Tales From the Pit

18 // concert junkie extraordinaire // broke college student // amateur human

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What to Expect: Kongos

Kongos is testing and reshaping the mold that seems to bind all other Alt-Rock bands together. They have an accordion in the band, for goodness’ sake.

Often-barefoot lead vocalist Dylan Kongos somehow manages to pull off looking like Tarzan, and the four brothers that make up the band deliver this infectious energy and carefree attitude that you can’t help but flail your arms to.

Kongos concerts have a very carefree energy about them; they seem to epitomize the idea of being free and wild. However, the well-known and celebrated driving beats of “Hey I Don’t Know” and “Come With Me Now” infuse into their music a certain degree of rough-and-toughness, making them a force to be reckoned with in a world of electronic drum pads and synthesizers.

As they tribal-dance their way into the popular music scene, it is expected that the band would adopt a certain level of celebrity status, but they in no way take themselves too seriously. They have remained humble and as willing as ever to deliver the best show possible for their fans.

Moral of the story: catch Kongos playing in an intimate venue near you before everyone else finds out about one of music’s best-kept secrets.

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What to Expect: Sir Sly

As their name suggests, Sir Sly’s music is notably dark and mysterious at times. Their live show, however, is anything but cryptic.

I saw Sir Sly without any prior knowledge of the band and could not help but notice their aesthetics. The stage is darkly lit as if to further contribute to the mood of the venue, and everyone is slightly anxious in the best sense of the word.

Sir Sly works to convey themes through the entire live experience instead of merely through music alone. This effect does not go unnoticed, as the audience ultimately finds themselves immersed in the show through multiple facets.

Sir Sly songs performed live completely mirror their studio-recorded counterparts: an impressive feat considering the L.A.-based band has only been active in the music industry for a couple of years. The stark instrumental and vocal dynamics prominent in Sir Sly’s recordings are intensified live, and each musical swell or prolonged, suspenseful silence occurs on a grander scale in the small, intimate settings frequented by the band. Layered, multi-sectional songs like “Where I‘m Going” do not lose their complexity nor do they fail to leave the audience with the sense that they’ve just experienced some out-of-body, supernatural mind trip.

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What to Expect: Bleachers

Although Bleachers only recently found their way into the public eye, their infectious melodies and truly impressive live show are tempting music fans of all generations to don the sweatbands and leg warmers characteristic of the iconic time the band represents: a near revival of sorts.

At the helm is fun. guitarist Jack Antonoff: deer-in-the-headlights turned rockstar, whose 80s hipster persona and spastic presence lend themselves to the palpable happiness felt by everyone in attendance. The real highlights of any Bleachers show, however, are the live renditions of “I Wanna Get Better,” “Rollercoaster,” “Shadow,” and other crowd favorites, which feature melodies that are simply begging to be shouted without any regard for auditory well-being.

Bleachers is unique among its counterparts in that it boasts two drummers that, when paired with the band’s signature synthesized pop rhythms, create a fuller sound and more intense live experience. Each blistering guitar solo leaves Antonoff in some transient state of bliss achievable only through true musicianship, and the performance is truly captivating. Within minutes, Jack’s taken off his first layer of clothing, sweat is flying, and he’s replaced his initial reserved demeanor with one of confidence and passion.

For those on the fence about attending a Bleachers show, it is important to note that all aspects of it — the lights, the energy, the nostalgia-inducing sing-a-longs — are contagious and will undoubtedly leave you in that lovely state of post-concert haziness for weeks to come.

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What to Expect: Paul McDonald

Since earning mass recognition for his time on American Idol, Paul McDonald has worked to further a solo career that is more exciting than his collection of Elton John-esque, rose-embroidered, sequined suits.

But Paul McDonald is anything but flashy.

In fact, the singer-songwriter’s humble spirit and Southern roots make for intimate concerts that truly showcase his talent without the grandeur evident in so many of today’s artists.

Paul McDonald performing can be classified somewhere between “baby deer learning to walk on ice” and “confused drunk stumbling home from the bar,” but it adds to the charm and quirkiness of the show itself. He can’t help that he’s tall and lanky and not quite sure what to do with his limbs. Regardless, McDonald’s lyrics are genuine and personal, and the way he delivers them creates a show that is entertaining for reasons besides his dancing alone. He allows himself to be vulnerable in front of the crowd and focuses solely on delivering his message through song. McDonald isn’t a rockstar, but he’s a testament to the notion that people who create music simply for the sake of creating music still exist.

Expect a hearty mix of both slower, stripped-back songs and those that are simply hoedown-worthy. These in addition to McDonald’s unique raspy tenor create a unique concert experience sure to restore your faith in the often-overlooked realm of singer-songwriters.

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What to Expect: Lord Huron

Religious associations aside, Lord Huron concerts are sacred experiences. The five-piece indie folk band manages to create an otherworldly sound complete with bells, theremins, marimbas, and other instruments uncommon to the typical music of their genre while remaining relatively unassuming and pure.

Having been named for the expansive body of water, Lord Huron’s music clearly draws from elements of nature and its sense of endlessness. The sound is atmospheric and full enough to carry across amphitheaters should the band find that level of success, but Lord Huron has a history of playing smaller and more intimate venues that are then completely immersed in the intensity of the performance. The movement and spirituality of Lord Huron’s songs are felt through the entire audience. For me, their shows evoke fond memories of nights spent under the stars, and I truly believe anyone can find in them some degree of sentimental value.

Lead vocalist Ben Schneider’s voice is hauntingly beautiful in songs like “The Ghost On The Shore” without overpowering the rich instrumentation he narrates, but the harmonious vocals of “She Lit A Fire” create a modern adaptation of classic American Folk music.

It’s difficult to describe a Lord Huron show without including pretentious phrases like “moves your soul” or “out-of-body experience,” but those witness it will find there are few better words.

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What to Expect: Nightmare and the Cat

Nightmare and the Cat has managed to stay somewhat under the radar in today’s popular music scene, but they have steadily built a devout community with fans of underground indie artists since their formation in 2010.

Django Stewart, the band’s lead vocalist and resident hip-swayer, and his brother Sammy are the sons of Eurythmics’s Dave Stewart and Bananarama’s Siobhan Fahey. Nightmare and the Cat has, however, established a sound that is solely their own despite “the privilege in [their] father’s name,” as is mentioned in the song “Simple.”

Nightmare and the Cat has mastered the art of intimacy and closeness in creating a live show. The resulting experience is mesmerizing. The band is often accompanied by artist Gary Baseman, who contributes visually and paints live on stage to create an unexpected uniqueness.

It is minutes into the set, and Django has already taken his shoes off: a signal to all that he is, in fact, ready to partake in some serious dancing. I am continually impressed by the entire band’s ability to engage their audience while remaining completely absorbed in their performance. Through prolonged eye contact with individual members of the crowd and continuous hand-holding, Django has earned his rightful share of female fans, but this is not to say the band’s catchy melodies and infectious rhythms haven’t attracted fans of both genders.

There is an overwhelming sense of community at Nightmare and the Cat shows that can be largely attributed to the band’s relatively small, yet devoted group of supporters who sincerely want to see them succeed. As friends dance on stage and embrace the members of the band during “Alvarado,” the final song of the set, I realize the sacred entity that is indie bands and the importance of keeping these tiny club shows with huge energy alive.

Those who see Nightmare and the Cat truly appreciate the band’s efforts to provide their audience with the best show possible: one that exceeds the general expectations of what a concert should be like. Comfortable dancing shoes are also recommended.

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What to Expect: Noah and the Whale

Indie/Alternative Rock band Noah and the Whale put on a live show as quirky and eclectic as their name, which results from the combined names of director Noah Baumbach and his film ‘The Squid and the Whale.’ Noah and the Whale’s sound contains clear influences of Tom Petty, Lou Reed, and the like but still maintains a uniqueness and infectious quality that leaves you mindlessly whistling their catchy melodies for weeks.

The set opens with the band’s humble entrance, often accompanied by frontman Charlie Fink’s wide-brimmed scout’s hat. They begin their first song, and within moments, the band comes alive with the crowd’s enthusiastic response. A few more songs like this one follow until the band delves into the self-proclaimed “romantic section” of their set, which features more melancholy songs like “I Have Nothing.” After this portion of the show, the band plays the crowd-pleasers (“5 Years Time,” “L.I.F.E.G.O.E.S.O.N”), and the mood is lifted to exponential heights as the crowd goes wild for Charlie Fink’s dancing, which is about as awkward and charming as you would expect from a lanky British gentleman in his late twenties. 

Noah and the Whale’s shows are intimate and unassuming, and their interaction with the audience on a personal level increases every time I see them. Their heart-wrenchingly beautiful presentation of “The First Days of Spring” moves me to tears. The song is laced with Tom Hobden’s violin and drummer Michael Petulla’s driving beats, which intensify the wide array of emotions felt by both the band and audience.

Take every opportunity you have to see this band live.

[concerts-shmoncerts]

Bud Light Side Stage Performances at KROQ Weenie Roast 2014

May 31, 2014

Verizon Wireless Amphitheater (Irvine, CA)

This will literally be a “tale from the pit.” Before I begin, I must say I was surprised at--if not a little confused by--the lineup, namely the festival’s headliner, Avicii. However, it seems to me KROQ’s gradual shift toward more indie/alternative rock music has been somewhat tolerated over the years, but the absence of good ole’ rock n’ roll acts in this year’s lineup found many listeners at home watching the Weenie Roast live broadcast between old “MTV Unplugged” reruns.

Let me tell you--standing through five performances in direct sunlight and darn-near hundred degree weather is no easy feat. The average person in said pit is, as predicted, a teenage girl wearing some combination of flower crowns, high-waisted shorts, or crop tops intermittently muttering “I can’t do this anymore.” For those of you wondering how I've gathered such an accurate description, I’m describing myself.

After Twenty One Pilots’ electric opening performance at last year’s Weenie Roast, Cherub was mediocre. Maybe it was the combination of dehydration and heat stroke, but I was not impressed with the lack of variety in their set or by the fact that, even as an eighteen-year-old, I found their crude lyrics in songs like “XOXO” slightly off-putting.

I found solace, however, in Bleachers frontman Jack Antonoff: deer-in-the-headlights turned rock star. Each blistering guitar solo left Antonoff in some transient state of bliss only achievable through true musicianship. 

Though clearly nervous, the band powered on through the final chords of crowd-favorite “I Wanna Get Better.” I applaud the underdogs.

The “They’re-Going-To-Make-It-Big" Award for the day goes to Kongos. They have an accordion in the band, for goodness’ sake, and the driving beats of “Hey I Don’t Know” and “Come With Me Now” are a force to be reckoned with. Barefoot singer Dylan Kongos somehow manages to pull off looking like Tarzan, and the four brothers that make up the band deliver this infectious energy and carefree attitude that I couldn’t help but flail my arms to.

American Authors was…good. They fail to receive the above average rating simply because their music is so similar to everything else the industry is churning out these days. It seems almost every band is doing the alt-rock thing, and after a certain point, they begin to fit into the very mold they try so hard to avoid. 

That being said, frontman Zac Barnett gets five stars for his ability to simultaneously interact with the audience and pull off wearing a tank top.

At this point, it was blisteringly hot and cramped in the pit, but I was beyond the point of even caring. I think my body was in some comatose state in which I was immune to the cruelties of nature. But it was no matter because, much to the delight of hundreds of screaming girls (including myself), The 1975 were up next. The band was noticeably more sober than when I previously saw them play live, and they expertly maximized the little amount of time they had to play their most radio-friendly songs. As a fan of their early, more experimental works, I wasn’t entirely pleased by this, but what else did I expect?

I might add that frontman Matty Healy handled the crazed reactions of fangirls and deflected their slightly-creepy remarks like a pro.

Unfortunately, I did not make it through the entirety of Phantogram’s set. After fully exerting myself dancing and singing with The 1975, I was in dire need of water, shade, and a bathroom. Rookie move, I know. By this time, most of the crowd had dispersed for the same reasons anyway, so cut me some slack.

Overall, I would say it is completely worth it to watch the Bud Light Side Stage performances before the actual festival starts. It’s general admission, standing room only, and gives you the opportunity to make up for the fact that your tickets for the seated part of the show will likely leave you about ten miles from the stage. That’s a slight exaggeration, but it’s meant to prove that a hundred bucks to see even five bands play on a tiny stage is a total steal. The best part? Proceeds from ticket sales go to charity foundations! You gotta do it.

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It's (Live) Music to Your Ears!

I go to concerts and write about them--ideally sparing you the details of my incessant singing and dancing whilst in the crowd.  I'm not sure when I decided to spend all of my money on pieces of paper, but as a result, I am plagued by constant, alternating waves of sweet nostalgia and the horrible curse that is Post-Concert Depression.