Events

Goldfrapp: 23 June 2010 – Hammerstein Ballroom, New York

Sachyn Mital

Wearing a jacket made from streams of black tinsel, Alison Goldfrapp led her band through an hour and a half long spirited performance, giving the audience a highly charged glam-rock extravaganza.

Wearing a jacket made from streams of black tinsel, Alison Goldfrapp led her band through an hour and a half long spirited performance, giving the audience a highly charged glam-rock show. The tour stop in NYC was only one of a handful in the US the English lass has planned on either coast. Supporting their new album Head First, Goldfrapp worked the crowd over with many of their 80’s emblazoned songs.

Starting with two more melancholic and ambient songs, “Voicething” and “Crystalline Green”, Goldfrapp charged into their characteristically synth-heavy pop with “I Wanna Life”. From there, the band propelled along on overdrive for an hour with very dance-friendly songs, like “Number 1” and “Alive”. “Dreaming” closed out with a frenetic solo from the violinist. During the main set, Goldfrapp’s flirtatious cooing was enhanced by waves of air tousling her hair about while each song walloped the audience with powerful glam-rock energy. After introducing it as a song some might be familiar with, Alison let “Train” take the audience into a couple of older synth singles, “Ride a White Horse” and “Ooh La La”. Bright lights punctuated the chorus bathing the dancing crowd.

Golfrapp quickly left the stage, and the audience soundly cheered for an encore until the band returned for the otherworldly “Utopia”. The combination of Alison’s attire (she was wearing a jacket with lights stitched in and broad shoulders) and her rising stacatto climax seemed akin to that of The Fifth Element’s diva Plavalaguna, and I don’t mean that in any derogatory manner. Unfortunately, the cranked up music swallowed her vocals a bit on this older song.

Following another quick break and costume change, into a more colorful ensemble, Goldfrapp returned for their final two dance numbers. “Rocket” and “Strict Machine”, which both benefited from the imposing synths, fueled the audience’s fervor. Though the crowd was hungry for more, the music was over, the band had gone, and the outfit changes were no more. At least the memory of Goldfrapp’s sizzling glamour will linger on.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

In the wake of Malcolm Young's passing, Jesse Fink, author of The Youngs: The Brothers Who Built AC/DC, offers up his top 10 AC/DC songs, each seasoned with a dash of backstory.

Keep reading... Show less

Pauline Black may be called the Queen of Ska by some, but she insists she's not the only one, as Two-Tone legends the Selecter celebrate another stellar album in a career full of them.

Being commonly hailed as the "Queen" of a genre of music is no mean feat, but for Pauline Black, singer/songwriter of Two-Tone legends the Selecter and universally recognised "Queen of Ska", it is something she seems to take in her stride. "People can call you whatever they like," she tells PopMatters, "so I suppose it's better that they call you something really good!"

Keep reading... Show less

Morrison's prose is so engaging and welcoming that it's easy to miss the irreconcilable ambiguities that are set forth in her prose as ineluctable convictions.

It's a common enough gambit in science fiction. Humans come across a race of aliens that appear to be entirely alike and yet one group of said aliens subordinates the other, visiting violence upon their persons, denigrating them openly and without social or legal consequence, humiliating them at every turn. The humans inquire why certain of the aliens are subjected to such degradation when there are no discernible differences among the entire race of aliens, at least from the human point of view. The aliens then explain that the subordinated group all share some minor trait (say the left nostril is oh-so-slightly larger than the right while the "superior" group all have slightly enlarged right nostrils)—something thatm from the human vantage pointm is utterly ridiculous. This minor difference not only explains but, for the alien understanding, justifies the inequitable treatment, even the enslavement of the subordinate group. And there you have the quandary of Otherness in a nutshell.

Keep reading... Show less
3

A 1996 classic, Shawn Colvin's album of mature pop is also one of best break-up albums, comparable lyrically and musically to Joni Mitchell's Hejira and Bob Dylan's Blood on the Tracks.

When pop-folksinger Shawn Colvin released A Few Small Repairs in 1996, the music world was ripe for an album of sharp, catchy songs by a female singer-songwriter. Lilith Fair, the tour for women in the music, would gross $16 million in 1997. Colvin would be a main stage artist in all three years of the tour, playing alongside Liz Phair, Suzanne Vega, Sheryl Crow, Sarah McLachlan, Meshell Ndegeocello, Joan Osborne, Lisa Loeb, Erykah Badu, and many others. Strong female artists were not only making great music (when were they not?) but also having bold success. Alanis Morissette's Jagged Little Pill preceded Colvin's fourth recording by just 16 months.

Keep reading... Show less
9

Frank Miller locates our tragedy and warps it into his own brutal beauty.

In terms of continuity, the so-called promotion of this entry as Miller's “third" in the series is deceptively cryptic. Miller's mid-'80s limited series The Dark Knight Returns (or DKR) is a “Top 5 All-Time" graphic novel, if not easily “Top 3". His intertextual and metatextual themes resonated then as they do now, a reason this source material was “go to" for Christopher Nolan when he resurrected the franchise for Warner Bros. in the mid-00s. The sheer iconicity of DKR posits a seminal work in the artist's canon, which shares company with the likes of Sin City, 300, and an influential run on Daredevil, to name a few.

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image