T-Pain Invades Boston

Posted on 07/24/2023 by Harry Gustafson

T-Pain landed in Boston on Wednesday night at the MGM Music Hall as part of his Escape from Wiscansin: The Invasion tour. Multiple members of his entertainment empire, Nappy Boy Entertainment, opened up the show and hyped up the crowd. Young Cash and NandoSTL performed before the special guest of the tour, Tobi Lou, took the stage. At this point in the night, it was clear that the show had sold out as the floor and both balconies filled up with people. Once the room went black, three LCD panels lit up with an intro video with spaceships and David Bowie’s “Space Oddity” playing over the speakers. Finally, T-Pain took the stage and he brought all of his hits with him. The setlist included popular solo tracks like “Bartender” and “Up Down” but a majority of the night was dedicated to a number of his infamous features. There were also notable mashups throughout the night. A personal favorite was a mix of “Just Wanna Rock” by Lil Uzi Vert and “Kiss Kiss” by Chris Brown (with a highlight on T-Pain’s verse, of course). Towards the end of the night, there was a focus on his newest release, On Top of the Covers. These songs showcase the vocal power that T-Pain has, despite being known for his use of auto-tune. The set showed how multitalented the Wisconsin artist is. Plus, it showed that he really knows how to throw a killer party.

Check out Emily’s photos from the show below.

Bon Iver, Big Thief, The Smile and More to Perform at Pitchfork Festival

Posted on 07/21/2023 by Harry Gustafson

By Harry Gustafson

earl sweatshirt pitchfork 2022 pooneh ghana

Earl Sweatshirt at Pitchfork Festival 2022 (Photo Credit to Pooneh Ghana)

Now in its 11th year, Pitchfork Festival continues to grow, booking some of the most eye-catching lineups in the annual summer festival circuit. Mixed bills have become somewhat the norm these days, so it takes a lot to curate something that is truly intriguing to the average festival-goer, who now more than ever values genre eclecticism in their weekly listening palette.

Pitchfork Fest perennially delivers by showcasing some of the hottest names in indie and alternative. Because Pitchfork the publication has become such a grounding force in the world on online music journalism, its extension into festival planning has been a natural transition. You can catch some forward thinking r&b, post-jazz-punk, alt country, experimental pop, footwork, folktronica, and a bevy of other genres across the three days.

Some of the acts must-see acts to look forward to this year include Yaya Bey, King Krule Illuminati Hotties, Kelela, Jlin, Black Belt Eagle Scout, Vagabon, Perfume Genius, Alvvays, Weyes Blood, Jockstrap, and JPEGMAFIA. That doesn’t even include headliners The Smile (Thom and Johnny’s Radiohead offshoot), Big Thief, and Bon Iver.

No festival is complete without the extra amenities to engage attendees. There’s a host of food options available, including Chicago Doghouse, Connie’s Pizza, Black Dog Gelato, and more local favorites. There will also be a host of businesses set up, including Bellows Film Lab for onsite photography needs (this writer/photographer will almost certainly drop off a roll of film for development at some point over the weekend). Buffalo Exchance, Bonitos Hats, and more round out the vendor side of things.

Check out Allston Pudding’s previous coverage of Pitchfork Festival from 2018. View the full lineup below, and purchase last minute passes on the festival’s website. Keep up with our feeds for full coverage during the event as we travel out to Chicago’s Union Park for a music filled weekend.

Levitate Music Festival Delights in It’s 10th Year

Posted on 07/20/2023 by Andrew Bourque

Review by Andrew Bourque

Photos by Greg Wong

Brandi Carlile takes the stage on Sunday of Levitate.

It’s Summertime in Massachusetts, which means a lot of things: demand for slush and ice cream is at an all-time high; meteorologists are left scratching their heads deciding if it’s going to be 90 degrees & sunny, or 90 & downpouring; and residents are either cooling off in front of the AC or heading out into the humidity in search of a good time.

Concert attendees did just that, as they made their way down to Marshfield for the 10th anniversary edition of the locally-beloved Levitate Music & Arts Festival. Born out of a local skate and surf shop sharing the same name, Levitate has blossomed over the years into a nationally recognized event going from a one-day affair to taking over the entire weekend with three days of art markets, beer, art installations, food, beer, music and, you guessed it – more beer.

Lucius shares a special moment with the crowd on Friday of Levitate.

While It’s the drunkest festival I’ve ever been to, it also might be the most wholesome. You don’t see a lot of phones out during the sets at Levitate. These people aren’t here for social media clout or to “be real”, they’re here for the music and to have a good time. It doesn’t hurt that it literally takes place on a suburban fairgrounds, so the feeling of being home for the summer with friends is undeniable. Not to mention Levitate’s usual lineup/vibe attracts a certain… mellow, chilled-out crowd.

This year’s edition was no different. Boasting a stacked lineup of jam, reggae and folk adjacent acts, usual attendees and gleeful first timers alike would have something to look forward to. Friday kicked off with singer-songwriter Steve Rondo. The day continued on with The Q-Tip Bandits, L’Especial, Ripe and more. The Boston-based Ripe always brings the fun, even amidst the deadly heat. There’s no denying the infectious energy that frontman Robbie Wulfsohn always brings to the stage.

Jess Wolfe of Lucius on Friday of Levitate.

Lucius came next, delivering a beautifully sung and groovy set. However the highlight was during their final song, the duo came into the crowd, had us all sit in a big circle and they sang to us. The intimacy and connection between the artists and the crowd was something I had never experienced before at a festival.

Then the Duxbury, MA-originated Stick Figure headlined night one of the festival, kicking the weekend into gear in true hometown hero fashion. The crowd was packed and the times were good.

Rick Mitarotonda of Goose on Saturday of Levitate.

Saturday continued with duo Birch & Anna, Vancouver-based pop band Peach Pit, Aussie pop duo Lime Cordiale, and acclaimed guitarist Celisse, with the latter also venturing into the crowd to get real close and personal with fans. Jam band Goose took the stage next in front of a raucous crowd. Chants could be easily mistaken as jeers from the crowd as thousands of voices bellowed “GOOOOOOSE”, with some unwitting bystanders wondering why everyone was “boo-ing” the band.

Boston based reggae band The Elevators finished off the Style Stage for Saturday night and they deserve recognition for one of the best pieces of merch available at Levitate. A Red Sox style white jersey with the trademark red font reading “The Elevators” across the chest. If you’re going to pander to Boston area locals this is how you do it.

Trey Anastasio Band wrapped up Saturday night in true jam band fashion, working their way through a 13-song setlist complete with Phish standouts “Wolfman’s Brother” and “The Moma Dance,” as well as Trey Anastasio solo tracks “Cayman Review” and “Push On ‘Til the Day”.

Celisse on Sunday of Levitate.

Sunday closed out the weekend with more clouds, less heat and much more music. Celisse performed their second and final set of the weekend, reggae mainstay Ziggy Marley and roots rock band Larkin Poe lit up the Stoke & Style stages respectively before making way for Americana heartthrob Shakey Graves and Levitate veterans Rebelution.

As the weekend closed, Brandi Carlile commanded the Stoke stage for one last performance in 2023. A “mother” if there ever was one, Carlile continues to prove what an unstoppable and fiercely wholesome talent she can be. The power in her voice is only matched by the genuine spirit and compassion she has for each and every person on stage, behind the stage and those losing their minds in front of it. Ripping through classics like “The Story”, “Mainstream Kid” and “Wherever is Your Heart”, Carlile delivered a closing performance fitting of a 10-year anniversary. Here’s to 10 more!

For more information about Levitate Music Festival, click here!

Weezer Steer the Indie Rock Road Trip to Worcester

Posted on 07/11/2023 by Harry Gustafson

Photos & Review by Greg Wong

On Saturday 7/1, Weezer brought along Joyce Manor and Future Islands to the Worcester stop of their Indie Rock Road Trip tour. The event drew a huge crowd to The Palladium’s outdoor space for a night of high-octane nostalgia.

Californian rockers Joyce Manor got things rolling with a hard-driving sprint of a set. They made the most of their short time on stage and took control of the crowd quickly. The momentum continued with Future Islands. Front man Samuel T. Herring was nonstop as he gave an energetic performance that commanded attention.

Weezer entered the car themed stage and started the road trip worthy setlist strong with “My Name Is Jonas.” From that point on, the geek rock veterans delivered a honed performance of songs overwhelmingly from the 90s through the aughts, with a smattering of selections from much newer material blended in. Weezer mixed things up a bit with guest accompaniment from Joyce Manor’s Barry Johnson, solo performances from Rivers Cuomo, and acoustic variations of “Suzanne” and “Aloo Gobi.” In the end, as the last notes of the encore performance of “Buddy Holly” rang out, the crowd that packed the back lot of The Palladium had no doubt found the classic Weezer performance that many were looking to find.

Check out our complete photo gallery from the show below.

Colin Domigan is Making Dance Music for Dads

Posted on 07/07/2023 by Dillon Riley

By Dillon Riley

Photo Courtesy of Colin Domigan

Massachusetts producer Colin Domigan has been around the block a few times. While fatherly duties have mostly kept him tucked away of late, the man was a crucial figure in Boston’s underground dance music scene for over a decade as a musician, DJ, and promoter. With an explorative ear and an internet-fluent persona plus serious chops behind the decks and the MIDI keyboard, Domigan has fit right at home at parties that stretched from trap to house to hyperpop and back again, racking up opening duties for some of dance’s biggest names. That kind of range hits home on Colin Domigan, his first full length solo release since 2017’s Buddy List. Folding in bloghaus, UKG, electronica, and drum-and-bass (among other subgenres), Domigan is a certified tour-de-force and a welcomed return for one of the city’s most playfully unique voices. Domigan is sharing the album’s second and final single “Normie (Electronic Dad Music)” with Allston Pudding today, and it’s an ode to everyone out there fighting the “is washed” allegations on dancefloors all over. It’s also a picture-perfect slice of thumping house primed to knock out any club or porch or backyard that would have it. Press play on the stream and read a little more about the song’s inspiration below.

“Have you or a loved one been called a normie at some point? I know I have. After being instrumental so often I wanted to write some lyrics, but they were not coming. I had an idea to express and not enough words. I knew what I wanted to say, so I said it as finite as I could. Putting my foot down and proclaiming “I AIN’T A NORMIE” only establishes the irony that I’m just a regular guy looking for some self-actualization.”

The Normie EP, which include remixes from SOL, YURGIS and ALEISTER (all remix contest winners from a campaign hosted by Audius), is out on streaming services today, July 7th.

Boston Showed Up for BAMS Fest, and BAMS Fest Showed Up for Boston

Posted on 07/06/2023 by Harry Gustafson

Review by Tanvi Shah & Harry Gustafson

Photos by Harry Gustafson

In its fifth year of existence, Boston Art & Music Soul Festival (BAMS Fest) has grown into a paragon of how to run a locally-focused music festival. Spread over two days in June, the event featured some of Boston’s finest musical talent in the genres of hip-hop, R&B, soul, jazz, spoken word, and more. Additionally, the festival did an amazing job at attracting national-level talent to its 2023 roster, headlined by Mumu Fresh the first night and Grandmaster Flash the second.

Day 1

Mumu Fresh

The placement of the stages (facing West so that sun would continue to illuminate the stages throughout the day) was sort of a dream alignment for my purposes as a photographer: every artist, especially those in the afternoon to sunset, were bathed in golden rays. However, at times I couldn’t help but worry for the artists, many of whom seemed to be trying their best to not stare directly into the sun.

DJ Slick Vick set the mood in between sets on day one, mixing hip-hop and R&B dance tracks from all eras. She even threw in a little juke tracks for the electronic heads (me). At 5pm, musician and poet Tim Hall took stage for the festival’s first live set. I had the fortune of seeing Hall perform his solo material a few months ago at Cambridge’s Lizard Lounge. Being in a basement, that set was wonderfully intimate and comforting. While Hall’s set at BAMS lost none of the comfort factor, the festival’s impeccable sound system gave him the chance to diametrically alter that soft intimacy with a brilliant wall of sound. As Hall’s band (and flying sax riffs) thundered from the speakers, we were left to close our eyes and let his words wash over us.

After Tim came rapper Nate Nics, who I was unfamiliar with, but will be checking out after a lively set that was made all the more impactful with the backing of a pretty sizeable band (~10 people). The only real hiccup of the day came as Zyah Belle got ready to perform. Some of her band members couldn’t hear the click track in their ear monitors, which caused a slight delay. Ultimately, it was worth it, as the singer rifled through a slew of slow, dreamy R&B covers. The evening was capped off by Baltimore artist Mumu Fresh, who delivered about 50% singing and 50% rapping, flowing easily between the two delivery methods. What stands out about her performance style is the balance between her powerful stage presence and the vulnerability of her personal storytelling via song.

-Harry

Day 2

Grandmaster Flash

[For this section, Tanvi’s contributions are in normal black text; Harry’s are italicized.]

BAMS Fest was inspiring, to say the least. As a first-time attendee (it was my BAMS Fest buddy Lina’s first time too), I’ve heard amazing things about the festival but wasn’t sure what to expect. So my long journey from Somerville to Franklin Park just built up my anticipation for the festival..When we reached, we were ready for anything with our umbrellas and wallets, our energy was all the way up.

The first performer we saw was Alexus Lee, and whoever put her on early was smart. Her song “Better Weather” manifested sun for the rest of BAMS Fest, after the initial awkward rain that we experienced through her lyrics, “There’s going to be better weather when we’re together.” It was Alexus’ first BAMS Fest, and she said she was grateful for her band and that she feels safe and at home at BAMS Fest. As a person of color, she loves the sense of community.

Next up was a food break, which didn’t disappoint. Suya Joint was SO flavorful and so good, and even the owner was surprised by my excitement to eat my jollof rice with plantains and stewed black beans. One of my favorite pictures from BAMS Fest is the picture of my food. Other notable food places included Clarke’s, with its vegan desserts and pastries, and Zaz, with their jerk seafood fries and lobster mac and cheese.

A pair of Jordans on display at Laa Tienda’s pop up.

Some other great things the festival does is provide free water (and other tasty little beverages) to attendees. Free bottles of still water, as well as Topo Chico, ensured that everyone was well-hydrated across the two days. Big props to the organizers for accounting for the safety and comfort of the festival-goers. There was also a dance tent where you could join a group in busting a few moves. But by far my personal favorite non-musical attraction was Laa Tienda’s pop up shop. The Medford-based footwear and apparel store set up on the festival grounds, displaying some of the coolest kicks and gear in their stock.

Cakeswagg then took the cake with her performance, giving us a taste of her music with “Thank You Black Girl” and a snippet of an upcoming song, “BBLU.” Cakeswagg was also joined by the Femme C’s — none other than Brandie Blaze and Red Shaydez — who joined the dancers on stage. Cakeswagg even had an interpreter for accessibility, which was heartwarming to see. Cakeswagg left me with the line “thank you Black girl, thank thank you Black girl” stuck in my head for the rest of the day, and I’m not mad about it.

Then, Catherine Morris graced The B Stage and brought on Mayor Wu, who she described as someone who “invests in the arts.” Mayor Wu told us about her background of growing up playing the piano and reflected, “The arts are an important way of finding ourselves and each other, and feeling grounded and able to connect with the community. The truth is that the most important infrastructure of all is community infrastructure — is what we have 5 years and counting, now.” You could definitely feel BAMS Fest’s effort to intertwine community through music, arts, culture, and local businesses all in one — I even bought a couple pairs of earrings from LBM Jewelry!

While Tanvi stepped away to cool down and rehydrate, I headed over to Stage B to check out International Show, a rapper I was unfamiliar with, but will be adding to my “to listen” playlist. One of the coolest things about the hip-hop artists on the bill was the commitment to playing with live backing bands. It lent the performances a lot of energy. Who doesn’t love live band hip-hop?

After that, Berklee professor Terri Lynn Carrington performed with her collective of musicians that are a part of the college’s Institute of Jazz and Gender Studies. Back on Stage B, the Mary Orij Visionaries Collective – donned in all-white outfits and matching visor sunglasses – were tight and together. When introing the band, Mary Orij gave touching descriptions of each member, praising their individual strengths.

When I headed back to Stage A, I was not expecting to discover one of my new favorite vocalists, but Dreion ended up becoming just that. Donned in a black and gold overcoat, the singer has that smooth 80s slow jam style: a lot of vocal runs and sensual lyricism. He and his backing vocalist Christelle were in perfect sync, dancing together and playing off each other vocally. At one point during his set, he started singing the chorus to Babyface’s 1989 slow jam classic “Whip Appeal” (“whatever you want/ it’s alright with me”), and I’m actually a little peeved at him because I haven’t been able to get the song out of my head for nearly two weeks.

Back to Tanvi…

Kevin Ross blew me away with his smooth RnB vocals, and those runs…damn. Everyone was grooving and vibing, and he did a medley of songs for all the 90s RnB fans, including “Remember the Time” and “I Wanna Sex You Up.” He even came into the crowd and made us all sing (and swoon), winning over many new fans, including me!

I definitely got my steps in — BAMS Fest should host some sorta workout class situation in the lead-up, because they made us run from Stage A to Stage B to Stage A and back to Stage B, all in the name of music… I swear we did at least a couple miles (but it was absolutely worth it).

ToriTori was an awesome surprise on Stage A — I had seen her once before, but this was my first time seeing her with a full band, which was even better! She even brought out some special guests: Latrell James, Notebook P, and Tim Hall. I am personally obsessed with her single, “Places”, and the line “You grew up, good for you, keep it up, took a few” gets me every time — it’s so catchy! I felt Tori’s sass through her vocals and her stage presence was just captivating.

After seeing ToriTori perform, we ran back (well, I walked) to Stage B to see Kei perform. I had seen Kei perform before but was super excited to see her with a full band and backup dancers. Kei brought the rock vibes to her catchy raps and songs. Her song “like ooo” had us all going “ooo” in awe of her talent and sass. Her drummer, though, was PHENOMENAL, and we were all like…he can drum — follow @mjltmofficial right now! I’m not sure what happened at the front of the stage but I definitely saw some flying clothes 👀

To close us out from a full day and get the party started, was Grandmaster Flash. “When I’m playing a hip hop set, I’m going around the planet,” which he did, paying homage to the likes of Big Pun, Juice WRLD, Tupac, and so many other artists who we’ve lost over the years. Grandmaster Flash had everyone with their hands in the air, dancing,singing, and bopping along to all his old-school beats.

*record scratch*

Heyyy, it’s Harry again. I could write an essay on Grandmaster Flash’s set alone. Or at least I think I could, if the immense emotional response I felt at the time could logically form itself into words and calmly transfer itself from my fingertips to this page. I doubt I could do that, but nonetheless I will try my best while also remaining concise enough for readership.

2023 marks the 50th anniversary of hip-hop as a genre. That’s a long time for a genre to evolve. Even saying “hip-hop” alone is misleading given the myriad subgenres that it has evolved into. While Grandmaster Flash was by no means the sole progenitor of the genre, it is nonetheless impossible to imagine what hip-hop would be like without his deft hands scratching those turntables.

The tribute to hip-hop musicians who lent the genre their gift before passing on was profound and inspiring. It began with Grandmaster toasting Robert Keith Wiggins, a.k.a. Keef Cowboy, one of the first MCs to pick up a mic while Flash was ripping thru records. You could hear Flash’s voice tremble as he paid tribute to his friend and collaborator. During the following segment – mixing tracks by these gone-but-not-forgotten artists – he asked the audience to get uproarious if he played a song by an artist who had touched their lives. First came Big Pun. I’m Puerto Rican on my mom’s side, so I screamed. Afterwards, Heavy D, Big L, an extended play of Phife Dawg’s contribution to “Can I Kick It?” (I’ve got Type 1 diabetes so Phife has always held a special place in my heart), MCA of the Beastie Boys, 2pac, Biggie (who I share a birthday with), and many, many more. I bring up these personal points of reference to demonstrate the ubiquitousness that hip-hop has achieved in its 50 years. Unless you’re a stuffy, bigoted curmudgeon who misguidedly dismisses the genre as “unmusical” or whatever (yawn), you’ve got a favorite rapper.

Ok back to Tanvi…

To end all the amazing performances, Catherine Morris praised Boston for coming out to Franklin Park, and for showing up! But BAMS Fest isn’t a one-and-done festival — they have more programs and events throughout the year that you can support. So, if you want to continue to build and empower the Black and Brown arts community, check out bamsfest.org!

-Tanvi

Check out our photos from BAMS Fest below.

Tuxis Giant Emerge From The Woods

Posted on 07/05/2023 by Dillon Riley

By Dillon Riley

Tuxis Giant live by Amanda Lozada

Last time we checked in with (now) Boston/New York indie rockers Tuxis Giant it was on the eve of their In Heaven EP. Written in a cabin within the Vermont countryside, fronter Matt O’Connor succeeded in expressing the intense ennui felt during the COVID lockdown via a palette of patient, twangy, and frankly nostalgic soundscapes. Astute readers of this site will recall O’Connor offhandedly mentioning that Tuxis Giant had most of another full length written around the same time already in the can, and the band is now readying that very release.

The Old House sees Tuxis Giant returning to the warmer folk and Americana sound of their latest efforts, but with a little added heft: these are songs written with the live stage in mind. Eleanor Elektra once again adds guitar leads and harmonies to the affair, giving Tuxis Giant an added edge and depth that places them in league all their own amidst the other slide guitar enthusiasts kicking up the indiesphere. We are pleased to be premiering the first single from The Old House today with “The Woods”, a song that came to O’Connor after a nearly perilous encounter during their time in isolation. Click play on the stream below and read a little bit more about the song’s creation from O’Connor below.

<a href="https://tuxisgiant.bandcamp.com/album/the-old-house">The Old House by Tuxis Giant</a>

“I was living alone in Vermont during the worst days of the pandemic. I’d go on walks every day to try and stay sane. I had my earbuds in on one such walk through the woods. Then, all of a sudden, I heard this jarring crash and rustle beyond the trees. I froze. I realized that I wasn’t as safe as I thought I was. The barrier between the path and the woods wasn’t a barrier at all. The unknown waited beyond those branches, and it might not be friendly. This song was inspired by that moment.”

The Old House is out on Friday, October 6th. You can pre-order a copy right here.

Linnea’s Garden and Carissa Johnson Kick off Summer With Funky New Song

Posted on 06/30/2023 by Andrew McNally

By Andrew McNally

The Summer Solstice has passed and the days are getting longer and warmer. Whatever your feelings on summer may be, the buzz right now, as per usual, is summer jams. Well, we’re delighted to be exclusively premiering what will be one of the unequivocal summer jams of 2023, just days into the season. Boston-area glam punk band Linnea’s Garden have teamed up with multi-talented singer Carissa Johnson for a new track “In the City,” out today!

The song was born out of a long friendship between the pairing of Linnea and Carissa, who grew up together on the Boston music scene. But the track is about a different city altogether – New York – and highlights the limitless oddities you see everywhere in the City That Never Sleeps. While Linnea and fellow Gardener Hands were in town for an LCD Soundsystem show, they documented all the things they saw while out and about. “Corgis on the doorstep,” “soulmates making mistakes” and “mirrors on the king-sized bed” all make appearances on the lively night. As it goes on, everything gets more translucent. “Hooded flowers over dark mesh” and “sunlight after midnight” highlight a woozy summer night in a land of opportunity. The repeated chorus of “Come up and see what you want” is an invitation and an encouragement to get out and experience the world. In a new city, you can be anyone you wanna be.

Musically, this song sounds removed from previous Linnea’s Garden releases. The LCD Soundsystem show may have been a further influence on that, as this song is decidedly disco. A wicked and funky disco beat drops pretty early on in the track, and never lets up. The beat was dropped by Hands, and the funky bassline comes courtesy of Johnson. There is a steely guitar line in the background that sounds a bit more like the glam-rock that the Garden is known for, but it’s still a funky rhythm being played. The song came together in just one afternoon, an indicator of how locked-in everyone involved was. Everything about this track screams positivity, even when you look beyond the innately danceable music.

We need our doses of positivity more than ever. The song’s release on both the last day of Pride month and the second week of summer feel like the inspiration we need to keep our spirits high in spite of the world around us. It’s both a song to shut off the world to, and a push to go out and explore what the world has to offer. Basically, it’s fun as hell.

“In the City” is released on A Diamond Heart Production. Linnea’s Garden are working on an EP that should be released in the fall. You can catch Linnea’s Garden all around New England this summer, and two dates in Minneapolis (check the band’s website for dates & venues). You can stream the song on Spotify, or watch the video below!

Yo La Tengo Bring Stupid World and a Smart Set to the Paradise

Posted on 06/27/2023 by Andrew McNally

By Andrew McNally

Photo by Andrew McNally

The day after Father’s Day seems like the most opportune time to go see a band like Yo La Tengo (who played on Father’s Day, too). If Springsteen isn’t in town, then YLT might be one of the best father-friendly bands out there. The band’s psychedelic-tinged alternative is primed for your dad’s car stereo, if they’re not already in rotation. But Yo La Tengo offers something for everyone, and they proved it on this night. The band is only months away from their 40^th anniversary, and are touring in support of their absolutely excellent 17^th album This Stupid World. But their show was anything but stupid – it was a career-spanning set that ranged from acoustic ballads to instrument-destroying noise, with the only constant factor being pure fun. They played two nights at the Paradise on June 18^th and 19^th, and we were lucky to catch the second show.

Yo La Tengo are time management experts – there was no opener! Instead, the band played two shortened, distinct sets. The first set was soft, the second loud. The soft set opened with two songs from their new album, possibly the two most recognizable ones – “This Stupid World” and “Sinatra Drive Breakdown.” The former was a very minimalist take, an incredibly soft opening to the show. “Sinatra” picked the pace up, but remained a low-key (medium-key?) affair. It was a tremendous performance of one of the sleeper picks for song of the year. Some other highlights of the first set were a performance of their 2003 song “Tiny Birds” that saw drummer Georgia Hubley take over vocals, and a version of their recent song “Apology Letter” that had some truly excellent guitar work from Ira Kaplan.

After a ~30 minute recess, the band came back for a louder portion. They opened with a droning version of their 2018 song “You Are Here” and used it to do a hard reset leap into a very funky rendition of 1997’s “Moby Octopad.” Some more excellent guitar work followed in “Stockholm Syndrome” before the band picked the pace up further. “Fallout,” “86-second Blowout” and “Shaker” were served as three super energetic tunes that the crowd was super into. The recent track “Brain Capers” and the 1995 classic “Tom Courtenay” finished up the original tunes. The second set closed with a raucous, tremendously noisy version of the Beach Boys classic “Little Honda” (one which the band put to tape many years ago). It featured a lengthy bridge of mind-melting improvised noise, a sound far removed from the slow jams that opened the night.

The band chose to do three covers for an encore – one by the Cure and two by Sun Ra. Kaplan joked that they were hanging out with the Cure (who played Mansfield on the 18^th) and that the two bands agreed to cover songs by each other, while acknowledging that the Cure most likely did not hold that agreement (and according to setlist.fm…..no comment). But the band played an acoustic version of “Friday I’m In Love,” with Hubley on vocals. The first Sun Ra cover, “Unmask the Batman,” saw the band joined by Barrence Whitfield on vocals and Red Sox organist Josh Kantor on keys, the latter of whom was bribed to the stage by the band. It was a wild, bluesy performance, and it’s entirely possible that no one had more fun this night than Whitfield did. Finally, the band closed with “Dreaming,” another acoustic cover with Hubley singing.

The band started and ended with soft, tender performances and ramped up for extremely noisy stuff in the middle. They also played songs from eight different albums, not to mention the four covers. It was truly a night with something for everyone. If families were spending their Father’s Day jamming, then there was something for every family member to enjoy. Indeed, it was a diverse crowd, and one that was vibing with everything the band had to offer during their 2+ hour show. In case This Stupid World wasn’t enough to convince you, this show was – Yo La Tengo are still going as strong as ever.

Suffolk Downs Restarts with a Re:SET

Posted on 06/24/2023 by Andrew Bourque

Review by Andrew Bourque
Photos by Emily Gardner & Greg Wong

Boygenius by Greg Wong

As live music continues to evolve, the very way we are presented with this live music undergoes changes as well. Whether it’s tiered pricing or bands like The Cure putting a cap on ticket costs, or it’s Harry Styles touring the country but staying in one city for weeks before moving on.

The latest innovation in live music came through Boston this past weekend. A three day, touring festival-of-sorts titled Re:SET Concert Series. Three headliners, along with a gaggle of opening acts of their own choosing, perform in three different cities throughout each weekend of the month of June. Billed as an “artist and fan friendly alternative” to summer tours which gives artists a “respite from the cookie-cutter itinerary” along with no conflicts for the fans who desire to not miss a single minute of every artist.

James Blake by Emily Gardner

Starting weekend one in the Bay Area, LA and San Diego, followed by weekend two in Atlanta, Dallas and New Orleans before arriving for weekend three in Boston, DMV and New York. Boston’s weekend saw sex-symbol Steve Lacy on Friday, electro-rock gods LCD Soundsystem on Saturday and the band-of-the-moment Boygenius on Sunday. (The following, and final, weekend of Re:SET occurs in Columbus, Chicago and Nashville.)

As I left work on Friday, I knew I wouldn’t make it in time to see “Deep End” singer-songwriter Fousheé (gates for Re:SET opened at 3pm each day); however I pulled into lot 3 with only moments to spare before the second act. The adorable funk-wave artist Toro y Moi was about to take the stage. Fortunately, lot 3 truly was only steps away from the gates, providing relief that I may not miss much of Toro after all.

The lush grounds of Suffolk Downs welcomed attendees with preserved racing track signs and fixtures creating a pathway. The venue is laid out smartly with features lining the sides of an almost-circle shaped field. Bars, food stalls, the merch tent, restrooms, VIP and the stage wrap around you with ample space to lay around and enjoy the sounds in the middle. A lovely feature, in my opinion, are the planes flying just overhead from nearby Logan airport. Loud enough to be exciting without drowning out the ambiance.

Toro y Moi led a fun and funky set carrying the crowd into the weekend with ease. Stopping every now and then to flash a winning smile at the crowd before continuing to please with standout tracks “Ordinary Pleasure” and “Freelance”, frontman Chaz Bear proves they’re worthy of a longer set time, and perhaps a much bigger stage.

Steve Lacy by Emily Gardner

I hopped in line for a greasy and scrumptious pulled pork grilled cheese from Bees and Thank You, a Worcester-based local honey-infused grilled cheese food truck. The sandwich did not disappoint, and I still regret not getting the tomato soup on the side.

UK producer and professional sad boy James Blake emerged from stage smoke and took us on a soul repairing journey. His set lulls you into a state of serenity before lifting you back onto your feet and back down again. Complete with covers of Bill Withers and Frank Ocean and featuring recent Metro Boomin’ collaboration “Hummingbird”.

Lastly, the first headliner of the weekend, and most prolific on Tik-Tok, Steve Lacy arrived. Screams of fans filled the air as Lacy began to rip into his guitar, and into our hearts and minds. The California born icon played in front of screens showcasing half-nude projections of himself before stopping to promise another album on the horizon, but that he’s an “artist artist [who actually] has to live experiences before [he] can write about them.”

See photos from day one below.

Saturday was lost to rain and reports of thunderstorms in the area, but not all washed away. Much to their fans delight and surprise, British rock band IDLES set up a last minute late-night show at The Sinclair in Cambridge for only $20 a ticket. Alas Boston did miss out on l’Rain, Jamie XX and second headliners LCD Soundsystem.

Bartees Strange by Greg Wong

Sunday proceeded as planned with more fans, more music and the sun back in the sky. Thankfully I made my merch purchases on Friday night, as the arrival of Clairo and Boygenius merch shifted the wait time from non-existent to over an hour. Alt-indie musician Bartees Strange opened the final day of Re:SET while attendees acclimated to the spongey-wet grounds. Dijon took the stage next showcasing a sound that may be as hard to label as it is easy to enjoy. Swerving effortlessly through Americana, folk, rock, R&B, soul and more.

Next, I stopped by the Pazza Express stand for a heaping pile of French fries, chicken tenders and Arancini before returning to the crowd. Massachusetts raised songstress Clairo appeared next on stage hood up, sunglasses on and ready to make us feel something. Taking some soft moments of pause to remark about her ties to the area before sliding back into standouts “Alewife”, “Zinneas” and “Bags”.

Clairo by Greg Wong

Finally, the weekend closed out with everyone’s favorite boys. Composed of the buttery n’ beautiful Lucy Dacus, the quietly ferocious Julien Baker and gen-Z heroine Phoebe Bridgers, Boygenius kicked things off. But not before a moment of recognition for the indigenous peoples in the area and to acknowledge the land we stood on and its ties in rightful ownership to the Pawtucket, Wampanoag and Massachusett tribes.

Beginning with a broadcast from backstage, the trio softly sings “Without You, Without Them” before fully erupting onstage for lead single “$20”. By taking pauses to say “Hi”, to wish the dad’s in the crowd a Happy Father’s Day, to help fans in the crowd, and to figure out if the verse they had just sung was the correct one; the camaraderie and spirit is undeniable. It’s only a crime these three didn’t start performing together sooner.

Allowing themselves time to shine in their own rights, each “boy” performed one song from their solo albums before coming back together to unleash a new song “Boyfriend” (it had debuted the night before in NY). Continuing with standouts “Me and My Dog” and “Letters to an Old Poet” before returning to the stage for an encore, officially closing out the weekend with the searing “Salt in the Wound”.

Having promised a leisurely weekend of music, Re:SET Concert Series delivered with the structure and ease of a tried-and-true festival while offering some much appreciated differences including no conflicting set times, earlier end to the evenings and a cohesive program of incredible artists. See photos from day ~~three~~ two below.