The Rural Alberta Advantage is a three-piece Canadian band.
Playing “Edmonton” live in 2009:
Tag: live (Page 5 of 7)
I just discovered this video of Sharon Van Etten playing a solo, guitar-only version of “Love More,” back when it was still a new song.
It’s great to get a glimpse into the beginnings of a song, stripped down to its bare foundation:
Big Scary, the Australian duo of Tom Iansek and Jo Syme, played at Pianos last night (Wednesday October 24th).
Big Scary have been a band since 2006, and they released their first songs back in 2008 .
The electric guitar driven “Gladiator” as well as the keyboard driven “Falling Away” were really great live, even for people in the audience who hadn’t necessarily heard the album versions of those songs.
Big Scary ended their set with “Purple” off of their Vacation LP, which sounded a bit out of place (it’s more aggressive, with a spoken word chorus) compared to their other songs.
Photo Credit: Neil Krug
First time seeing First Aid Kit live, and it didn’t disappoint!
First Aid Kit played to a packed house at Irving Plaza on Saturday (and they play Sunday at Music Hall of Williamsburg).
Mike Mogis, the “Dr. Dre of indie rock” as Klara introduced him, was a special guest who sat in with the band and played mandolin.
“Blue” sounded particularly good live, and First Aid Kit played “Ghost Town” completely acoustic – with no microphones or amplification – in the middle of their set.
The audience responded well to “The Lion’s Roar” and the band’s latest single “Wolf,” but technical difficulties with Johanna’s keyboard messed up a few songs. I wish they played “Emmylou” with drums instead of acoustically — the drums are really necessary to drive the song.
Their last song was the rousing, hand-clapping “King of The World.”
Super high-quality video of The Mynabirds playing “Fallen Doves” last week:
Photo Credit: Lauren Dukoff
Thursday June 28th, Exitmusic headlined a packed show at Mercury Lounge, with opener Stagnant Pools.
I saw husband/wife band Exitmusic once before, opening for School of Seven Bells. This time, though, I noticed a few more songs that were really catchy: “The Modern Age” and “The Night.” The audience seemed to react better to the songs with clearer, more easily decipherable vocals.
The guitar notes in “The Modern Age” build a tension that resolves halfway through the first chorus with the introduction of the snare drum beat, and the vocal repetition of “Oh, on the run from the modern age” really hooks the listener in.
“The Modern Age”:
“The Night”: