Anna Ternheim’s van has broken down. It’s a classic touring blunder that is an inconvenience at best or tragedy at worst. But Anna is committed and undaunted. She takes an emergency flight to Chicago in order not to miss her show at the Bottom Lounge later that evening—which has now officially become a solo one—or our interview.
Latest Blog Posts
British electro-indie duo The Big Pink (yep, they’re actually named after The Band album) played to an excited crowd at D.C.‘s the Black Cat in support of their debut album A Brief History Of Love. Their rough, scuzzed out but occasionally poppy sound worked well live, but for a band that’s publicly stated they’re not cool, they could have fooled me—just like they apparently fooled NME into naming them best new act. If you missed them on this tour relax, they’ll be back in the US starting in March.
Raekwon might be responsible for one of this year’s best albums but as his Washington D.C. fans found out earlier this week, he’s far from infallible. To be fair, the deck was stacked against him from the start: it was a cold Tuesday night and the 9:30 Club was less than half full. After a brief DJ set heavy on classic ‘90s cuts, the Chef came out swinging, digging deep with Wu classics like “C.R.E.A.M.” and old solo favorites like “Ice Cream”. Problem was, without the much-needed assists from his fellow Clan members, the songs were sapped of much of their momentum. Tracks from Raekwon’s latest opus, Only Built 4 Cuban Linx… Pt. II fared far better, with both “House of Flying Daggers” and “New Wu” being delivered with particular urgency. The night’s guest stars, however, left something to be desired. Though billed as Capone-N-Noreaga, the latter was a no show, though that didn’t stop Capone from trying—and failing—to carry the weight of the N.O.R.E. hit “Nothin’”. Still, Capone managed to cultivate some good will by effusively professing his love for the District, though it was immediately squandered by a hype man who mistakenly yelled, “Pittsburgh, make some noise!”. A lot of noise was indeed made, though it was probably not the kind he had had in mind.
Henry Binns and Sam Hardaker, better known as the acid jazz downtempo sensation Zero 7, performed to a near capacity crowd at Toronto’s Phoenix Concert Theatre not quite two weeks ago. The duo, based out of London England and supported by vocalists Eska Mtungwazi and Martha Tilston, was in town for the first time in three years to promote their new album Yeah Ghost. The contributing artists accompanied Binns and Hardaker’s signature synth-driven melodies with a plethora of traditional and unique instruments, often giving the impression that you were listening to totally different bands from one song to the next. The songs constantly transitioned from jazzy numbers, like “Pop Art Blue” with its soulful lyrics, to bass heavy instrumentals, such as “Seeing Things,” that were reminiscent of early “808 State” songs and had the crowd dancing around with reckless abandon. This variety of tempo and style kept the performance unpredictable and very entertaining to watch. A lively three-song encore that included “In The Waiting Line,” “The Pageant Of The Bizarre,” and “All Of Us” concluded an already strong performance and left fans shouting “Zero 7 rules” and clapping long after the band left the stage.