Best of 2010: Live Performances

Alright! I'm back finally back with some new stuff! And I promise I'm going to try and be better about updating this blog next year. But let's get to some best of the year stuff first.

I attended between 20 and 25 concerts this past year, so I obviously can't claim this to be a comprehensive list of the best live acts of 2010, but the following bands really blew me away. Think of this as recommendations for bands to catch in concert next year, or something like that.

So, in no particular order, my five favorite live artists/bands of 2010:

Sufjan Stevens: Say what you will about Sufjan Stevens' divisive new album, Age of Adz, the guy knows how to put on a show. And by show, I mean a laser-light rock opera kind of performance including the entirety of the 25-minute epic "Impossible Soul," which resulted in a sort of awkward dance party throughout Kingsbury Hall. But through all the fuss, Sufjan kept the audience mesmerized with that beautiful voice. I've never experienced anything quite like this outrageous performance, and I doubt I will again.


The Gaslight Anthem: Talk about getting your money's worth. Everyone at this show payed only five bucks to be in attendance, but Brian Fallon and company played for over two hours and seemed thrilled to do so. Fallon sang his heart out and carried a grin the entire evening, and the band was razor sharp as they made their way through what must have been every song in their catalog. I love to see a band that so clearly understands what makes a great rock 'n' roll show.


Sharon Jones & The Dap Kings: I have never--and I mean never--seen an artist work so hard during a live performance. Sharon Jones sang, danced, gave monologues that stretched songs into 10-minute jams, ran all over the stage and invited audience members up to join in the party. She must have been up there for nearly two hours, and while I probably would have died from exhaustion, the 54-year-old soul singer just. kept. going. I'll never forget this one, I get goosebumps just thinking about it.


Thao/Mirah: Thao and Mirah sharing the stage for this one-of-a-kind tour proved to be an inspired decision and a treat for fans of either artist (so, bonus for me because I love both of them). The combination of their unique musical personalities along with the intimacy of the evening resulted in one of the more engaging shows I saw this year. They traded songs, sang beautiful harmonies and made it fun each member of the small but appreciative audience. Also, Mirah's dance-music version of "Gone Are the Days" was worth the price of admission.


Rubik: Not too many people know Rubik, the awesomely weird indie rock band from Finland, but these guys are fantastic live. They opened a show to an audience that had absolutely no idea who they were, but by the end of their relatively short set each and every person in that crowd was a convert. They blasted horns, pounded keyboards, and played with such fervor that they simply won us all over and received a standing ovation usually reserved for a headlining act. I can't wait to see them again.

Best of 2009: Honorable Mentions

I've listened to more music this year than any other by far, so making a top 50 list was an especially difficult and time-consuming process, though it was certainly rewarding as well. But before I change it again, I think it's time to start presenting my favorite records of 2009. The following are 11 albums that I feel deserve mention this year but fell just outside my top 50, some getting bumped quite late in the process. I just couldn't let them go without a mention on the blog, so, in alphabetical order, here we go:

Akron/Family - Set 'Em Wild, Set 'Em Free

Down one of their four original members, Akron/Family still managed to create one of their best records this year with Set 'Em Wild, Set 'Em Free. Shifting between melodic folk tunes and explosive bursts of weirdness, the band both continued their evolution into new territory and made us remember why we loved them in the first place. Despite it being somewhat uneven, this record from one of the freak-folk genre's mainstays has been one I've returned to frequently. (MySpace)

Apse - Climb Up

In only a few years, Apse has undergone a serious transformation, and Climb Up is hard evidence that said transition has been in a decidedly upward direction. The record is a more cohesive and structured effort than their last, a set of psychedelically-inclined indie tunes filled with spacey guitar riffs, haunting high vocals, and dark lyrics that fit the musical setting perfectly. Climb Up may take a few spins to fully reveal itself, but the time spent is richly rewarded in the end. (MySpace)

Arctic Monkeys - Humbug

I know I'm in the minority here, but Arctic Monkeys' latest, Humbug, is my favorite album from the English group previously known primarily for their sharp wit and danceable post-punk rock. With their latest effort, the quartet's drum/guitar/bass attack is made heavier and denser than before, with a tempo well-below the band's usual. Though this would seem to play against some of the band's strengths, the results - whether heavy rock tune or stirring ballad - are frequently amazing. (MySpace)

The Avett Brothers - I and Love and You

I was first introduced to The Avett Brothers with their 2007 release, Emotionalism, a rough, endearing folk-rock album that quickly made me a fan of brothers Scott and Seth and company. I and Love and You didn't hit me in quite the same way as its predecessor, but its sincere and mostly introspective lyricism and engaging melodies make for a worthy addition to their catalog - one that should do wonders to increase the general awareness of a band that deserves more attention than they've been given. (MySpace)

Dead Man's Bones - Dead Man's Bones

Ryan Gosling (yes, THAT Ryan Gosling) and friend Zach Shields created perhaps the most adventurous and interesting album ever to feature a popular movie star (the competition, admittedly is slight), but Dead Man's Bones is more than just a novelty. The record is appropriately titled for its dark, haunted musical and lyrical themes, with Gosling and Shields covering most all the instrumentation (Gosling even taught himself cello for one track) and sharing vocal duties with a children's choir. Weird, beautiful, and very impressive. (MySpace)

Florence + The Machine - Lungs

English newcomer Florence Welch and her revolving cast of supporters created more than a little noise overseas, though their debut album, Lungs, didn't have much of an impact here. Known for its obnoxious first single, "Kiss With a Fist," the record actually has a great deal more to offer - soaring epics, intimate ballads, and an inventive outlook that makes the entire album a continuous adventure. It's a little Bat for Lashes, a little Lily Allen, but mostly its a fantastic introduction to an exciting new talent. (MySpace)

Ganglians - Monster Head Room

Monster Head Room's noisy psychedelic nature wasn't immediately attractive to me, but Ganglians' debut won me over with its playful and exploratory nature that resulted in songs that are well-crafted and enjoyably strange but rarely heavy-handed or dramatic. The album ranges from meandering, outlandish rock tunes to eerie folk songs with a little of everything in between, yet somehow Ganglians manage to pull it all together in one cohesive and captivating whole. (MySpace)

Lissie - Why You Runnin' (EP)

Midwestern songstress Lissie made a great first impression with her debut EP, Why You Runnin', sounding like a cross between late-period Joan Baez and Stevie Nicks with her strong, emotional voice and rough folk style. I always have a difficult time holding EPs in as high esteem as LPs when it comes to the year's best kind of lists, but this 20 minutes record is absolutely stellar. Look out for Lissie in the near future, I imagine we'll be hearing much more about and from her.(MySpace)

Everywhere I Go (MP3)

Pomegranates - Everybody, Come Outside!

This is one album I think has been woefully underrated this year. Pomegranates' latest, Everybody, Come Outside! is a joyously upbeat pop record with an experimental streak that sets them apart from their peers. With twisty guitar riffs, insistent percussion, and big choruses, the music Pomegranates create is comprised of many familiar elements but constructed in a way that is often unexpected and truly unique. People have been sleeping on this one for months, but it deserves better. (MySpace)

The Rural Alberta Advantage - Hometowns

Another criminally overlooked band this year is The Rural Alberta Advantage, who released a very strong debut (falling just outside my top debuts of 2009 list) of Americana-intensive pop music that received only moderate attention from the critical community. The Canadian indie-rockers' earnest instrumental presentation and sincere, personal lyrics give this record a certain appeal so often missing from bands attempting a similar musical approach - making this one to hear from 2009. (MySpace)

Don't Haunt This Place (MP3)

Thao with The Get Down Stay Down - Know Better Learn Faster

Thao and her two-man crew, The Get Down Stay Down, made serious progress on their latest LP, Know Better Learn Faster. The familiar elements, including Thao's signature vox and impressive guitar work, are enhanced by a more adventurous stylistic approach and songs that simply hold up better both in the context of the album and alone. It may be a break-up album, but Thao has created one of the most fun rock records of the year with Know Better Learn Faster. (MySpace)

Alright, look for more of this year's greatest soon!

Review: Thao with The Get Down Stay Down - Know Better Learn Faster (* * * *)

I posted this already but now I've cleaned it up/rewritten it for In Review Online:

Thao Nguyen's last album, We Brave Be Stings and All, is a charming if somewhat slight set of songs that I admittedly became quite smitten with last year. Thao's distinctive, agreeable vocal and off-beat perspective on failing relationships perfectly complement the folk-meets-funk sound she and her band create, and though Bee Stings is nothing revolutionary, at the time it seemed a welcome breakthrough for a unique and talented artist. Thao and the remainder of her band—dubbed The Get Down Stay Down, and comprised of bassist/keyboardist Adam Thompson and drummer Willis Thompson (no relation)—are now back with their second full-length, Know Better Learn Faster, the band's third effort and one that surpasses the quality of its predecessor while moving the band stylistically forward. The formula the band follows is similar this time around, but guests such as Eric Earley from Blitzen Trapper and Andrew Bird lend the new record a bit more variance and depth. (Continue Reading @ In Review Online)

Review: Thao with the Get Down Stay Down - Know Better Learn Faster (* * * *)

I was introduced to Thao Ngyuen's music at the beginning of last year with the release of her album We Brave Be Stings and All, which I thankfully stumbled upon and quickly fell in love with. Her distinctive but ear-pleasing voice and quirky, enlightening look into relationships was perfectly complemented by the sometimes folky, sometimes funky sound she and her band create - charming, bright, and endlessly catchy. She and the remainder of her band - The Get Down Stay Down (bassist/keyboardist Adam Thompson and drummer Willis Thompson) -are now back with another full-length entitled Know Better Learn Faster, the band's third effort and one that at least matches the quality of its predecessor while moving the band stylistically forward. The formula the band follows is quite similar this time around, but guests such as Eric Earley from Blitzen Trapper and Andrew Bird lend a bit more variance and depth while the band approaches these tunes with groovier, more danceable attitude.

Opening the record is a 30 second gospel stomp called "The Clap" that left me wanting much more upon first listen, that is until the intro guitar lick of "Cool Yourself" met the funky bass line and simply effective drum riff under Thao's welcome first vocal appearance - and when the horns came in for the "whoa whoa whoa" refrain, I was in pop heaven. And so it continued as I made my way through the record, each great moment subsiding into something equally as fantastic and smile-inducing. The band doesn't frequently over-complicate their music - leaving Thao plenty of room in the spotlight, but their attention to instrumental detail gives these songs so much life; Willis Thompson is a wizard on percussion, using a variety of techniques and instruments to create just the right sound at the right time, while Thao's guitar and Adam Thompson's bass twirl nimbly around each other constantly. Also, little extras like Andrew Bird's unmistakable violin work and whistling on the album's title track provide the occasional and pleasant surprise. The music works best when upbeat and cheery (even when the lyrics are decidedly less so - Thao herself labeled this as a breakup album), like the aforementioned "Cool Yourself," the clap-happy, groovy "Fixed It!," and the bouncy closer "Easy." The few ballads are slightly less consistent, but they round out the record's 13 tracks appropriately without disrupting the momentum much.

Thao's energetic and emotional (and usually optimistic) nature is infectious - allowing her to transfer the feeling of each melody and lyric directly to the listener, which makes Know Better Learn Faster a rich and enjoyable experience from any angle. Also, it's unlikely that you'll hear anything quite like it this year or any other, for that matter - the trio have made something both unique and inspired. There are a lot of great rock albums to hear this year, but you'd be a fool not to make time for Thao and the Get Down Stay Down.

MySpace

The Portland Cello Project welcomes Thao and Justin Power

I recently had the pleasure of being introduced to the music of the Portland Cello Project, the appropriately named musical collective consisting of a shifting lineup of 18 cellists that play everything from Bach to Britney Spears. While that may sound like the recipe for one of those awful 'string tribute to" albums, the band are getting ready to release a surprising and gorgeous record entitled The Thao and Justin Power Sessions, featuring selections from both musicians as well as some PCP instrumental covers from unrelated sources. Thao, who's quirky vocal style has caught my attention before, and Justin Power, who I've never had the pleasure of hearing, both perform previously written and recorded songs given new life from the collective's beautiful and appropriate string arrangements, resulting in some thoroughly impressive moments on the new album.

Though it would seem Sessions might appeal most to those familiar with either of the two artists mentioned in the album's title, I found the music immediately engaging despite my relative unfamiliarity with the material. After one listen, I was hooked. Power's offerings revolve around his acoustic guitar and slightly rough tenor voice which are wisely allowed to shine through the swirl of strings. Both the delicate, lonely "Hungry Liars" and the somewhat haunting closer "Travel" are excellent. Thao's tunes have a more theatrical edge to them, like the aching "Tallymarks" and the whimsical "Violet," but they stay fairly relaxed as well. PCP's arrangements add a measure of poignancy to her lyrics but they stop short of completely reinterpreting the songs.

The instrumental covers are nice enough and they tie the record together, but it's the guests that shine brightest, which is just as it should be. Effectively blending the talents of these singer/songwriters with the cellist's exceptional musicanship, The Thao and Justin Power Sessions is an album that should hopefully push this group further into the spotlight, so I suggest you check out Portland Cello Project as soon as possible. To hear some of the band's older music, check them out on MySpace, and be sure to download "Tallymarks" below.

Tallymarks (MP3)