my flickr account.

My poor little neglected blog. And to think I had such enthusiastic intentions when I first started this thing. But alas, life seems to have gotten away from me and finding the time, and more importantly, the words has been more difficult than anticipated.

My muse seems to be in hibernation, hiding out from late arrival of another California summer, which is a shame because I've been to quite a few amazing shows lately and have added even more to the already full list I started back in May.

Angus & Julia Stone at The Hollywood Forever Masonic Lodge back on May 26 turned out to be a delightful show. It was a decidedly unusual place to hold a gig, but the venue itself was lovely and set a really incredible mood and tone for the night. Julia Stone, as it turns out, is a remarkable jack of all trades and it was amazing to watch her hop from one instrument to another with each new song. Highlights of the night: having Nick Maybury accompany them on "Yellow Brick Road" with his masterful, haunting guitar skills and getting to hear/see "Private Lawns" live (if you didn't already know, it's a cover of Doris Day's "Just Blew In From The Windy City" from Calamity Jane, a film I grew up watching and adoring).



And then there was Mumford & Sons, for which I have so many words I'm going to skip them here and just say that it was, without a doubt, the best show I've ever been to and I've yet to recover. I also had a chance to briefly meet the guys at a radio event the day before and they are arguably some of the nicest, most genuine people you will ever meet. Look for a obscenely long recap of said events in the near future where I wax poetical and ramble on about new standards being set and the sheer joy they've brought to my life. It's gonna be a doozy.





The night after Mumford & Sons was another British act of a completely different vein: The xx. I wasn't really sure what to expect of the show or how their rather mellow music would translate to a live performance, but it turned out to be surprisingly powerful.



My friends and I then caught the first night of Sam Bradley's Tuesday night residency at The Hotel Cafe on June 22. We've seen Marcus Foster and Bobby Long a handful of times, so we thought we'd finally give Sam a go and I'll just come right out and say it: didn't really do much for any of us. He has a really fantastic voice and buckets of charm and charisma on stage, but I'm a little confused as to what kind of musician he is, what sound he's going for, and I think maybe he is too.

That didn't stop the usual horde of fangirls from showing up and a large majority of them making complete asses of themselves. The needle on my Secondhand Embarrassment Meter never left the "Holy Fuck I'm So Embarrassed For Them - Please Don't Judge Me By Their Actions" mark all night. Sam also gets a gold star for being incredibly gracious and staying after the show to sign, take pictures with, and speak to the longest line of fans I've ever seen outside that particular venue, even as the staff was trying to clear the alleyway. 'A' for effort, man. And then, then there was Bobby Long's show at The Troubadour. This was my fifth time seeing Bobby and it could very well be my last. It's a really long story and like my forthcoming Mumford & Sons post, it'll get its own dedicated review. I'll preface it by saying that my heart is a little broken. And by a little, I mean a lot.

Now I'm all caught up. Upcoming shows I'll hopefully be posting about in a more timely manor: Laura Marling (!!!) on 7/28, Civil Twilight on 7/29, We Are Scientists on 8/6, John Mayer on 8/22, Something Corporate on 8/28, Local Natives on 9/18, The xx and Warpaint on 9/22, The Black Keys on 9/28, Matt Hires on 10/9, and last but not least FLORENCE + THE MACHINE on 11/6.

Needless to say, I'm a bit excited for what's to come.

L.A. has got me on my knees

The slow weeks leading up to the summer I had planned have finally come to an end. Next Wednesday Mao and I will being seeing Angus and Julia Stone at the Hollywood Forever Masonic Lodge. Both Tuesday and Wednesday's shows are sold out, but they've just added a third show at The Stronghold in Venice (if you follow the link and become confused by the sight of a website for custom jeans, suspenders, fancy hats, and shiny shoes, don't fret, it's the right place - it doubles as both!), so if you plans of trying to catch them while they are in town, buy quickly.

Mao was also kind enough to alert me to the news that Freelance Whales will be opening for Tokyo Police Club on August 12 at the El Rey Theatre (tickets are already on sale). Seeing as I missed them when they opened for the Shout Out Louds, I'm thrilled that I get to see them after all. They really are one of my favorite bands.

This was also a great week for new music. I picked up the new Black Keys album, "Brothers", and the new one by Band of Horses, "Infinite Arms." I've had TBK on loop for the last couple of days, so I haven't had much time to give BoH a proper listen, but from what I've heard, they're clearly just as good as ever. And just the thought of seeing TBK at the Palladium in September gets me all tingly. Goddamn they are incredible and soulful and sexy.

You know who else has some serious soul: Marcus Foster. Q Magazine made available a new EP version of "Shadows of the City" as their Track of the Day and it's brilliant. It's moody and haunting and lays out a really cool beat. You can listen to it here. It was my favorite track of his to begin with and now he's gone and added a full band and "ghost choir" and managed to make it sound new again. I've said it before and I'll say it again: it's beyond me why this man isn't a bigger name in music. If this is a hint of what we can expect from his forthcoming EP and general evolution as a musician, I can't see him staying one of my favorite secrets for much longer.

If you're following summer festival news, the Austin City Limits Music Festival lineup has been announced! I can't even...I was beside myself when I saw all the bands lined up to play. There might have even been a bit of flailing. It looks to be one hell of a weekend and until the thing sells out, I'm holding onto hope that I somehow make it to this one. A girl can dream, right?

Speaking of festivals, SPIN has compiled a Bonnaroo Mixtape 2010 that is free for download. Get it while you can! It's a pretty standard mix of some of the more well known bands playing, but it's free and a taste of what's to come and you'll never see me turning down free music.

live music is my second job

Physically, I've been back from New York for almost two weeks now, but that non-corporeal part of myself that really counts...fairly sure it's still wandering around the Village or lounging about drinking a latte at Cafe Grumpy or up to its neck in books at The Strand. Why do vacations ever have to end? Oh, that's right, they don't pay for themselves and reality is nothing if not the greatest buzzkill of all time. I want to go back. I need to go back. But alas....

That being said, this summer is shaping up to be chock full of distractions of the concert kind and so I'm here to compile a list of shows that are confirmed (i.e. I haven already paid the modest ticket prices and the dreadfully outrageous service/"convenience" fees) and unconfirmed (still working on finding tickets and/or partners in crime to accompany me).

It's safe to say that 2010's list of concerts far exceeds lists of previous years (last year I only made it to thirteen shows). I'm beyond stoked. Also, consider this a list of recommendations; you can't go wrong with any of these bands or musicians. I've linked to all the artists and venues should anyone be interested in checking them out via the web or in person. Without further ado:

.SUMMER CONCERT LINEUP 2010.(* unconfirmed)
5/19* - Horse Feathers @ Bootleg Theatre
5/20* - Freelance Whales @ The El Rey Theatre
5/26 - Angus and Julia Stone @ Hollywood Forever Cemetery
6/4 - Mumford & Sons @ The Music Box
6/5 - The xx @ The Music Box
6/22 - Sam Bradley @ The Hotel Cafe
6/26 - Sarah Jaffe @ Bootleg Theatre
7/9 - Bobby Long @ The Troubadour
7/12* - Kings of Leon @ The Hollywood Bowl
7/15* - Jay Nash @ The Hotel Cafe
7/28 - Laura Marling @ The El Rey Theatre
8/22 - John Mayer @ The Hollywood Bowl
8/28* - Something Corporate @ Club Nokia
9/25 - Band of Horses @ The Greek Theatre
9/27 - The Black Keys @ The Hollywood Palladium

Needless to say, I'm pretty excited for this summer. I might not be in New York any longer, but living in Los Angeles certainly has its perks.

*edited to add the Something Corporate show. I WILL have tickets come Friday. (ETA: I wasn't lying. Got my ticket!)

the high road is hard to find

I need this book in my life. I also need a handful of the posters on my walls, lovingly framed, for my viewing pleasure. Frankly, this is how I wish all music artwork was done: simple but creative. Of course the ones I want the most are sold out. But if you're a fan of music artwork and have $24.95 to spare, it's well worth the modest price and each copy is signed, so it wouldn't be your average coffee table book.










Currently listening to Broken Bells and The Morning Benders, wishing I had bought tickets to their sold out show at The Music Box on May 19. Instead, I think I'll find myself at The Fold in Bootleg for the Horse Feathers show. I should probably buy those tickets now. I'd hate to miss them too.

somewhere someone's listening to the sound of a record spinning

This is going to be a quick and dirty music rec dump of rather random proportions.

Freelance Whales has a new video for "Generator ^ Second Floor." I've yet to view it because I can't for the life of me get my damn flash player to function correctly on my work PC, but I'm sure it's fantastic and should be viewed by all. Fingers are crossed I don't run into the same flash player issues on my home PC or Adobe and I are going to have words. (ETA: Adobe Flash Player and I are on good terms again and I finally got to watch the video. It's delightfully odd and conceptual - exactly what I'd expect from my favorite little hipsterish band. I've fallen in love with them time and time again after viewing vids of them performing on subway platforms in Brooklyn, so to not see them in their natural habitat felt slightly strange, but it is what it is. I'd take bands live and pretense free over a shiny video any day of the week, be it Freelance Whales or anyone else.)

Speaking of Freelance Whales, they are opening for Shout Out Louds at a pair of shows at the El Rey Theatre on May 20 & 21. Friday's show is already sold out and I'm now trying to nail down tickets for the Thursday show. If you're a fan and haven't already secured your entrance to one or both of the shows, you might want to do that now.

Stereogum (my absolute fave corner of the internet right now) premiered The Hold Steady's "Barely Breathing," which I really dig. Give it a listen.

Two new music finds of this week (or really, the last two days, but one is actually more like a month but I'm only just now listening to the album):

First up, The Daylights -

Rogue Machine (Don't Say That You Want Me) from The Daylights on Vimeo.

I've only just found them, but I really like what I've heard so far and I'm a sucker for a good music video that is all performance with the only gimmick being moody rock 'n' roll lighting. I also like that fact that electric guitars are involved. Seems like an odd thing to be happy about, but with all the folk I've been listening to lately, I'd begun to miss their sound and driving force. But I digress. The Daylights are playing the Troubadour on May 15 and I may or may not be contemplating wrangling someone into going to the show with me. Friends of mine, that was a not so subtle *hinthintnudgenudge* if you couldn't tell.

And the rec I stand behind tenfold: Sarah Jaffe -

A friend of mine recommended Sarah at least a month ago and with the influx of new music I've been shuffling through these last few weeks she somehow slipped through the cracks and it wasn't until two days ago that I gave her album, "Suburban Nature," a proper listen and I'm in love. I've had a little time to look at youtube vids and mini write-ups on a couple not so terribly reputable music sites and honestly, there's not a whole lot out there on her, which is surprising. But I don't think that will be the case for too much longer.

Folk's presence in the music scene continues to build with each day and every new and road weary musician/band that is finally finding steady ground to stand on and I think she'll soon find her footing. Sarah's music has been described as sweet, but I'm not sure I'd say that's true or does it any kind of justice. She's folk, yes, and she certainly knows her way around a melody, but it doesn't read as sweet. There aren't rainbows and puppies and cupcakes here. What there is is a certain weight, even dare I say, edge to the tracks. I'm also in the midst of fangirling over her lyrics. So if you stumble upon one of those reviews that claim Sarah Jaffe is some meek little songstress, don't be turned away or fooled. This Texan is more than meets the eye.

this god forsaken town's in a mess

Because my time is still not my own and I've yet to do exactly what I came here to do (rant and rave about my favorite music), I implore you to take a few minutes and watch this video of Bobby Long at Bamboozle Left from two weeks ago performing "Penance Fire Blues & In My Time Of Dyin'." My dear friend Abi took the video and there were a couple of times when she and I exchanged looks with our friends Jo and Helena while he was playing, in complete awe of what we were witnessing. I know, I know, how dramatic, but we've had the good fortune of seeing him live a handful of times over the last year and this was by far his most spirited performance to date.

I have much to say about him as an musician and subsequently the scene that surrounds him, but that's for the post to come. Right now, it's really just about this song, this performance. It sold me and I was already a fan. That in itself should say a lot.

My time management skills have been nonexistent the last two weeks. There's this little thing called a full time job I have that has been monopolizing my time and unfortunately, no matter how much I wish it, the time I do spend online doing my favorite things (like finding new and promising bands/musicians) doesn't pay the bills. Right about now, though, I'm beginning to think that I chose the wrong major and spent five years of my life pursuing a career that no longer holds the interest or excitement it did when I didn't know any better.

It seems I've suffering from "if you only knew then what you know now" syndrome. It's incurable and might be catching, so if you are content with your current lot in life and can't handle a healthy dose of snark, you might want to keep your distance. Misery loves company, right?

Lucky for me, and those I interface with on a daily basis, I have my music. Lots and lots of music to quell the inner storm, the perpetual existential crisis that continues to swell with each passing year, though not for a lack of trying.

My days of relatively ignorant bliss are behind me and I move forward embracing what I know, and what I don't know but wish to learn, all the while creating a running soundtrack to help get me through the days and if I'm lucky, bring a shred of perspective to keep me grounded.

So now it does truly begin. I'm currently working on a rant/review of one of my favorite new musicians that I'm having a bit of time wrapping my head around, but am determined to make happen as time permits.

In the meantime, and in lieu of a real recommendation, here's what been on heavy rotation for the last few weeks: Freelance Whales and Mumford & Sons. These days, give me a band with a bango or accordion or glockenspiel (or if you're really going for broke, a double bass) and I'm there. But more than the slightly quirky mix of instruments and respectively, a sound that is both familiar and refreshingly new, you've got a lot of heart...and soul. Two things is short order in the world at large, let alone in the music scene. So give them both a listen; you just might find something you didn't even know you were looking for.

so it begins

"'Have you got any soul?' a woman asks the next afternoon. That depends, I feel like saying; some days yes, some days no. A few days ago I was right out; now I’ve got loads, too much, more than I can handle. I wish I could spread it a bit more evenly, I want to tell her, get a better balance, but I can’t seem to get it sorted. I can see she wouldn’t be interested in my internal stock control problems though, so I simply point to where I keep the soul I have, right by the exit, just next to the blues."

-High Fidelity by Nick Hornby