One year ago, before the proper release of his biggest album yet Delilah, Anderson East played the Bowery Ballroom solo opening for Sturgill Simpson. One year and one day later, many of those passed by on the road including at least three other shows in New York City, East returned to the Bowery stage as the headliner with his full band in tow. The Nashville based artist has seen his star continue to rise and this show was sold out well in advance. And after seeing him several times before, East proved himself to be a capable and versatile headliner. Another Nashville based artist, Andrew Combs opened for East and his set was well-received by the Americana and country loving audience. Combs performed tracks off his two albums, Worried Man and All These Dreams, with the title track from the latter being a particular highlight of his set. Combs then went down to sign autographs for his newly minted fans.
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“To outliving your enemies,” shouted Priests frontwoman, Katie Alice Greer, to a crowded Music Hall of Williamsburg. Whoever had ‘em, or at least those who were comfortable, raised their beers to the death of Antonin Scalia, which had been announced just hours prior. Celebrating anyone’s death isn’t really anyone’s idea of civilized, but if there’s ever a place to suspend social pleasantries, it’d be a Priests show. And after all, she did preface it somewhat fairly: “I’m not normally one to celebrate someone’s death, but anyone will do a better job than he did on the Supreme Court.”
They then whipped into another riot punk number, air-tight rhythm section grooving along while she posed, chanted, rumbled through her ironic lyrics. Priests are a band with conviction, making use of a noisy, Sonic Youth template as a platform for their unruly politics. Their closer, which they introduced as a new one, played big with melody and groove—perhaps their touring companions are rubbing off. Bodes well for a vibrant follow-up to their “Bodies and Control and Money and Power”, which itself topped Impose’s Best Albums of 2014.
Violinist Dr. L Subramaniam presented his Lakshminarayana Global Music Festival, in collaboration with the World Music Institute, in New York at the 92Y on 5 February 2016. It was a rare US performance, his first here since 2006, for the classically and traditionally trained virtuoso. The crowd at the Y was markedly different from that at a typical event—a sea of brown faces, including mine, turned up (and I believe security seemed heavier than normal inside and with at least one police officer positioned outside the venue).
L. Subramaniam was accompanied by a small group for a mesmerizing Carnatic performance that went over ninety minutes. Seated on the Dr.‘s left was his son, Ambi Subramaniam, an acclaimed violinist in his own right. To the side of the father and son were Mahesh Krishnamurthy on mridangam and Ravi Balasubramaniam slapping the ghatam (essentially a clay pot). The elder Subramaniam introduced each of his pieces, the ragas, explaining the time signatures and the key changes. The first raga was Varnam and it began with him solo, then transitioned into a violin call and response with his son before the percussion joined in. Time flew by during the performance as the rich sonics resonated in the auditorium.
As one of PopMatters’ “Musical Hopes to Break Out in 2016”, Julien Baker is unsurprisingly a very talented artist. What might be surprising to some is that her music is regularly somber and occasionally devastating emotionally. Her sparse debut album Sprained Ankle, released in October 2015, has tough songs that deal with loneliness and depression. This winter, Baker has been generating a lot of buzz on the back of her emotional solo performances.
It was a Wednesday night in the City of Angels and the local freak power congregation was out in force to hear Chris Robinson and company testify. The former Black Crowes vocalist has achieved a rare feat with the Chris Robinson Brotherhood, striking sonic gold with a second band after the dissolution of the one that made him a rock star. But that’s what “farm to table rock ‘n roll” is all about as the band calls it, a down to earth organic formula of devotion to the rock gods and muses.