I saw Noname perform at The Crocodile this past Wednesday. Ravyn Lenae opened for her, and needless to say they were both incredible. I had been anticipating this concert for quite some time now (I ordered the tickets in November), and the night had finally arrived.
First things first, I had also bought meet and greet tickets for my lovely girlfriend in an effort to blow Valentine’s Day out of the water. For the most part I think it was a success. She was excited to meet Noname, as was I, of course. Unfortunately, we both had different reactions to talking to her in person. She was so nervous that her mind started racing, asking Noname-whose real name is Fatima-question after question. This was a godsend, because I was so nervous that my mind drew a blank and stood there sheepishly, only mustering the courage to introduce myself and say “yes” a few times.
After a photo op with Fatima, it was time for the concert. Unbeknownst to me, there was an act before Ravyn Lenae. Local Seattle rappers Nyles Davis and Mo Money got the show started, but not exactly as I had expected. Noname and Ravyn Lenae’s musical styles both exude peacefulness and don’t try to be in your face. Davis and Mo Money were both accurate reflections of what rap is becoming: repetitive lyrics over bass-heavy beats. Their music reminded me a lot of Lil Uzi Vert, my least favorite rapper in the game right now. Mo Money also got really sweaty and it was flying everywhere, so that didn’t help his set improve.
Finally, the time came for the actual concert to start, and Ravyn Lenae came out. And let me tell ya, her voice was jaw dropping. I knew it was good when I listened to her music on Spotify, but it was probably even better live. Each song she performed had multiple vocal inflections where she would change the note while she belted out a single word or sound. My previously hefty expectations had been exceeded somehow and I was witnessing an angel on stage.
Lenae also took the time to explain the meaning behind each song before she performed it. I had listened through her Moon Shoes EP multiple times, but had never taken the time to thoroughly listen to it and pull the meaning from each song. I found myself listening much more intently, trying to connect the lyrics to the explanation she had given just a few minutes earlier. Also, she put the mic in front of my girlfriend to sing a part of a song, but evidently the pressure was overwhelming and she could only sing for a split second before laughing it off. To be fair, I would’ve done the exact same thing, and Ravyn probably would’ve gotten the whole crowd to make fun of me because I can’t sing as well as her. That may have been why she did it in the first place.
Lenae’s set ended after about 45 minutes and it was time for the headliner, Noname. Her debut album Telefone was one of my favorite albums of last year. It was meaningful, perfectly produced, and it introduced me to a female rapper that I actually enjoyed (sorry not sorry Nicki Minaj and Iggy Azalea). Noname’s band was the first to come on stage, performing a few minutes of smooth instrumentals before Noname came out to open with “All I Need”. To my relief, she sounded exactly like she did on Telefone. The live band was a great addition; Davis, Mo Money, and Lenae all performed over recordings of the instrumentals to their songs (Davis actually rapped over recordings of his songs with the rap recorded too, so he didn’t have to work as hard). Noname performed Telefone in its entirety, as well as her verses for Mick Jenkins’ “Comfortable” and Chance the Rapper’s “Lost”. Ravyn Lenae joined her on stage and they performed “Forever” together, which was easily the best moment of the night. Noname’s discography still has some growing to do, because she ran out of music to perform after half an hour. Despite the short set, Noname was excellent on stage and had the audience captivated the whole time.
The concert as a whole was great. The surprise openers got the concert off on a sour note, but Ravyn Lenae and Noname more than made up for the openers’ slip-ups. Both either performed exactly as in their recordings or far beyond what I had expected. Once they expand their discography there will only be more demand for them to go on tour again, and I look forward to when that day comes. Check out each artist’s music below.
Oscar winner Juicy Jwrecked my soul at The Neptune Theater last night. Oh yeah, yes, it’s true, Juicy J and Leonardo DiCaprio have the same number of Oscars.
Project Pat brought out Nasty Mane and they performed some
booming bass music with predictable yet catchy lyrics.
Belly came out next. Never heard of him before. He does boast a bit of a belly though, which could point to the origins of his stage name. His
real name, according to the internet, is Ahmad. Further perusal of the internet
reveals that Belly was born in Palestine. Diversity! Yay!
Okay, that’s enough with the facts. Here’s more opinion:
Belly’s set was damn good. I now follow him on Spotify. His song with Travis
Scott bangs confirmed.
Then the stage was empty for a while. Anticipation hung in
the air thicker than the sweat—and there was a butt ton of sweat.
Juicy J is a distinguished dude with an enviable career—Three 6 Mafia
and an Oscar then a TGOD comeback with Bandz a Make Her Dance then a really
good album and now mixtape after mixtape of roof rattlers.
Anyways he stormed on stage, scarf draped over his head just like my mom wears a dupatta. Instantly I declared him my newest role
model. My list of role models was 29 pages long on Microsoft Word. Now it is 30.
I’ll be honest—I don’t know that many Juicy J songs. But
that didn’t stop me from leaping around like an electrified monkey. Bass on The
Neptune’s speakers exploded my brain into dripping mush—Beautiful. I still
haven’t recovered. At one point Juicy played a bunch of Three 6 Mafia numbers and
I knew the words so I screamed them and it was great.
Times like those, watching awestruck as an Oscar winner
screams down at you “YOU SAY NO TO DRUGS, JUICY J CAN’T,” you wonder what life
is really all about. Because maybe, just maybe, all you have to do is keep doing
your thing—whatever that thing may be—and you’ll eventually win.
Juicy J, legend, you inspire me to be the best possible me. Safe travels.
This Friday brings a recent discovery for me to the nearby Neptune Theater. Destroyer, fronted by Dan Bejar of the Canadian indie band The New Pornographers, will be bringing his unique voice to fill the rafters of the local theater.
Poison Season is a showcase for a variety of lush instrumentals behind Bejar’s often imploring and questioning vocals. Ranging from golden trumpets to strings, sax, piano, flute, (yes, flute) and your standard guitar and bass, I am sure his live show will sound as beautiful live as they do on record, if not more so.
And while you’re at it, watch his amusing and oddly fitting stop-motion video for ‘Times Square’. It’s not what you would expect!
Opening will be Frog Eyes, with doors at 8 and the show starting at 9. Get your tickets here if you haven’t yet.
been a Shlohmo fan for years now,
so I bought tickets to his show as soon as he announced a tour. That was way back around
the start of the year.
I whiled away the months
leading to the show by revisiting his impressive discography. I’ve long
considered his Laid Out EP to be a
In March, Shlohmo dropped his new album, Dark Red. The
album was a stunning departure from his previous releases. But it still had all
those classic Shlohmo elements, like menacing basslines and warped notes.
Definitely an album worth checking out.
music isn’t the dance-y kind. His music reminds me of dark basements and scary
nights and pain and zombie apocalypses. It’s pretty great. That’s why I was
surprised when I started dancing at the show. Everyone was dancing. It was
probably because Shlohmo’s basslines were even more immense on Neumos’s bumping sound system. Shout
out my ear drums for not exploding.
I love it when electronic
artists bring out a band. Shlohmo brought out a drummer and a guitarist and
also occasionally wielded a guitar himself.
The light show was crazy
intense. The lights and the music complemented each other beautifully, surging
and receding in harmony. At times, shrouded by the spotlights, Shlohmo seemed angelic.
He mostly played cuts off
his new album, but didn’t forget fan favorites like Places and Later. Later is my favorite Shlohmo song ever.
I cried sweet tears of joy when it came on. Well, maybe not. Nonetheless, I was
About an hour into the
set, Shlohmo and the band just ran off the stage without warning. “Is that it?”
Hell no. The lights flared
up and Shlohmo ran back up on stage. He grabbed the microphone and reassured us,
“That was a joke. This is real life now!” He played us one last amazing song.
Then, unfortunately, it was over.
My one beef with the show
was that the two openers, Purple and Nick Melons, had sets that lasted
about an hour each. That’s a bit long, as openers go. I was restless, standing
on sore feet waiting for Shlohmo to come out. But the openers were pretty tight
so it was cool I guess.
Stromae, formally known as Paul Van Haver is a Belgian singer I was first exposed to on a trip to France. After hours going through Stromae’s interviews and repeatedly watching his music videos, I loved him. Last week, I went to a concert at the Showbox that convinced me further that there is absolutely tight international music out in the world that Americans are not exposed to.
Stromae encompasses what I like to think of hidden treasure. Not everyone knows him, but a few do. As much as I love introducing him to people, I want him to be really popular for the sake of anyone who has never heard him before. His stage presence, his performance, his vocals, his interactions with the audience all kept me intrigued till the very end.
If you’ve spent hours going through Stromae’s interviews and repeatedly watching his music videos, the concert was really familiar to you. His music videos must have been the inspiration for much of his show, and believe me, he put on a show.
Stromae is not just a singer; Stromae is a dancer and an actor. One second he is making jokes about how French fries aren’t even French, and the next he is literally throwing up on stage to add dramatic effect and compliment one of his song’s music videos. The crowd LOVED Stromae. Many spoke French and were yelling “Je’Taime STROMAEEEE!!!” which was the only French I understood out of the entire night!
Go see Stromae. Tell me that I’m right when I say he is an incredible performer and you want to hang out with him all the time.
Last weekend, I waited in line for two hours – playing guitar, drawing with strangers, and even taking a picture with “sasquatch”:
Last Tuesday, I had the pleasure of using one of my (two!) free tickets to see a collection of chaotic, clever, and comedic acts. This was the Sasquatch Launch party – a random pageant of madness and fun that resulted in the release of the all-anticipated line-up!
Comedian, Chris Gethard, opened the show with an enthusiastic display of his tattoos and mental health issues. We laughed and he smiled, and we waited – through the sounds of Star Wars cantina music – for The Young Evils to perform.
Adorned in a Macklemore “My City’s Filthy” shirt, The Young Evils’ Mackenzie Mercer entered the stage, followed by Troy Nelson, Michael Lee,and Scott and Brendon Helgason. Slow at first, Lee’s guitar put us all into a trance – the band’s Black Sabbath-like breakdowns providing an outlet for us to rock out!
The Young Evils start off the show with a bang!
Their next few songs sounded like a surfer-pop weekend playlist with some Ramones thrown in. Mercer and Nelson stared at each other occasionally before turning to their mics to sing their teenage indie-gaze pop songs. “We keep running in circles,” they wailed over the wavy bass line.
Throughout their performance, The Young Evils maintained this surfer rock vibe. Mercer’s hands clapped to the innocuous rhythm. Buzzy and popping, Brendon’s bass led the rhythm – Scott’s drums keeping up with its dramatic kicks and snares. All the while, Mackenzie Mercer and Michael Lee enticed us with their solos as they sang and danced around the stage.
They played a brand new song to the audience’s enjoyment. Mercer came closer to the edge of the stage, the front row girls bobbing their heads to the rhythm. As the song continued to build, it would quickly move into The Young Evil’s characteristic breakdowns – hard and heavy chords breaking through deadly drums with electric guitar riffs thrown in haphazardly.
After thanking us, the band began a duet between the two frontmen. "Dearly beloved,“ Nelson announced, "we are gathered here today to see the Tacocat, Ty Segall, and to see the rise of the scorch”
As we cheered in slight confusion, we picked up right back to where we left off. Bass shaking the floor, the frontmen sang in unison above crowd while short and sweet solos weaved in and out of the fluid verses.
Taking the maraca from the drummer, Mercer strutted to the front of the stage. She danced to the rhythm and her right hand joined in. While Michael Lee ooh-ed and aah-ed in the distance, the band sang in chorus until a quick switch sent the guitarist shredding as the song faded away.
Warped guitar and a reminiscent summer-time vibe filled the rest of the performance. After a quick announcement about what was coming up in the show, a melancholy guitar entered the mix. Despite lyrics like, “dead animals is what we’ll become,” the music brought us to life – the crowd moving their bodies with the tide of the music.
After a final song and a bit of cantina music (again), a Sasquatch montage video appeared before us. A distorted voice announced how amazing the festival was going to be before advertising ziibra.com/sasquatch – a media subscription that gives people a behind-the-scenes look at the building of Sasquatch!
Chris returned to the stage for another comedic break. He was astounded by how excited we get about free things. So, he “gave away free shit!” In response, one member of the audience screamed, “free stuff rules!”
Cue more cantina music (seriously, the same song), then along came Tacocat! Struggling to find their things in the dark, the band began to mic check and drink their beers. After the band tuned their instruments, bassist Bree McKenna described their first song to the applause of the audience.
The foursome did nothing but enthuse as they danced and sang in tandem
We all swung our hips and moved our lips in unison – oohs and ahhs echoing throughout the room. In a t-shirt and jeans, guitarist Eric Randall casually played until technical difficulties stopped him from doing so.
“We think the Neptune is haunted,” frontman Emily Nokes explained as Randall attempted to fix his amplifier. The awkward empty air provided a great time for stage banter as drummer LelahMaupin recalled her favorite story about a cat that didn’t die. “The only lesson we have to learn from Bartok the Miracle Cat,” she concluded, “is that it proves that pet cemetery is real!”
Magically, the technical difficulties were resolved! “Fuck you Neptune…” Nokes yelled, “-ghost!” she quickly added with a smile. As the band played their breakout single, “Bridge to Hawaii”, orange lights reflected off of Emily’s watermelon dress and Bree’s bright white and studded guitar. Lelah danced in the rhythm, her head leading her body in waves of intensity.
After a quick break for a drink of beer, Tacocat started to play a more intense set as the song “sk8 or die” caused the audience to start to mosh. Lelah’s commentary broke up the intensity. “The only thing I remember seeing here was Juno…” she said. “Twice!” the Emily quickly added. “Twice,” Lelah responded.
“She has the soundtrack on vinyl,” Eric remembers to announce. With a turn and a smile, Lelah responded with a gleeful, “That’s true!”
With a laugh, the band started playing their next song like before – Bree’s bass moving our muscles and Eric’s guitar blowing our minds. All the while, simple riffs flew right by Emily’s voice as she danced in a ska-like jig.
“Psychedelic Quincerniera,” was announced by Bree through a smile. The whole time, Maupin kicked ass! Throughout the song, she never stopped moving, despite the infrequent discourse of the crackling guitar. Even through the continual technical difficulties, the song ended with with a big, trippy Mexican guitar riff.
Reveling in the awkwardness, The band made a series of jokes including “that signature tacocat sound… Crunch!” said through a Noke’s ear-to-ear smile.
“I have a joke!” Lelah announced, “The busty crustacean joke!” Those who had previously attended the band’s shows cheered – a member of the audience even giving the answer to the drummer’s innocuous riddle.
The set continued and crowd favorite after favorite caused us to reminisce and cheer. Occasionally a crackled guitar would scream out above the mix and we would smile with the lead singer as she commented on “how beautiful the Neptune was.”
Throughout the set, the guitar continued to crackle but Randall played through it, never ceasing his harmonies for Noke’s catchy melodies. Meanwhile, I found myself wondering how Maupin could be so cute yet so menacing! Her sparkles shaking off with every bead of sweat, she smiled maliciously as she sang, “this is anarchy” and other clever one-liners.
For their last song, a man-sized lobster joined the band on stage as he began to dance alongside Emily. The crowd went wild with energy, once again moshing in the center of the floor.
In a surge of energy, the band left the stage and the lineup announcement began. We cheered as familiar names scrolled across the screen and was met with the same enthusiasm as Chris, the comedian, re-entered the stage. In case you missed it yesterday, check out nilorap’s full coverage of the lineup in our Rainy Blawg article.
Chris Gethard presents us with more free stuff!
Ty Segall entered the stage with nothing but a hard-shell acoustic guitar case in his hand. Adjusting the mic to his guitar, he lets us know that he’d be playing an acoustic set. The guitar propped up on his knee, Segall kept his impeccable instrumental skill as he sang along so fluidly. Quieter than the other performers, Segall kept us interested with his unorthodox lyricism and devilishly detailed guitar parts.
Segall commanded the stage with nothing but a guitar and a notebook
He played us a bunch of songs, both new and old. From some that were untitled to favorites like “Crazy,” Segall never let down his Led Zeppelin demeanor and face that might as well be Kurt Cobain’s during Nirvana’s MTV Unplugged set.
“This song is about my girlfriend” he said, before forgetting the chords and starting over. We laughed as he continued to sing the song, “Sleeper.” He moved his capo around his guitar as he decided which songs to play. He played us stories on his guitar, his lyrics bringing us into his universe – where every moment is precious and every person has their own world of importance.
He stopped playing to continue his story, connecting it with yet another song. “she said she wants to buy a couch” he sings. We laugh at his humor which remained interspersed throughout his lyrics.
“I’m gonna keep going with this theme of consumption,” he finally states, “this one is called Manipulators.” We ooed with him between verses and reveled in his relaxed demeanor. At one point, a man in the front row – later to be known as Sean – requested his favorite song and Ty obliged, his casual niceness and cheer flowing out until the end of the event.
When I left the show, I felt like I had just been to a friend’s house. It was strange since the event was free and there was nothing keeping us there except our love of the music. These artists felt the same vibe and rocked with us throughout the night! If anything, this sort of approach to music performance gives me hope for the beautiful time that will be Sasquatch! 2015.
Sumney’s lighthearted demeanor lets his music envelop the listener. Seamlessly flowing between his drawn out ooo’s and aah’s and falsetto lyricism, his music is faded. In listening to Moses sing, we are forced to concentrate on more than just the initial comfort he brings.
During the show, expect plenty of meditations and sudden realizations as Sumney brings his heart to the stage. His music, as well as songs from the whole lineup, are available for streaming on ASUW A&E’s SoundCloud.
Playing before Moses will be Crater, one of Seattle’s most danceable experimental electronic acts. Band members, CBG x KFG, are joined onstage by Gomez, Gordon, Roth, Umble, according to the band’s facebook page. The craterbabes (as they are known on social media) rely on guitars and ambient electronic sounds strung together to generate an existential groove. Plus, they seem pretty excited about performing for us:
Shaprece will also be making an appearance as she sheds her general collection of instruments for a more “stripped set”. In her previous acts that I’ve seen, the sheer amount of sound from her band provided the perfect driving force behind Shaprece’s amazingly talented vocals. For this performance, however, she’ll be leaving most of that sound behind. It will be exciting to see how this change affects her sound and dynamic range!
Yesterday, the music video finally dropped and it was definitely worth the wait! Check out the retro-scopic throwback track below:
If you recognize those faces, that’s not a surprise! Lead singer, Mychal Cohen originally formed the group as Campfire Ok. The original band’s albums, Strange Like We Are (2011)and When You Have Arrived (2013) have been acclaimed for their studio and live performances.
Since Campfire Ok’s last release, the lineup has changed and producers, Chad Copelin and Jarod Evans, have helped put together The Weather’s recording debut. To celebrate, the band will be performing with Ravenna Woods and St. Paul de Vence at Neumos THIS SATURDAY!