Isabel & Thomas LaRosa Join Forces at Brighton Music

isabel lerosa vika brennick

Isabel LaRosa and her brother Thomas LaRosa delivered an electrifying performance last week at Brighton Music Hall. This duo reminded me a lot of Finneas when Isabel mentioned on stage that her brother produces all of her music. Isabel’s outfit was a standout, adding a bold visual element that perfectly matched the intensity of their sound. The crowd was equally a part of the experience—the fans were loud, energetic, and fully immersed, fueling the electric vibe of the show. You could feel the connection between the duo and the audience, creating an unforgettable, high-energy performance that kept everyone on their feet the entire time. Isabel and Thomas have a special magic on stage, and their live performances showcase just how talented and connected they are as artists! Definitely catch one of Isabel’s shows if you can. You can find her upcoming shows here.

Below are the photos that Vika Brennick took at the show, including 35mm film photos of the openers Thomas La Rosa and Mila Degray!

Isabel LaRosa, Mila Degray, and Thomas LaRosa at Brighton Music Hall 09/17/2024

Stare into Magdalena Bay’s Oculus

magdalena bay wendy schiller

Pop duo Magdalena Bay kidnapped all of Boston’s cool kids last week for a show at Royale that had enough strobes and props to keep everyone entertained for hours. Lead singer Mica Tenenbaum flitted up and down the stage, sometimes strapped to a keytar and sometimes wearing a sunflower headpiece. She was supported by co-writer and producer Matthew Lewin along with a backing band hidden behind many set pieces. The stage overflowed with curtains, a floral armchair, cloud cutouts, and a cheeky, winged portal to the right of the stage which would open, transforming into an eyeball, or a peaceful pasture, or a lightning storm, showering Tenenbaum in flickering projections. The group sounded fresh, touring their latest, sophomore album Imaginal Disk, which paired nicely against stellar tracks from their pandemic debut, Mercurial World, and sounded full and ethereal inside the packed venue.

Magdalena Bay were supported by experimental pop duo Valgur, on tour from Mexico. The pair sacrificed a teddy bear on stage, and shocked audiences by performing entirely in monk habits, sometimes praying under a shroud with a sword pointed straight in the air. Definitely keep your eyes on this one!

Check out all of Wendy’s photos from the show below.

Magdalena Bay and Valgur at Royale 09/18/2024

Payback for Kaleo at Roadrunner

kaleo vika brennick

Kaleo hit the stage last Wednesday at Roadrunner as part of their “Payback” tour. Opener Chance Peña set the tone with an energetic set that got the crowd buzzing. As the lights dimmed and fog rolled in, Kaleo emerged, and frontman JJ Julius Son’s silhouette appeared, guitar in hand, to kick off the night. The Icelandic rockers performed a mix of tracks from their latest album Surface Sounds, as well as fan favorites like “Way Down We Go” and “All the Pretty Girls.” JJ’s powerful voice carried effortlessly through the room, and the band’s tight performance kept the audience hooked. It’s a show that shouldn’t be missed.

Check out Vika Brennick’s photos from the show below.

 

KALEO at Roadrunner 09/1/2024

St. Vincent Rocks MGM Music Hall

st. vincent greg wong

Modern guitar icon St. Vincent came to MGM Music Hall with her band on 9/5 for a smorgasbord showing of her diverse discography. The Boston stop of her All Born Screaming tour was another return to familiar ground for the one-time Berklee College of Music alumnus, and she made a point of reminding the local audience that she was no stranger.

The crowd was still trickling in as Yves Tumor began the evening with a pulsing, distortion-driven intro set that served as a fitting primer for St. Vincent’s headlining appearance. When she made her entrance, dramatically silhouetted in an archway, she led off with the rising, slow-burning “Reckless” from her latest album All Born Screaming. From there the concert was a fairly broad exploration of St. Vincent’s varied back catalog. With selections from six of her studio albums, the controlled chaos was always anchored by her bona fide rock star guitar skills and versatile vocals. The intensity of the St. Vincent persona was put on pause whenever she stopped to address the crowd in a soft-spoken manner. She took the time to shout out the Berklee students in attendance (as well as anyone who came from Allston, it’s worth noting), though she seemed surprised to discover the average age of her fans that evening was significantly older than college-age. Regardless, the audience gave St. Vincent a warm welcome back, and she said it all when she remarked “you really know how to make a girl feel special!”

Check out all of Greg’s photos from the show below.

St. Vincent and Yves Tumor at MGM Music Hall 09/05/2024

Big Sigh with Marika Hackman at The Sinclair

marika hackman greg wong

Marika Hackman started the US leg of her Big Sigh tour on Saturday 9/7 at The Sinclair, marking her first visit to Massachusetts since 2019. Dedicated fans made their way to Harvard Square for a crowd-pleasing showing, 5 years in the making.

Art School Girlfriend eased into things with her solo opening set: a low-key shoe-gazing performance accentuated by her breathy vocals and unassuming stage presence. She nevertheless couldn’t resist prefacing the sadder portion of her set with a sly quip, “you’re at a Marika Hackman concert. You wanted this.”

When it came time for Marika Hackman to begin her performance, she was greeted enthusiastically by a crowd that ultimately made a point of shouting out their love for her frequently throughout the night. She played a carefully honed setlist that featured fan favorites and some deeper cuts spanning across each of her albums and their corresponding tonal shifts. She began and ended her intimate set by performing solo, but she was joined on stage by her band for the middle portion. With two of Hackman’s regular bandmates unfortunately stranded in London by visa troubles, Art School Girlfriend stepped back up to fill the gap. Both accompanied and unaccompanied, Marika Hackman demonstrated with just her guitar, a microphone, and a folding chair that she needed no embellishment to captivate the crowd. She instead relied on the unpretentious simplicity of her arrangement to showcase her talents. The evening drew to a close with a gentle performance of “The Yellow Mile,” contrasting heavily with the sudden outburst of applause from fans. With Marika Hackman having finally returned to the states, the audience at The Sinclair seemed to personify the catharsis of the end of a long absence.

 Check out all of Greg’s photos from the show below.

Marika Hackman and Art School Girlfriend at the Sinclair 09/07/2024

Manchester Orchestra Celebrate 10 Years of COPE

manchester orchestra

Manchester Orchestra celebrated the tenth anniversary of their fourth studio album, COPE, at the House of Blues in Boston. To commemorate the milestone, the band, led by frontman Andy Hull, played through the entire album, front-to-back, before reemerging for a five song encore of seminal hits across the rest of their discography. The ATL-based indie rock band has made a name for themselves over the past two decades; known for their energetic and dynamic live shows, Manchester Orchestra has collaborated with names like Phoebe Bridgers, Every Time I Die, Frightened Rabbit and Militarie Gun, who opened the Boston date of the tour. The band finishes the first leg of their tour in Chicago before they pick back up in November, joining Thrice on a co-headline tour to celebrate the anniversary of BEGGARS.

Manchester Orchestra and Militarie Gun at House of Blues 09/07/2024

PJ Harvey Returns To Boston After Seven Years

pj harvey harry gustafson

At MGM Music Hall at Fenway on Wednesday, PJ Harvey performed songs across her catalog: from 1992’s debut Dirt all the way up to last year’s Grammy nominated album I Inside the Old Year Dying. The show is titled “An Evening with PJ Harvey” and there was no opener. The concert began promptly at 8, when Harvey and co. played through the entirety of her latest album.

The set design on the stage resembled a Chekhov play, like we were about to see a rendition of The Cherry Orchard or Uncle Vanya. Rustic, antique home furniture was languidly spread across the spacious performance stage, similar to a salon. There was a fully set kitchen table with glassware, candles and a vase where musician Giovanni Ferrari would occaisionally sit. There was a worn out looking church pew on the far stage left where Harvey would sometimes be stationed. Behind them was a hulking stucco wall that was scarred, lighting changing the wall from looking like they were buskers playing in front of an old castle or colosseum wall. Sometimes the lighting would make the wall look fleshy and bloody, casting a grimmer backdrop over the brooding music.

The four piece backing band were dressed plainly, while Polly Jean entered with a long white cloak that featured bleary black branches, a wintery scene encapsulating her and by association the audience. The tone of the lighting was mostly cold and white on stage, with dramatic lights shining from the sides and even the floor, for dramatic effect to enhance the theatricality of the performance. 

PJ Harvey signposts months periodically to help guide the listener through the titular year for the album, I Inside the Old Year Dying. The second song, “Autumn Term,” matched the nature visuals as well, beginning with the sound of faint birds migrating. Harvey spent the outro with the children’s voice samples throwing her body upwards into glistening light on every chant. On “Lwonesome Tonight,” when she sang “will you come back again?,” she gazed searchingly around the theater. “The Nether-edge” was a hypnotic number, which began with Harvey singing “heavy in the meadows,” she spun in her seat to the echoey, ominous beat. Nature feels awesome and terrifying. Annually, we’ve now moved from Autumn into Spring. 

The brevity of many of these tunes act like quick jabs of ephemeral ideas and then they blow away with the wind. The title track is upbeat and more easily accessible, a strummer that clocks in at under two minutes. Album lead single, “A Child’s Question, August” has a luxurious soundscape as she sings “Love me tender, tender love.” 

The MGM Music Hall at Fenway is twice the size of House of Blues in terms of capacity, which was where PJ Harvey played last time she was here in 2017. The gracious use of reverb and delay in these songs sound grand in the luscious space afforded by the music hall, adding great depth to the ambient tracks that accompany Harvey’s brand of goth-folk rock. The facility is very well made, excellent sight lines, excellent lighting, sparkling audio, and great ventilation. 

After the album (and first set) closed, Harvey went backstage for a costume change into a sleeveless floor length white dress and white boot. The four remaining members stood side by side to sing a post-World War I era folk song The Colour of the Earth that name checks the trenches. I’m reminded by this of the many tunes she contributed to the soundtrack of Peaky Blinders, the hit series about post WWI England gangsters.

From this point in the show she performed a wide range from her catalog. Personal favorites from this second set were “The Garden” off of Is This Desire? Which featured an arresting use of a shadow and play with scale using a foot light that projected the band onto the back wall. The final song in the encore was the devastating “White Chalk,” doubling duty with a harmonica solo, she closed with lyrics “Dorset’s cliffs meet at the sea/ Where I walked our unborn child in me/White chalk gorse-scattered land/Scratch my palms/There’s blood on my hands.” 

The band took a second bow, arm in arm, allowing themselves to smile for the first time that evening. It felt like watching a play even though it was a concert, which makes it more of a modern opera. I encourage anyone who’s even just a casual fan to check out this thoughtful and artfully produced show.

Check out all of Harry’s photos from the show below.

PJ Harvey at MGM Music Hall 09/18/2024

Up On The Hill is Otis Shanty’s Ode to Somerville

by Tanvi Shah

Photo by Tyler Lehren

Otis Shanty is releasing their second album Up On The Hill tomorrow.  Inspired by the venerable city of Somerville, their album is an “ode to a second coming of age that’s beginning to feel like home.” 

Otis Shanty was formed 7 years ago, when the band members were in college in upstate New York.  The name comes from the first time the band got together at a cabin in Otis, MA, and Shanty was the name of the house where they first met; even as their music matures, they’re not completely beyond keeping younger days alive. This band of friends and roommates consists of Sadye Bobbette on synth and vocals, Julian Snyder on bass, Ryan DiLello on electric guitar, and Jono on drums. 

To celebrate Up On The Hill, Otis Shanty is having an album release show at (where else) Crystal Ballroom on October 24th in Somerville with openers Small Pond, Lost Film, and Night Moth. “This is our biggest feat as a band in Somerville and we’re cultivating a vibe and sound for this show!” Since Otis Shanty has such a special connection with Somerville starting from their album cover that was taken on Prospect Hill, they are also doing a special partnership “Up On The Hill” beer with Winter Hill Brewing, which is a hazy, delicious IPA.

What was thought to be a summer album has actually turned into a fall album sporting a lean eight track transient vibe and an air of nostalgia that the changing of the seasons always seems to bring on. “There’s an energy to the album that invites movement and is in motion,” reflected Sadye. Inspired by Yo La Tengo, Adrianne Lenker, Khruangbin, Parquet Courts, and Frank Sinatra, the album is different from their earlier music, now leaning more shoegaze-y and psychedelic rock with an underlying folk influence, instead of their usual forest-rock genre. Up On The Hill has more energy than their earlier album Early Birds, with bigger sounds and a higher BPM. In fact, If the band members were to describe this album visually, it would be biking (definitely not walking) through the forest.

Each band member has their own favorite part of the album. Julian loves the final chorus of “Pipeline” because of the culmination of energy and the crash-landing vibe of the song. Ryan is obsessed with the refrain of “Saving, Waiting” because of the detached nature of the lyrics “Maybe I could save me, maybe I could wait.” Sadye loves that she played guitar on the album as she doesn’t usually, and Jono (who actually didn’t make it to the interview as he was asleep) loves the chorus of “Outrage” because he feels super connected to the lines “I can’t see through the folds of my eyes where I hide away the kid who is terrified.”

If the band could work with any local artists, they would collab with Joyer for their neat guitar sounds and Horse Jumper Of Love but would push their BPM a little faster.

After listening to Up On The Hill, come celebrate with Otis Shanty at Crystal Ballroom on October 24th in Davis Square, buy some unique Somerville-themed merch, and be a part of their psychedelic rock world!

Everybody’s Happy When Buzzcocks Come to Town

Hell Beach rips an opening set

Punk’s not dead and it never will be. Even as banks snatch up venues and anticorporate bands align with corporate brands, the spirit of punk will never die. Buzzcocks have always been one of the biggest driving forces behind that, even if their punk spirit is poppier and more irreverent than most. Improbably, the band is still going strong, and they brought that energy to Big Night Live on Tuesday night. It wasn’t exactly a big night at Big Night Live, as the fatal trio of Weezer/Flaming Lips/Dinosaur, Jr. were playing next door and sucked up much of the potential audience. But it allowed me to be around my true brethren – 60-year-old dudes in Damned Damned Damned shirts nursing one beer.

The night kicked off with an unadvertised band called Hell Beach (great name), who brought a tight and ferocious energy. The Manchester, NH-based quartet was playing cuts off their recently-released debut album, BEACHWORLD. Although the band is nascent, they had a great stage presence, as the singer-bassist cracked jokes and commanded the crowd, while the guitarist and keytar (!) player bounced around. The band’s brand of high-octane pop-punk made for an extremely logical opener for Buzzcocks, a linear progression of the sound that the legends molded. It was much more punk than pop, just very melodic. The singer talked about being an outcast in high school, and then joked that anyone attending a Buzzcocks show on a Tuesday was probably a loser, too (no complaints from the audience!). Their set was impressive to say the least, watch for them on the local scene!

Up next was Lovecrimes, another act I was unfamiliar with. It wouldn’t have mattered if I had had a chance to track down their music – they’ve only released one song to date! Much like Hell Beach, they’re a fresh group, working on a debut album. The band hails from Orange County, a point of contention for a few inebriated fans; the Boston-LA punk war seems to have cooled down in passing generations. Although they had a few songs that absolutely ripped, their stuff was definitely less poppy and more midtempo, akin to a slightly faster Social Distortion (but that might be the California talking). The band was more reserved onstage, but roared through as many songs as they could in a short time. Much like Hell Beach before them – watch out for what is shaping up to be an impressive debut album in the future.

Buzzcocks still Going Steady

By the time Buzzcocks took the stage, the crowd had filled out some, and the average age had dropped considerably; there were even some mosh pits later on in the set. Since the passing of Pete Shelley in 2018, the band has been fronted by Steve Diggle, a not-quite-founding member who joined a few months after the band was formed in 1976. Although he’s the last of the old crew, he showed no signs of age, ripping through 21 songs with the same youthful spunk that put the band on the map in the first place. They came out of the gate hot, with the quadruple-punch of classics “What Do I Get?,” “I Don’t Mind,” “Everybody’s Happy Nowadays” and “Promises.” Predictably, it was a set filled with the hits. Older tunes and deep cuts like “Autonomy,” “Sick City Sometimes,” “Why Can’t I Touch It?” and “Orgasm Addict” peppered the setlist. The band also played a healthy amount of their newest record, 2022’s underrated and under-discovered “Sonics In The Soul.” The songs are a touch lighter on energy, but are still distinctly Buzzcocks, and they didn’t sound even a little out of place amidst the older tunes.

The encore consisted of five songs, opening with a rendition of “Love Is Lies” that started with just Diggle on acoustic guitar and ended with a full band. It was the only moment of solitude amid an otherwise raucous set. The closing songs were the band’s most well-known and wildest song, “Ever Fallen in Love (With Someone You Shouldn’t’ve),” and an extended version of “Harmony In My Head,” with a bunch of fun, red herring endings.

The show was not without issues, a guitar issue led to the four-note riff of “Happy” going mostly unheard, and Diggle seemed to get a little lost during “Addict.” But if anyone in the audience cared, they didn’t show it. The fact that there’s still an incarnation of Buzzcocks at all is astounding. It was a wildly fun set, and a victory lap for one of the most important bands. With no Buzzcocks, there’s no Strokes, no blink-182 – no Weezer playing next door. And although most of the band now looks suspiciously young, there are no signs of stopping. What do I get? A fun as hell Buzzcocks show.

Find Out What’s Wrong With Cambridge If You Dare 

the dare samantha davidson

In an interview with GQ, Harrison Smith revealed he wanted to create “really fun” and “very simple” art in a sea of complicated music. Smith, formerly known as Turtlenecked, ditched his indie persona for a frenetic and unserious sound. In 2022, he released the party anthem “Girls” under the moniker The Dare. Soon after, he found himself a part of Charli xcx’s Brat pack as both a producer on the deluxe track “Guess” and a background character in her DJ sets. Charli xcx, a generational vibe scout, saw something of a kindred spirit in Smith: deconstructionist pop stars with a penchant for partying. She shouted him out in the song and invited him to open for her in his hometown of Brooklyn, NY, securing her stamp of approval right before his debut album. Just last Friday, The Dare released What’s Wrong With New York?, a collection of thrilling songs with saucy conversational lyrics and endlessly layered production. His upcoming tour enables fans to let loose to the complete collection of his feel-good indie sleaze music. 

On a brisk and lively evening, guests lined up around the block, waiting for doors to open at The Dare’s sold-out show. At 6:30 pm sharp, fans camped out next to the galaxy graffiti mural outside hopped to their feet and spilled into the cozy concert venue. Smith’s string of headlining shows opted for small venues, with the Sonia’s 350-person capacity fostering an intimate connection between the audience right off the bat. Many visited the merchandise tables lined with shirts, underwear, and a poster cleverly asking, “What’s Wrong With Cambridge?”. Fans began to buzz with excitement, trading Kandi and acknowledging that this was The Dare’s first live show since releasing his album. The unknowns of the night fed their anticipation.

Soon, the opening act, AVALON, strutted onto the stage and up to the DJ booth, where she immediately started her set. She sported long platinum blonde locks in a wolf cut, slender black sunglasses, a long black neck scarf reminiscent of The Dare’s signature tie, and a sheer white dress. She played an array of bass-heavy songs, raising her glass and dancing with the crowd, but never stopping to speak. Songs included “Perfect (Exceeder)” by Mason and Princess Superstar and, of course, “Girls” by The Dare. Fans cheered every time she transitioned between songs and a circle of dancers formed in the back of the pit. Every once in a while, she mouthed the lyrics and flashed a smile at the crowd.

When the lights finally dimmed again, everyone released deafening roars. Soon, Smith emerged in his classic black suit, angular sunglasses, white button-up shirt, and skinny black tie, all staples of his look as The Dare. He dove into the night’s first song, the opening rock and roll track on his new album, “Open Up.” He infused energy into the crowd via his snappy delivery of the brash lyrics on the songs like “Good Time” and “Sex.” Smith displayed his DJ talents, frequently shifting between singing into the microphone and controlling two DJ decks. A single cymbal sat on the stage that Smith occasionally thrust over the crowd as he hit it with a drumstick during songs’ outros.

As the show continued, Smith’s energy never dwindled. Sweat slowly seeped into his white shirt as he committed to jerky dance movements. He dramatically removed his jacket, making it a part of the performance. A crowd full of matching black suits, furry boots, sunglasses, and fishnet tights bounced along to the driving synth basslines and distorted guitar riffs. Guests couldn’t help but match the energy The Dare projected into the crowd, most dancing along without stopping to think about how they were being perceived. One fan blew bubbles into the air throughout the entire set. Towards the end of the night, The Dare exclaimed, “sometimes I wish I lived in Boston,” eliciting more screams of excitement. He performed his new album in its entirety before stepping off the stage. He shared that he would be back to sign things, and everyone in the venue quickly formed a line.   

If Smith has one talent, it’s his knack for what an audience craves to see from the nightlife scene. The rig of backlights, cheeky lyrics, crowd interactions, and curated setlist highlighted his ability to deliver a good time. Smith’s patience and genuine interest in each fan who stayed to have him sign things–including packs of cigarettes, condoms, and the thong he was selling–is a sign of a star in the making. Make sure to catch The Dare live before his last stop on September 27th. Buy tickets here.

The Dare and Avalon Lurks at Sonia 09/10/2024