After getting a chance to hear Good Graeff‘s upcoming EP, I found myself a fan and made it a point to try and catch the twin sisters for a few shots post-soundcheck on their recent stop at The Firebird (opening for Mates of State and Hey Marseilles). Be sure to check out Good Job Go when it comes out on 7/10 (you can check out the video for “I Want To” here on YouTube) and keep them on your radar the next time they pop into your town. Continue reading
Vintage Vinyl and The Pageant hosted an afternoon treat for those already headed to the evening Dawes show by featuring a private acoustic performance by frontman Taylor Goldsmith. The intimate session packed the Halo Bar to the brim, with fans even finding seats on the floor up front to take note of the stripped-down songs.
Other recommended links:
–The Moment podcast with Brian Koppelman recently featured a fantastic in-depth interview with Goldsmith
-Jason Gonulsen at Speakers in Code has some great pics of the evening show with Langhorne Slim.
I didn’t know what to expect when Le Butcherettes showed up at Vintage Vinyl and it’s safe to say that it also didn’t turn out anything like I would have expected. Known more for their intense live rock performances, the trio settled in with an acoustic set that still maintained the unpredictable drama with front-woman Teri Gender-Bender finishing off her last song outside on Delmar with an impromptu smashing of her guitar.
A bit of traffic meant that I was only able to attend the final two songs of Lilly Hiatt‘s set at Vintage Vinyl, but a good number of Twangfest attendees made their way over to the store to get their second dose of the Nashville songwriter after her Off Broadway show.
With St. Vincent’s 2014 self-titled album still one of the few albums that still dominates my 2015 listening, I jumped at the chance to photograph her headlining show last week at The Pageant. It turned out to be a stunner of a performance that left the crowd bowing to the guitar goddess. Sarah Neufeld of the Arcade Fire opened with a haunting delivery from her violin.
It was my third time shooting St. Vincent (Old Rock House in 2011, Firebird in 2009), but the first time since she’s cranked up her visual performance elements, which meant figuring out how to traverse the barrage of strobes and bright lights thrown from the stage. While still a handful, the predictability of the lights and her timed movements actually worked well for playing around with in-camera multiple exposures.
Other Recommended Links: