I was kind of hoping to see the LMG designed, projection mapped space orb with the art and graphics created by Sean Evans (Roger Waters’ The Wall), but the Smashing Pumpkins scrapped that along with playing Oceania in its entirety for this leg of the world tour. The new set up isn’t quite as magnificent, but the pyramid-like projection wall behind the band did its job to support the music.
The Pumpkins came out swinging with a gut-punching metal fest. “Zero,” a heavy, riffed-out version of “Starz,” and “Rhinoceros,” followed the opener, “Where Boys Fear to Tread.” “WBFTT” was very similar to the Mellon Collie tour version with a searing heavy metal intro:
A huge surprise as Billy dusted of “Rocket” for the Melbourne appearance:
The heaviness continued with fan favorite, “XYU”
Mainstream classics like “Tonight, Tonight” and “Disarm” were even given the heavy treatment. An Oceania suite or chunk of songs replaced playing the full album beginning with the title track:
One of the better new songs in concert proved to be “The Chimera” with an uptempo and dueling buzzsaw guitars:
Another fan favorite and Mellon Collie deep track, “Porcelina of the Vast Oceans” closed out the night. It’s also a fan favorite for the Pumpkins to end on a soaring epic rather than a shorter, more popular song like “Today.” “Porcelina” is a newer setlist addition to this incarnation of the Pumpkins. If I’m not mistaken it didn’t appear until their SXSW appearance.
The mighty SP was super tight, fiercely loud, and heavy. Despite the ferociousness of the music, the band was lighthearted and giddy. Billy seems happy and unlike the past, the band is actually happy to be there too. The positivity is apparent in the music. When once shows were fueled by quarrels or Billy taking over the show himself, it now seems more like a band working together toward the same goal.
Private VIP Pre-Concert
They are doing these killer, uber-intimate pre-shows for those who can spare the change. I cannot. They busted out this sweet baby from Machina II (God I hope there is a reissue for that).
I’m not the biggest Rush fan in the world, but as a metal, hard rock, alternative fan I can’t dismiss the gods of prog rock – especially with the chance to see them from a plush executive suite at the Amway Arena. Rush played with the true fans in mind. Here’s my definition of the true fan. I’m a casual fan. One of the guys in the box with me was “a big Rush fan,” but he was a 70s FM radio Rush fan. He knew the stories and urban legends, he has seen them 20 times, but he was getting hammered and waiting for all of their arena anthems. They let him down. But the true Rush fan, the ones that loved them in the beginning, and held on, appreciating where they were going through the 80s and early 90s were smiling ear to ear.
Rush came on around 7:30 an played until 11pm. The first set was a mix of more recent music like “Far Cry” from Snakes and Arrows and 80s cuts like “Grand Designs” from Power Windows and “Subdivisions” from 1982′s Signals. Next was a section highlighting their latest album, Clockwork Angels. They closed with a monster set that highlighted some deeper stuff from early Rush. No “Limelight,” no “Working Man,” not even a “Fly by Night” so as I said, fan boys were lovin’ it!
“Carnies”
Now I feel corny recording “Tom Sawyer,” but I was actually holding out for “Limelight” and “Working Man” (remember, I’m just a casual fan):
Metal fans at the House of Blues were greeted by four members of Anthrax around 9:40 pm to deliver some disheartening news. Frank and Joey disclosed that they had just left Scott Ian’s side at the hospital where he was diagnosed with food poisoning. Although Scotty’s night had gotten decidedly shitty, the rest of the guys were going to soldier on and give Orlando “the best god damn Anthrax show they could get.” Anthrax is a true band. They are not Anthrax without Joey. They don’t feel the same without Frank or Danny (although Dan’s successors have been phenomenal), they wouldn’t be the same band without Charlie, and they certainly couldn’t be Anthrax without the wicked, grinding crunch of founding member, Scotty’s rhythm guitar and stage banter, right? Sort of. Note: Some fans may differ, but I say this because I mostly tuned out during the non-Belladonna years.
I assumed that a guitar tech might fill in thunderous effect that Scott brings, but Shadows Fall shredder extraordinaire, Jon Donais, shouldered the load himself. The band was blistering and tight and so loud that they did a commendable job in the situation with such short notice. Fucking pros. As promised, they played Among the Living in its entirety (well, “Imitation of Life” wasn’t played), but not in sequence. I’m not sure if it was a last minute change due to Ian’s absence or if they’ve been doing it that way. Listening to the videos again it is more obvious that a guitar is missing than being drunk at the live show:
“I Am the Law”
They busted out “TNT” and Joey did a better-than-Bon-Scott Bon Scott from their collection of 70s arena jams titled Anthems
“Indians” Besides the 2-guitar assault, Scotty was missed during classic banter moments like the Waaaar Daaaaance!
“Got the Time” is one of my favorites. It’s so catchy that despite being hard and fast even non-metal fans can’t help but to like it:
“I’m the Man” is another one where Scott’s absence was glaring. The thick New York accent gives the rock/rap some cred and he is the yin to Frank’s yang on this one. They closed with a “drum solo/ I’m the Man / Antisocial” medley. At one point – somewhere between I’m the Man and Antisocial – people in the pit began vomiting in unison. I thought maybe Scotty was spreading the disease (get it?) from afar, but it was more likely the mixture of beer and exercise, but about 5 or 6 people began vomiting in close proximity of one another a la the pie eating contest in Stand By Me. Metal!!!!
Come to think of it, I don’t think Exodus played because Municipal Waste was before Anthrax. So Scott got sick and Exodus wasn’t even at this show.
The great thing about being a collective is the breadth of talent you can incorporate into an eclectic sound. The flip side to that is you can come across incongruous and lacking focus. NYC chamber pop collective, The Sharp Things, walk a fine line between good band and interesting promo sampler.
The 99% need a theme, an anthem. I’ve been waiting for a resurgence of real punk rock; furious earsplitting guitar with whipsaw drums and lyrics that articulate the angst of the growing poor and disappearing middle class. There is a royal ass-fucking being had by all at the hands of an “elite” few working in fascist collusion with government. Debt is created to drive an insane war machine and make a small few mind-bogglingly wealthy while wiping out the rest of us. What was once a conspiracy theory is out in the open daring us to do anything about it. We need a rallying cry and although not punk, “Blame the Bankers” is the closest thing I’ve heard yet besides that Ron Paul song.
From there, TST move all over the place. “Here Comes the Maestro” is something like Power Station; an 80s power pop song. The sweet “Flowers for my Girl” has a bubblegum, 60s, Herman’s Hermits sound. TST puts a stamp on Green is Good with “Lights.” This was the first song I heard and it struck me with its “Eminence Front” meets Doves feel. And I don’t know why, but “Goodbye to Golders Green” sounds like a Dr. Feelgood era Crue power ballad played by The Replacements with a horn section. Make sense? I thought so.
Green is Good is drenched in keys, horns, strings, and vocal harmonies that expand the scope of traditional pop sounds. Every song may sound like a different band, but in a world with its iPod on shuffle it may be perfect.
This came out of left field for me. I’m sure the union of David Byrne and St. Vincent got a lot of press but I didn’t see it. The idea of these two working together was enough for be to buy the record sight unseen (sound unheard?). This is a phenomenal collaboration. I can’t say much more than it sounds like exactly like what you’d think David Byrne and Annie Clark together would sound like; fun, funky, weird, slightly dark but in a playful way, progressive and rockin’. It’s haunting in it’s modest brilliance. I really could pick any song from Love This Giant and get your attention.
“Dinner for Two” is a clear example of the two musical worlds colliding:
They trade lead singing duties on most of the songs coming together in harmonies and backing vocals. “Lazarus” is the only true duet:
Opening band, Dead Sara, was pretty good. Their LA roots bled through with a sound that was equal parts 80s Sunset Strip cock rock and 90s alt rock. The band was tight and lead by a singer with a powerful voice that aroused me sexually.
Speaking of arousal, Muse gives me a (rock) hard-on. Matthew Bellamy basically stood next to the Amway Arena and chopped it down with the edge of his hand. His Thom Yorke-ish croon and effortless, Corgan-like avalanche of heavy, flailing guitar couples with a thunderous rhythm section and sounds like a prog-rock Queen on steroids. Christopher Wolstenholm crunched out distorted bass lines and drumming heavyweight, Dominic Howard, pummeled his left-handed kit ruthlessly. Clever left-handed drummers always seem a cut above.
“Madness”
I first saw Muse at Coachella in 2004. They played at about 3 o’clock in the afternoon, under a blazing sun to 200 lounging festival-goers and rocked like they were headlining MSG. It wasn’t the 120 degree heat that was melting faces. Muse brought the same intensity with a polished presentation in a top notch and a mildly subversive multimedia show. Scrolling images of banks, bankers, and stock tickers beamed across an elaborate collection of LED screens. Anthemic lyrics like, “Time has come to make things right / You and I must fight for our rights / You and I must fight to survive” blazed on the same screens. As the first set ended, a Q-bert-like levitating pyramid of televisions filled with MSM talking heads flickered and swirled, eventually swallowing the band as they worked in an outro that was the riff from Rage Against the Machine’s “Freedom.” It all seemed like a rallying cry for our leery zeitgeist. I wanted to scream, “I’m mad as hell and I’m not going to take it anymore!”
What do the macabre champions of gypsy cabaret and a 19th century existential poet/ philosopher/ theologian have in common? A nagging existential angst? Maybe. Or is it that The Tiger Lillies’ new album, Either Or, is titled after and inspired by Soren Kierkegaard’s famous eponymous book? The record works two-fold: first to explore the themes and musings from the Dutch philosopher, and second to create a story serving as the libretto for the subsequent stage show about a shady Shanghai nightclub circa 1937.
Either Or begins with the cheeky, almost fun “Blood Alley.” It comes across like Vaudevillian hip-hop – or possibly the theme song to a wildly inappropriate children’s show – with its lilted backbeat and catchy singsong narrative about the urban underbelly. This may be the “funnest” song in the lot – a slight departure for The Lillies – as the rest of the album plays out somber, heavy and dark. It also sets the scene for THE EITHER/OR CABARET:
“THE EITHER/OR CABARET takes place in a nightclub in Shanghai in 1937, where Chinese and Europeans live their dreams. Outside the city swarms with enemies. Should the nightclub patrons stay or flee?”
This brief description of the play is an existential parable in itself. Stay and enjoy the comfort of vice at your own risk or bravely break away and build a new life?
“BLOOD ALLEY”
Kierkegaard’s perspective is woven into the story instantly by exploring the perils of hedonism and relaying morality tales in a series of anecdotal songs. Either/Or, as its original written work, explores the Aesthete vs. the Ethicist or the pursuit of pleasure vs. a pursuit of morality and altruism. Songs like “Nothing is Sin” and “Gutter” are pure, sick Tiger Lillies embrace of the dark and seedy. “The lowest things normal are / You’re giving blowjobs in their cars / In their cars / You take it all / You smile and laugh / As they stick it up your ass / Up your ass.” From this perspective, the album seems to focus on Kierkegaard’s Either more so than the Or as it underscores the aesthetic or pursuit of instant gratification.
Other songs investigate broader themes of the Dutch philosopher. The brooding piano ballad, “Boredom” speaks to the assertion that being bored is the genesis of evildoing. Kierkegaard noted, “Boredom is the root of all evil – the despairing refusal to be oneself.” Martyn Jacques of the Lillies sings, “I would be happy, but need a thrill / Give me a whore, give me a pill / Give me a war for which to fight / Give me a bank to rob tonight / From boredom each evil thought is formed / Boredom, the devil’s spawn.”
“Innocence” addresses the flipside of boredom as a young, drug-addled prostitute dreams of another life, bored from the pleasures of sin: “Sometimes as they stick it in / I get bored from all this sin.” This dark, fragile story is followed immediately by “Sailor,” sung from the trick or john’s perspective; “She licks my cock / It’s kind of sad / As an actress / I suppose she’s bad / She’s done it all / 10 times before / And that is only / Today I’m sure.”
Musically, the album has all the marks of the Tiger Lillies with Adrian Stout’s clean, punchy stand-up bass and tricks with his bow, clever percussion (sans Adrian Huge this time), and the addition of multi-instrumentalist, David Coulter (The Pogues, Radiohead, Tom Waits) who helps create atmospherics with banjo, uke and violin, nose flute, jew’s saw, weeping saws, maracas, ominchord and clackamore. Then there is Martyn Jacques‘ cockney falsettos and growls accompanied by harmonium, piano, and his trademark accordion. An insidious accordion, recognized as traditional and innocuous, lures the listener by legitimizing the music and softening the blow of the content.
TTL again manage to take lofty themes from the humanities, turn them inside out so their guts show, creating dark and clever theater with their unique musical interpretations as the backbone. It might be hard to associate the works of a theologian like Soren Kierkegaard with such a graphic and disreputable tale (especially with lines like “Fuck God up in heaven/ He isn’t all there/ He’s just an imposter / Behind beard and hair”), but it’s the examination of the “aesthetic” in human existence and ultimately, the awakening of the spirit to rescue the “single individual” from this life (or not) that plays with Kierkegaard’s themes.
A musical journey using the backdrop of a seedy Chinese opium den – and the twisted, dark souls that inhabit it as the characters – to delve into the themes of a 19th century philosopher / poet is pure Tiger Lillies. The release of the album and debut of the show coincide with the bicentennial celebration of Kierkegaard’s birth. The show will be playing in Shanghai, but luckily the album is available everywhere.
The Bright Light Social Hour stormed The Social in Orlando and tore it up much like they did on their previous visit. Their last show had 80-100 people and I predicted that the next one would sell out. This one didn’t quite sell out but there was easily double the attendance.
These guys bring the heat, infusing funk, blues, southern and psychedelic rock, and just enough pop to make them palatable to those outside the jam or rock crowd. Their self-described Future Southern-Fried Deep Soul packs a punch. Check out the SubAp! concert review of the New Year’s Eve show in Tampa
I’ve seen many shows over the years and Austin’s Bright Light Social Hour are one of the best bands I’ve witnessed live – and that’s a bold statement. Their stop at The Social here in Orlando was certainly a highlight for 2012. They are closing out the year in Central Florida with a show on the 29th at The Social and a New Year’s Eve blowout in Tampa at The Ritz. I caught up with these new found monsters of rock, blues, and psychedelia just before the end of the world (Pff, what a let down) to discuss Christmas gifts, going out in style for the apocalypse, rap cat, inspirato, jammin’ out, and their hatred of Tampa (hahaha – just kidding Tampa – you win).
Roll call: Who are you and what do you do?
I’m Jack O’Brien. I play bass and sing with The Bright Light Social Hour, among other things.
Bright Light Social Hour? Sorry for being lame, but what is the origin of the name?
Curt (Roush – guitars / vocals) and I started the band in college, and at the time he was studying Indian activist Arundhati Roy, who described the activist’s job as shining a bright light into the dark corners of society. We dug the concept but our approach and music has always been centered around community and gathering so we wanted to include something to that effect as well.
What kind of party is happening on your album cover and how do I get invited?
Ha, we just invited a ton of friends, brought a bunch of beer to the greenbelt in Austin and had a little day party. The photographer and art director took a ton of photos and we just put together our favorite ones. I’m pretty sure there are a few randos in there who just walked up, that could’ve been you!
It should’ve been me. I can rock the cut-off jorts.
I never checked out the band before the last show here in Orlando. You guys kicked my fucking teeth in (a bill is in the mail). This is how I described the sound:
“A hefty mix of the southern rock and eclectic pop of My Morning Jacket meets the frenetic energy of Morning Teleportation. These four guys are sick – drums, bass, multiple lead vocals, keys (mostly with organ sounds), and guitar are spot-on. The show went from crazy, high energy jams to spacey, tripped out interludes that supported smart, powerful rock n’ roll with a twist of bar room blues. Basically, they are all over the map but The Bright Light Social Hour does it seamlessly and with ruthless authority.”
How far off am I? How do you explain the band’s influences and sound?
I dig it. Lately we’ve been calling it Future Southern Psychedelic Deep-soul, but we’re probably the worst people to ask. We’re serious students of music of all types. We love old soul, blues, deep-funk, house, electronic, I could go on and on. I went 2-stepping last night.
Live shows are vital for a rock band’s cred, but nowadays, constant touring is a given. You guys seem to thrive on stage. Is that the case? Are you still at the point where it is an adventure and shows are fun? You know, every show is a step forward towards gelling the band and growing as a unit or has this sweaty two-hour, nightly commitment become a drag with heroin and handfuls of pills just to get you to normal?
Haha! No man we absolutely live for the live show! The goal is for both us and the crowd to leave exhausted and fully satisfied.
What inspires you to create music? Kittens?
The future. The South. Outer space. Oh, and Rap Cat fo sho:
Being in the early stages of the band and playing night-to-night, city-to-city and winning over new fans with every stop, what kind of audience inspires you – makes you feel like you’ve connected with them? The type of scene where it might not be a home crowd singing all the words, but a mostly new audience.
An audience with an open mind an open ears is always best. Someone we can pass the spirit energy back and forth with, let it grow as we go. It really builds a connection, but both parties have to be open to it.
Are there bands that you guys see or check out at shows and they get you fired up and make you want to play?
Yea definitely. There’s an incredible 10-piece psychedelic Afrobeat band from Austin called Hard Proof that always makes us lose our shit. When choosing an opening band, promoters usually value someone with a good draw or similar sound to the headliner, but I think the best thing an opening band can do is get both the crowd and headlining band fired up; you gotta preheat the oven before you stick the meat in.
That’s what she said?
The 70’s rock, psychedelic, and blues elements of the band all lend themselves to jams. The album certainly showcases some jams, but how much of the live show is just free form, spontaneous noodling around song themes and how much of it is rehearsed departures? I guess I’m trying to figure out how you work together and sort of stretch out around your tunes.
Most shows there’s not much total improv, more rehearsed departures that develop over the course of a tour. But when we get the opportunity to play a longer headlining set we love to just get weird with it and go some unexpected places.
OK, I’ve never been to Austin. I’m in town for 48 hours. What do I do?
Sunbathe topless at Barton Springs, catch a Big Lebowski quote-along with a great local IPA at the Alamo Drafthouse, eat some killer cheap Mexican food at Las Cazuelas on the east side and go 2-stepping at White Horse.
Are you bracing yourself for the Mayan prophecy of end times?
I tried to have an orgy but no one showed up.
Well, the guy at the door wouldn’t let me in …
Speaking of end times, has Alex Jones ever ventured out of his bunker in Austin to check you out?
Had no idea he lived here.
Oh dude! Look him up. He’s a bit of a sensationalist (understatement alert), but some of his core libertarian views underscore the message of Arundhati Roy
What do you want for Christmas?
Jo: Moog Voyager XL
Jack: a new pair of Converse, my foot is sticking out the side
Curtis: a new Speaker of the House
A.J: Gollum
OK, time to make some enemies. Being somewhat familiar with Tampa and Orlando, which city do you enjoy more? (It’s ok to be honest. Everyone knows Tampa can be a little dirtbag-y and Orlando can be a little douche-y) Looooove both but Tampa’s a little closer to the beach…
OK, I can dig that. West Coast Florida beaches are tough to beat.
What is coming up in 2013 for BLSH?
We’ll spend the first half of the year writing the next record, hopefully to release it toward the end of 2013. We plan on doing a lot of summer festivals and touring like crazy as soon as we finish up in the studio.
***
This band is built for shredding the festival stage, but if you can’t wait until summer (and you shouldn’t), it is my wholehearted recommendation that you SEE THIS BAND on December 29 at The Social in Orlando- GET TICKETS – or ring in the New Year right at The Ritz in Ybor City – GET TICKETS
Check Out the Bright Light Social Hour’s Resolutions for the New Year over at Suburban Apologist
In case you need some more inspiration to get out and see these guys:
Silversun Pickups swirled quietly into town last night and put on a hell of a show despite lackluster audience attendance. Touring behind a modest departure in Neck of the Woods I expected a larger audience as this record lets the new Smashing Pumpkins (as I like to call them) stretch their legs a little bit and lean even more on the sonic wizardry of Joe Lester. They were also minus a super preggers Nikki Monninger. Filling in for her was vivacious indie super-cutie, Sarah Negahdari.
I was kind of hoping to see the LMG designed, projection mapped space orb with the art and graphics created by Sean Evans (Roger Waters’ The Wall), but the Smashing Pumpkins scrapped that along with playing Oceania in its entirety for this leg of the world tour. The new set up isn’t quite as magnificent, but the pyramid-like projection wall behind the band did its job to support the music.
