Hoodie Allen Hypes Up The 801 Crowd Sunday Night At The Complex

Straight ‘outta Long Island, New York, Steven Markowitz, aka. Hoodie Allen made a stop here in Salt Lake City to hype up the Utah fans on his “Hype” Tour.

The night involved lots of creative raps from friends, such as Myles Parrish and Luke Christopher, who are on the Hype Tour with Hoodie. Altogether, it turned out to be a lively night for the young fans in attendance.

The first act of the night was 25 years old, Myles Parrish, from California. Myles used to be active in the duo, Kalin & Myles, most known for their tracks “Love Robbery” and “Trampoline”. When he first came on stage, I couldn’t recognize him and I thought that he was just the average teenage boy wanting to pursue a rap career, but was succeeding at it. However, when he started to perform “Trampoline” on stage, I immediately remembered that he was Myles from the duo. I had a blast rocking out to the young rapper himself – look out for him because he is definitely going places!

Following Myles was another California native, Luke Christopher. Personally, I’m not that familiar with the California rapper himself, but I really enjoyed listening to his raps. Some tracks that I enjoyed hearing was his cover of “You & Me (Flume Remix) and his flip on Odessa’s “Say My Name”, but my absolute favorite from him was his most known song “Bedroom Trip”. I love the trippy vibe the song gives and it definitely lit up the crowd for what was about to come next!

When Hoodie Allen hopped on stage, there were some different aspects of his set that I noticed. First off, he brought on a live band to accompany him, which I would’ve never expected from most rappers. Second, I usually expect lots of artists to start off their set with their most popular hit song, and for example, in this case, it would be “All About It”, featuring Ed Sheeran.

However, he started off his set with “Believe”, one of his songs from his new album Hype. I really enjoyed the live band performance that Hoodie gave – it was definitely a new perspective that was born. Since his tour is The Hype tour, focusing on his new album Hype, most of the songs that he performed were hits such as “Fakin”, “Know It All”, but he also threw it back and performed the hit “Act My Age” that was from one of his past albums People Keep Talking. Out of all the songs he performed on Sunday, my favorite song that he sang live was “No Interruption”, from his first album All American. Towards the end, he hopped into the crowd and crowd-surfed while flying around on a floatie, and I thought that was very enjoyable to witness and participate in!


Overall, Hoodie Allen is an enjoyable artist live – he really participates with the audience and makes his performances a ball of a time – and he’s also a cutie! If you’re looking for an amusing, chill artist to listen to with nothing extreme when it comes to live shows, Hoodie Allen is the perfect rapper for you!

A Night With The National

Concerts have a way of bringing people together. We all have personal struggles, yet concerts have always been a way for me to forget mine and enjoy a night. Being in an amphitheater, surrounded by 5,000 people; it doesn’t matter if I just failed a test or had a spat with a parent. I’m going to enjoy the show and dance with the person next to me, regardless of if I know you or not.

The National is one of my favorite bands. Their songs speak to me on a personal level. I deeply relate to their lyrics that speak of depression, anxiety, and not fitting in. I recently saw them perform at the Cal Coast Credit Union Open Air Theatre in San Diego, making it the third time I’ve seen the indie-rock band from Cincinnati. The venue is in the middle of SDSU’s campus. College students wander around the many restaurants and bars surrounding the school.

Eager anticipation overtakes me as the opening act, Daughter, performs. There is nothing better than seeing your favorite music being performed with people you love. My mom and I are sitting in the third row. She is almost as big of a fan as me. It is fitting to go to the show together as she was the first person to introduce me to The National years ago.

Earlier this year, The National released their 7th studio album Sleep Well Beast.  Their new album is more experimental than their older stuff, but still has a classic National feel. Seeing them perform is a one of a kind experience. Despite their melancholic sound, the 5 band members know how to rock out and put on a hell of a show. Lead singer Matt Berninger ventures into the crowd during “Mr. November”. He often reaches into the crowd and grabs peoples drinks. He chugs half, then showers the concertgoers with the other half.

For certain songs, guitarist Bryce Dessner plays with 2 guitars; 1 around his neck and 1 in his hands. He bangs the hand-held on the ground creating an ominous feedback that echoes throughout the theater. Band member improvise and elongate songs, making 3-minute songs last 7 or 8.

Prior to playing “Fake Empire”, Berninger says that some song’s meanings have slightly changed over the years. “This is one that has,” he says. “Things seem a little less fake now.”

Berninger told a story about a conversation he had with his dad earlier that day. His dad said, “Matt slow down.” “I’m trying to dad, I have to be in San Diego in 2 hours.” His dad then repeated, “Matt slow down.” Berninger tells the audience, “I heard him that time.” I love when musicians are honest with their fans and show that they are people too. Simple stories like these create an intimate connection between the musicians and the crowd.

With close to 20 years’ worth of music, The National has plenty of material to choose from. You’ll never hear them play the same setlist twice. They played “Start a War” for the first time since 2014, numerous songs from Sleep Well Beast, classics such as “Apartment Story” and “Terrible Love”, and some lesser known songs like “Wasp Nest”. They are on stage for a solid 2 hours, playing over 20 songs.

During the show, I remember looking up at the night sky and taking it all in. I had had a bit of a rough week, and it seemed like all the pressures of the world were coming down on me. For a moment, just a moment, I forgot about all of them. Listening to music doesn’t erase my problems. It doesn’t put a roof over my head or buy the groceries. It does, however, make life tolerable. It brings people together and allows them to dance. I’ll always cherish that night in San Diego, with my mom and 5,000 other friends, listening to some of my favorite music in the world.

A Night of Metal: The Exodus Kick-off Tour

Despite what you may have heard, the metal genre of music is no stranger to Salt Lake.  There’s an overflowing line up of local thrash metal bands with a strict metalhead following, including some SLC’s favorites: Visigoth, Deathblow, and Necrowolf along with several others who frequent the regular venues downtown on what seems to be a monthly, if not a weekly basis. There’s also a little black metal thrown into the mix with the band Darklord, and some progressive metal from Deathrone the Sovereign. Then there’s Silence of Mortuary headbanging their way from a faraway land called Moab. These are just to name a few of the many metal bands playing Utah’s local metal scene.

Even if you wouldn’t necessarily classify yourself as a metal fan, I still recommend you catch a show or two if you’re in the mood for a little hardcore headbanging fun. However, most of these bands are still considered relatively ‘new metal’ The metal genre has been going strong for the last 40-something years and this is worth noting because what is considered old metal has helped shape each facet of the genre today.

Speaking of metal that’s been around forever, I was unexpectedly put on the guest list for the first show of the Exodus tour. The show took place at Music Metro Hall and I was excited to see a band whose career spans over the last 30 years.

The night was a fun one with Deathblow and Villain getting the metal heads hyped before the main act took the stage. As the show began, I noticed that there was a shift in the proximity of the audience from the stage. Some people were taking several steps back almost retreating as far back as the bar located on the other side of the venue. Trusting my intuition, I followed suit and I was glad that I did. Frequenting the amount of punk rock shows that I do, I am no stranger to the ways of the mosh pit, but for some reason, I didn’t really understand what that meant when one is attending an actual headbanger show. And with that, Exodus stepped out on stage and in an instant, they were bringing all the headbanging energy beginning the set with fast guitar riffs strummed in sync with flailing waist-length hair as the crowd moshed with the same intensity.  

As each song finished, the singer Steve Souza riled up the audience by appealing to their metal obsession and yelling out “You’re all just a bunch of rowdy metalheads, aren’t you?” Which of course produced a heightened reaction with said metalheads bumping shoulders and yelling their allegiance back to the metal gods. The band went on to play numerous songs from what seemed like a sampling from every album put out during their 30-year discography. I even witnessed Souza asking the audience which album they had not gotten to yet. And by the end of the show, I realized this was a fan based band- one that plays solely for its fans. One that tours for decades off the same songs that propelled their success in the first place. They understand who makes a rough metal head tour life worth every show played, and of course- it’s the fans.

 

Concert Review: Japanese Breakfast

There is an undeniable lure to the quaint charm of Kilby Court and, to an extent, an artist’s performance in the venue is defined by how well they inhabit the space. With the help of two impressive opening acts, Spirit of the Beehive and Mannequin Pussy, Japanese Breakfast did just so. Boasting ethereal beats and an impressive vocal performance by frontwoman Michelle, the band successfully created a homely but vivacious atmosphere fitting of the venue.

The fact that it was the band’s fourth performance in Salt Lake City in the last year certainly didn’t hurt either. On tour for their latest album release, Soft Sounds From Another Planet, Japanese Breakfast looked as comfortable as the audience within the comfy proportions of Kilby Court, Michelle going as far as to mention the relief of performing at the venue after a long day on the road.

Just last April, her band broke into the music scene with the release of their debut studio album, Psychopomp, and evidently, she’s been keeping busy; on Soft Sounds from Another Planet, released in July, she builds upon the catchy dream pop established on Psychopomp, creating a slicker album that lets her vocals shine.

While, at first, I was primarily looking forward to hearing her perform this newer, slicker material, I was pleasantly surprised by the opening acts. Spirit of the Beehive set the mood with a well-tempered set, exchanging male and female vocals over riffs that would be right at home on an episode of “Twin Peaks”. While their music was the least varied of the acts, their performance was strong.

Mannequin Pussy

Ending their set with a raucous finale, Spirit of the Beehive created a perfect atmosphere for the next act, Mannequin Pussy, and for their part they did not let up, marching through one of the loudest sets I’ve ever heard at Kilby Court. Unlike many loud bands, however, their musicianship was not lost under the crushing weight of their volume; with a healthy variety of music, as well as a couple tamer interludes, Spirit of the Beehive proved to be a formidable opening act, leaving an air of excitement in their wake.

While forgoing the tenacity of Mannequin Pussy’s set, Japanese Breakfast kept the air of excitement alive, starting out their set with “Diving Women”, the groovy opening track from Soft Sounds from Another Planet. From there, Michelle and co. played a well-mixed set of new and old material, balancing a consistency of character with a diversity in sound. A large part of this consistency is thanks to Michelle’s vocals, which floated perfectly atop the instrumentation.

Japanese Breakfast

The only tunes by Japanese Breakfast that did not totally captivate relied upon more studio oriented sounds and instrumentation. For example, “Boyish”, while a personal favorite of mine, includes a MIDI (or a digital rendition) of a harpsichord that simply did not translate well into a live setting. On other songs, however, the band made smart changes to counter this issue; having no saxophone player, they remodeled the outro to “Machinist” to work without one, giving the guitar a more active roll in the mix. The resulting product was the best and funkiest song of the show, Michelle joining the crowd to dance along.

To just see her and her band perform “Machinist” and other such songs would have been enough, but what really made the concert special was how intimate it felt. Japanese Breakfast’s dream pop is already a perfect fit for Kibly Court, but their infective stage presence, and the homely atmosphere they created made them the right band at the right venue.

The Possibilities of Music

Some bands simply love playing music and don’t care about anything else. King Gizzard and the Lizard Wizard is one of those bands. These Aussies are straight-up music-holics. Since their formation in 2010, they have released 11 full-length studio albums that span a variety of genres. Their music is described as psychedelic or progressive rock but is influenced by folk, jazz, and heavy-metal to name a few. Songs incorporate themes and ideas from these extremely different styles pushing the boundaries of music.

I saw them at Metro Music Hall accompanied by Ice Balloons and Tropical Fuck Storm. Ice Balloons did not impress me. They sounded muffled and messy. However, they did leave a lasting impression for one particular reason, their lead singer wore a fly’s head mask. Uniqueness aside, I was not a fan of their music.  Tropical Fuck Storm was less memorable but seemed more put together as a band.

King Gizzard and the Lizard Wizard consists of a herd of members and more instruments than I could count. Their distinct sound is attributed to multiple guitars, synthesizers, harmonicas, a flute, driving bass lines, and two dueling drums. Drummers Eric Moore and Michael Cavanaugh are smack-dab in the middle of the stage battling the entire night. They are the heart and soul of the band whose songs constantly change tempo.

Mixing music genres is not the only way King Gizzard revolutionizes music. For their album, Flying Microtonal Banana, guitarist Stu Mackenzie, Cook Craig, and Joey Walker “modded” guitars adding additional frets.This allowed them to access microtones, semitones, and additional notes impossible on a traditional western guitar. Lead singer Mackenzie had the idea after messing around on a Turkish stringed instrument called a baglama. The result is an easter sounding electric guitar. Creating their own instruments adds to their odd unique sound.

The Melbourne musicians put everything into their performance. They are incredibly energetic and the crowd matches their energy. In all my years going to concerts, I have never seen a wilder crowd. My shoes were completely destroyed in the madness. During the slower parts of songs, concertgoers sway and headbang. When the music gets faster and heavier, mosh pits form in the blink of an eye. The crowd is tightly packed, but the proximity doesn’t stop people from dancing.

King Gizzard’s albums have related songs that blend together and are often broken into multiple parts. Their setlist is programmed in the same manner. They play multiple songs in order or slightly jumbled so that they playing music for 20 or 30 minutes with no breaks. The reoccurrence of melodies and specific lyrics makes you question whether you are still listening to the same song as half an hour ago.

By the time Mackenzie announces their last song, the audience and musicians are beat. They summon enough energy to play a 15-minute version of “Am I In Heaven?”. The crowd cheers for 10 minutes but they don’t get an encore today. After almost 2 hours of constant music, there is nothing left in the tank.

Music truly is limitless. There are innumerable possibilities to be explored and as a society, we have only scratched the surface. King Gizzard and the Lizard Wizard is a band that is pushing the limits of traditional music both in the studio and on the stage.

Metal Alliance Tour at The Complex

It’s Monday night. My roommate is talking about some concert he wants to go to. I’m not one for turning down concerts so of course I’ll go. I’ll soon find myself in semi-unfamiliar territory. Tonight is the Metal Alliance Tour at the complex.

Metal shows are always an experience. There is an incredible amount of passion that the musicians and audience members share. People are quite literally screaming to vocalize their uncontrollable emotion.

The night starts out with a man handing my friends and me free tickets at the door. I didn’t even have to give him my email address. Amazed and bewildered at the ease of it all, I enter the complex eager to see what this show has in store for me. The lineup of the tour includes Invidia, Black Fast, Havok, Crowbar, and Overkill.

I’m a little bit late walking in. Havok is finishing their set. I didn’t come for any particular band, so it’s not a big deal. Being at a concert with relatively unknown bands can be liberating. I’m not expecting to hear any songs and won’t be disappointed when they don’t play them. I have no preconceived idea of their sound. Whatever the band chooses to play and however they sound will be the lasting memory of the night. I can fully soak up my environment. Everything else becomes irrelevant.

I buy some earplugs. Once Crowbar comes on you’ll be wishing you had too. The crowd is relatively scarce. Everyone sneaks outside or upstairs in-between sets for a smoke or a beer. The mostly male crowd is dressed in black, red, and white. My friend is wearing a blue jacket and sticks out like a sore-thumb. Only a handful of people have short hair. The rest have their hair down and are ready for some head-banging.

When Crowbar comes on stage, I’m shocked. The musicians look nothing like how I imagined. The overweight middle-aged men are wearing shorts and t-shirts. The bass player has shoulder-length hair.  The other two front men are bald with massive facial hair. I never get a good look at the drummer. I guess that’s why he’s the drummer.

The sludge metal band from New Orleans relies on slow groovy guitar riffs and aggressive male vocals to sustain their sound. Formed in 1990, Crowbar was a pioneering band of the heavy metal subgenre. The crowd nods and sways with the drum and bass. People throw up rock-on signs and chant “Crowbar”.

The room fills to capacity and overflows into the lobby. Thrash metal band Overkill increases the tempo and the volume. The crowd takes the hint. Some mosh-pits get started but nothing too crazy, it’s still a Monday night in Salt Lake City. The band is quite animated, letting their passion show. They put it all on the line and the audience loves it.

Leaving the show, I couldn’t tell you the name of one song. I might never listen to these bands again, but that is not the point of a concert. I saw musicians get up on stage and do what they love. I saw them create art and music. Personal expression is one of the most important things humans do. I was able to be a part of theirs. It’s moments like these that make life livable.

 

The Amulet: New Album from Circa Survive

The sixth studio album from Circa Survive is upon us, and since its recent release, my love for them has been revived! They’ve always strived to be viewed as more than an era-defined band that blows out the same catchy guitar riffs and for years. They want to embody more artistry in their music- To exist in their space as an evolving expression of art.

But, that’s not to say that they don’t have songs that have been replayed repeatedly, in fact, they have plenty of songs that live in their fans hearts. Songs in which the band is somewhat obligated to play on every tour in respect for their loyal following who hold these certain songs close to their heart as cherished symbols that affected their lives and personal growth at some point in their coming of age. However, these same fans have also completely embraced their art form as growing and changing expression.

Circa Survive fans are loyal and in-tune, which is good. Because they’re certainly a talented band that deserves such devotion to their art. But, there is something I love about Circa Survive, and to me, it’s not readily available in everything they’ve put out.

With that said, the new album has once again been nuanced with their signature ethereal sound, but this time it also incorporates different elements reminiscent of their first album Juterna, which has surprisingly piqued my interest.

The new album Amulet is a dream filled with prolific lines and a beautiful juxtaposition of hard and soft. The drums and guitars produce a more complex sound than prior work and Greene’s vocals ebb and flow from delicate to growling screams, these refreshing elements combine to tell an emotional story that’s easy to get lost in a surreal daydream up until the very last track.

Beyond my observations regarding the refreshing newness of the album, Anthony Green himself has spoken on how he feels about the band making new music. – “Some of these songs are so f–king fun to play live, and I really look forward to getting to play these songs. That’s what excites me. That’s not to say I don’t feel similarly about the older material, or that I am not grateful for how that material has helped us, but it’s just like – when we play that stuff it’s the same as it has always been. But this material is new, and the connection I feel to it is exciting and fresh”

Green’s own views on his music are infectious and perfectly relates to how I feel about the new album. I like the old stuff, but it’s exciting to experience them once again put effort into tweaking their sound for a different vibe. Their excitement is shining through on every track and reaching me with a renewed sense of meaning and it’s a sound I can’t get enough of.