Jesika Von Rabbit had a residency at the Redwood bar this month and for their last night on Thursday, Blackbird Days and Flames of Durga had also joined the stage for a very fun night of female desert-rock music, if there is such a thing
Blackbird Days, fronted by singer-songwriter Monique St. Walker, played a very melodic indie rock intertwining different vibes. Their baroque sound often echoed a more female version of the most romantic desert rock you know – Alain Johannes (Eleven, Queens of the Stone Age, Them Crooked Vultures, PJ Harvey, Arctic Monkeys, Mark Lanegan,… has produced their most recent material – while the yearning in the melodies did often remind me early Radiohead. With guitar-layered songs, they put a spell on the Redwood crowd gradually going into expansive and complex soundscapes, with an occasional middle Eastern-ish twist, beaten by their high-energy drummer and haunted by Monique St. Walker’s howl. Since they played only new material off an upcoming album, Blackbird Days are obviously a band to follow in the near future.
Flames of Durga were as hot as their moniker, two twin sisters on guitar/bass taking the right rock ‘n’ roll pauses in front of Nate Million’s spectacular drumming. With a rebellious attitude and a heavy sound channeling the hard rockers of the past, Beah and Cecilia Romero played and moved like arena rock stars, launching screamed harmonies after each one of their aggressive riffs. They were there to impress with synchronized headbangs and a heavy sound played with the spirit of early feminist punk, and it’s probably not a coincidence if they have included L7, Bikini Kill and Babes In Toyland in their bio. There was something wild and liberating in their music, a double fury in action, a mirror set of flying hair and tentacles drums, drowning in unison distortion.
Jesika Von Rabbit brought back the dance floor in the middle of this rock ‘n’ roll scene with grating guitar, psychedelic keyboard, and plenty of infectious tempos. The self-proclaimed queen of the high desert led her pack with an unapologetic swagger and plenty of weirdness. Watching the band on stage is like experiencing a UFO landing in the middle of the desert filmed by David Lynch, there is an undeniable cinematic vision inside the absurd perspective, like a film noir on psychedelics, a ‘Paris Texas’ peep show with red rabbit-go-go-dancers. Flanked by her musicians who were wearing western outfits, Jesika commanded the stage with her blonde presence and strong vocals while playing cuts of her recent album ‘Dessert Rock’, a savant collage of desert-inspired music from ‘Children of the Dust’ to ‘The Mushroom Haired Girl’ or ‘Palm Springs Livin’’. Between provocative samplings, original sonic amalgams, psychedelic dancefloor, and offbeat electronica dance scenes, their psilocybin-induced music was as fun as it was experimental. It was delivered with a will to conquer any territory while bringing a piece of Joshua Tree in the middle of Downtown LA
Jesse Hughes aka Boots Electric, closed the night with an acoustic set of original songs and many covers, as he often does at the Redwood Bar. As usual, it was a laid back, intimate set, which offered the occasion for the Eagles of Death Metal frontman to get close and personal with his fans, ending a long and exciting night of music on a warm note.
“Elton in the house!”
Moses Sumney plays two shows at the Ford
the highest week 1 figure since Ed Sheeran’s Shape Of You
the most disposable things to collect
a covid-19 as break up, post-pandemic as new love metaphor
The Earliest Bird: Top New Recorded Release 10-22-21-10-28-22, Jack White’s “Taking Me Back and “Taking Me Back (Gently)” Reviewed
where an innocent child discovers his parents are from another planet
a pulsing badass number
a window into Paul Simon’s legendary career
No Mansfield is a rockstar and so much more…….