The crowd danced all set-long with the unique and familiar sound of Allah-Las, it is actually very hard to stay still since their catchy 60’s-infused and stylish songs are very groovy and induce an irresistible little dance which makes you lean your head back and forth. With all this coolness, there is not much action on stage, but their repetitive groovy magic brings a slight druggy state while everything navigates inside a very calm and serene psychedelia. They pretty much all sang, added a slide guitar at one point, and the music almost sounded like the soundtrack of beachy romantic movie of the 60s. Should I add that joints were smoked during their set?
What Kaki King does is really unique and spectacular, and her set was simply amazing and very creative. Her finger picking and whatever she does with her white guitar goes from classical to a sort of flamenco style to grandiose distortions during which she managed to make her instrument sound like a cello and Jimi Hendrix’s guitar at the same time. She plays alone but her rhythmic compositions make her sound like an army. During her entire set, her magic white guitar was the screen of projections matching the background projections, and her instrument became a palette, a postcard, a landscape, as it mostly embodied all the metaphors used for music. And, in the middle of her very poetic and creative set, she engaged in the most furious distortion of the night. Her ever-changing guitar was a firework, many starry nights and all the elements at once, it became fully alive as if it wasn’t already very alive when Kaki King is plays and does shit I have never seen people do before.
Wavves broke all the rules and the barricades, I mean the crowd did all this and people invaded the photo pit at the first song. Before I could realize it, I saw the barricade falling down despite all the superman efforts of the security and I jumped on these big black boxes which were in front of the stage. I heard a fellow photographer said ‘I am out of here’, and without thinking too much I soon followed him, walking on stage in the middle of the band’s set. It was the only way to escape this crazy rowdy crowd. I heard Nathan Williams say, ‘They want us to cut off our set,… so calm down,… oh do the fuck what you want!’ This was wild and intense, every photographer I talked to afterward said it was scary, like a real punk show. But I had seen this one coming, sort of, it was not my first Wavves show, and I knew they had the power to start a riot. With shaky legs, I saw Wavves’ set behind the stage, then on the stage and I saw people going crazy and crazier… as for the music, it was a wall of fuzz and they may have played King of the Beach, although I would not be able to tell
The dreamy band Cults calmed down the crowd with their sugary tunes visited by a modern Phil Spector’s girl group and Madeline Follin’s honeyed vocals. There is a real sweetness in everything they do… ‘Why are you so lovely?’ asked someone in the crowd. The new (to me) tunes sounded a bit different, still light and cute, with a charming catchy power-pop appeal. Many of Cult’s songs have this retro feel of a languid dance floor that lovers listen to, cheek against cheek, as a matter of fact, Madeline dedicated a song to lovers. The pit was still invaded by the young crowd, but it was much quieter as people were ending their day, in awe for the rest of the night.
son of Mali guitar legend meets instrumental psyche band
a warning for other women
Her colossal stage presence is timeless
Marshall Crenshaw’s “40 Years in Showbiz! (1982-2022)” At City Winery, Monday, September 26th, 2022, Reviewed
the musical equivalent of how Crenshaw at 67 years of age continues to live life as an artist
The Streaming Charity Performance Of The Year, A Six Hour, Worldwide Extravaganza To Help Children For $5
music and care for a world in pain
at the top of the singles charts and at the top of the movie box office