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02 Sep
2010

Hot Hot Heat 8/27 Emo’s Austin Review

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By Laura Milton

Austin residents have been waiting five years for Hot Hot Heat to return to the self-proclaimed “Live Music Capital of the World.” All that waiting could have been in vain, but on Friday night, the sold-out crowd at Emo’s had nothing to complain about- the Canadian band killed it.

Past experiences at Emo’s have shown me that the shows often been poorly attended early on, with fans waiting for the opening acts to finish up before making their way in the door, but Friday’s show was an exception. Doors opened at 9, and by 9:15 the place was packed, even though the first band wouldn‘t start for forty-five minutes. After well-received sets from openers Hey Rosetta! and 22-20s the club was buzzing with anticipation for the main event.

When Hot Hot Heat finally took the stage a little after midnight, the crowd erupted with excitement. Since the Canadian band is on tour promoting Future Breeds, which was released in June, many of the songs came from the new album. Of course they also threw in old favorites like “Talk to Me, Dance with Me“ and “Goodnight, Goodnight” which had the crowd singing along with every word. The mix of new and older songs kept both the tried and true fans and recent converts happy.

The show was high energy throughout, with the band and the crowd feeding off one another. Lead singer Steve Bays moved around the stage throughout the entire show and sometimes leaned over so far that he looked as though he would fall into the front row of fans. The upbeat music meant that it was almost impossible to keep from dancing and jumping around, just like the guys did on stage.

I was a fan of Hot Hot Heat before the show but I have to admit that I only knew a few of their songs until I purchased the most recent album in July. After seeing them live I feel like their studio albums don’t do them justice. The band will be touring the U.S. for another month before heading to Europe and Australia, so if you’re fan or just someone looking for a fun show then you should definitely check them out.


02 Sep
2010

Bruno Mars 8/25 Bowery Ballroom Review

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By Sophia Hepheastou

Decked out in a Royal Blue blazer, a sharp white button down and a slick black tie, Bruno Mars took to the sold out Bowery Ballroom Stage on 8/25 with heartthrob screams overpowering the venue. Perfectly coiffed and filled with energy Mars was unstoppable; it was like watching a modern day Elvis or young Michael Jackson.

Just like a charmer Mars was well versed with an arsenal of tricks that he playfully incorporated to make girls scream—there were hip thrusts, smirks, shy smiles, heartfelt lyrics, and sweet talking—a sign of a true professional. Mars showcased syrupy vocals with falsetto high notes that had the whole crowd signing word for word. Philip Lawrence— Bruno’s production assistant was an integral part of the show, narrating the whole performance while still raising the band’s energy and surprising fans with some sick dance moves on stage.

Mars played a couple of new songs which were well received by listeners. Marry You featured a jumpy 50s doo-wop beat, jazzy guitar parts, a tambourine and conveniently placed OoooOOooos, that had everyone in the crowd dancing. It helped that the chorus pushed girls into a frenzy, all screaming “marry me Bruno.” I wonder if that was the purpose. His other new song—Grenade—hit more of a gut-wrenching note, with heartwarming lyrics that described the distrust that often manifests within relationships. The chorus struck home with lines like “I’d catch a grenade for ya/ throw my hand on a blade for ya/ jump in front of a train for ya/ I’d do anything for ya. I would go through all this pain/Take a bullet straight through my brain but you won’t do the same.” It was refreshing to see Bruno’s serious side come out while simultaneously showing fans his music ingénue as he masterfully played various slinky guitar riffs. By the end of the song the whole crowd was singing devoutly—it’s incredible that Bruno still hasn’t released his album, all this love with just a mixtape.

His radio hits were well received, but also surprising as he threw some curveballs, creating some fantastic remixes. The show felt more like an improv set—with funny dialogues, suave dance moves, intimate jokes, cover songs and laughs. Bruno started to play Billionaire but also remixed in Nothin On You, and modulated the track’s beats to compensate for Travis McCoy’s m.i.a. vocals, creating something magical—a remix that was like a rollercoaster of emotions. Fans all chimed in for the chorus as Bruno’s angelic voice filled the space. Hopefully these remixes find their way onto the album as a B-side or special Mixtape **Hint** Atlantic**Hint**

With a smile that spanned his entire face, Bruno started to slow things down to end the performance. He saved the best for last—his latest single Just The Way You Are. With fans all signing the words to the wedding-esque love ballad it was obvious that the track’s uplifting lyrics and tempo were a perfect way to end the night. As the track ended fans were able to see just how thankful Bruno Mars really is—thanking everyone for coming, introducing his band mates, and acknowledging the Atlantic team for help making his dream come true. Bruno Mars’ performance, his personality, and his charisma make him a true star; one that will definitely keep shining and breathing new life to the music

1. The Other Side
2. Top Of The World
3. Marry You (New Song)
4. Money (That’s What I Want) (Barrett Strong cover)
5. Billionaire
6. Somewhere In Brooklyn
7. Grenade (New Song)
8. All About You
9. Count On Me
10. Nothin’ On You
11. Just the Way You Are
12. Encore:
13. Dirty Diana (Michael Jackson cover)

(thanks to the uploaders of these videos)


01 Sep
2010

2AM Club 8/24 Highline Ballroom Review

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By Britnee Foreman

First of all I didn’t know that Asher Roth and N’sync formed a hybrid pop group. This was news to me when I walked into the Highline Ballroom last week. What’s that you say? They didn’t? I’m pretty sure there were six people on stage adding the novelty of an MC with the crooning of what would normally be categorized as a “boy band”. It is definitely frat boy pop at its finest. There was literally fist pumping in the crowd. Go ahead and think about that.

The small stage seemed a bit crowded last Tuesday with the six person ensemble that is gearing up for their September debut release. They cater very heavily to a teenaged demographic with their songs about very, very short term relationships and even then it is mostly females in the audience cheering them on. Surprise, surprise (not really). The band did have good interaction with the crowd and got them involved in the experience. And the rhythm section was really tight and kept the tempo upbeat. However, all their songs seem to be one note in terms of content. They kind of all sound the same by the end: different melody, same message. How many times can you regurgitate the same concept? And given the content, it felt slightly inappropriate at the end of night when children jumped on stage. It was a very cringe kind of moment.

I have to say that I was quite distracted with the guitarist, Matt Reagan. The faces he makes while he plays are quite unfortunate in that they give off the impression that he may be possessed. It looks rather painful. Also he does the Carleton dance while he plays his guitar which plays off the Robert Palmer action going on across the stage with Matt “Sauce” Warshauer and his bass. Take that as you will.

2 AM Club is made up a full band, and two, yes two, people specifically on vocal duties. In addition to Reagan and “Sauce” are: Marc Griffin (singer), Tyler Cordy (MC), Dave Dalton (key boards), and Ian O’Neill (drums). From what I’ve seen, they are highly marketable and will have immediate success. It is longevity that I see to be lacking because while they are “It” now, when the next thing comes along, they will unfortunately be old news. I recommend you enjoy them now if you like, because they won’t be around forever.

(photo credit: Kevin Aranibar)


25 Aug
2010

Grace Potter and the Nocturnals Turn Out The Night (8/19 Bryant Park NYC)

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By Britnee Foreman

So, last Thursday I had a transcendent experience. It starts with chills shooting through your entire body and then a feeling of harmony with everyone around you. And that ladies and gentlemen was just the opening song of Grace Potter and the Nocturnals set at Bryant Park. The concert was put on as part of the “Artist Den” which finds amazing locals and has amazing bands play. Well, they knocked it out of the proverbial park with this one.

The show took place at the Southwest Porch as the sun was setting. It was a very intimate crowd as it was a secret show. As soon as Grace opened her mouth and let that crystal clear amazing voice be heard, I could feel my whole body a buzz like she had tapped into some kind of frequency that gives you the shivers. To say she has a set of pipes on her would be a vast understatement. It has the kind of power to make arrhythmic people get wild in the crowd. But you don’t even care because you’re right there along with them dancing to the funky bass lines, haunting organ, and soulful guitars. Grace would alternate spots on the stage between front and center where should sing and/or play guitar to stage left where she would get down on the portable organ.

The band consists of five people: Grace Potter (clearly), and the Nocturnals – Scott Tournet (lead guitar), Cat Popper (bass), Benny Yurco (guitar), and Matt Burr (Drums). This is a band that you can tell is greatly appreciated. Grace introduced them to the crowd twice and joked that she’s screwing everyone in the band, at which point she looked at Yurco and told him it was his turn that night. The whole set consisted of a great energy. Grace has the voice of a legend, the energy of a pop star, and the aesthetic of a super model. It’s no wonder the band is becoming a huge success after their third album that they released in June. Right before she sang “Low Road” Grace told us the autobiographical story of how the song came to be. While it probably wasn’t funny as she was living it, it was a funny anecdote that you’ll have to go see her play to hear. During the song “Oasis” it seemed that Popper went into a trance that was contagious by proximity as the rest of the band followed suit and jammed out with their eyes closed and bodies writhing. Fake red roses were thrown into the crowd during “White Rabbit” the song off the Alice in Wonderland soundtrack, and right before “Paris” there was a lot of on stage love going on. Grace took this time to point out that this song wasn’t for children, even if they sing it anyway. And the last song of the proper set was “Medicine” which at one point, everyone had a pair of drumsticks and created their own tattoo on Mr. Burr’s kit.

Of course as soon as they left the stage the crowd demanded an encore, which the band happily obliged. The first song of their encore was a cover of Blondie’s “Heart of Glass”. The following three songs were off their previous two studio albums consisting of “Stop the Bus”, “Big White Gate”, and lastly “Nothing But the Water”. This show is highly recommended to check out, and buy the new album while you’re at it.

Setlist

Hot Summer Night
Ah Mary
Goodbye Kiss
Only Love
Tiny Light
Apologies
One Short Night
Low Road
That Phone
Oasis
White Rabbit
Paris
Medicine

Encore:
Heart of Glass
Stop the Bus
Big White Gate
Nothing But the Water


25 Aug
2010

Maps & Atlases 8/12 Mercury Lounge Review

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By Sophia Hepheastou

I was on my way to Mercury Lounge on August 12th to check out Maps & Atlases and couldn’t help but have some hesitation as the weather gloomily changed. I arrived to a packed house—sadly a little late but just in time to catch Cults and Maps & Atlases.

Evoking happy-go- lucky 60s vibes, Cults, took the stage with an eerily dark presence. Lead vocalist, Madeleine Follin embodied strength and power as she belted soulful jazzy notes. As the only female among 5 guys she wistfully became the center of attention. The rest of the group seemed a little awkward—not knowing how to grab the audience’s attention.

Maps and Atlases took the stage with high energy while the crowd buzzed with anticipation. Lead singer, Dave Davison sang with powerful pitches showcasing his range and ability to stealthy control twangy notes. Shiraz Dada (bass) appeared as though he had ants in his pants, hopping and skipping while he strung his guitar. With impeccable restraint, Chris Hainey (drums) and Erin Elders ( guitar) created polychromatic scales, incorporating modulating notes that at times were harmonious and dissonant. The band used various instruments including chimes, symbols, keyboards, a xylophone, what appeared to be a glockenspiel, and a marching drum, creating this ethereal woodsy/ folky feel. These playfully awkward instruments paired with Davison’s, at times, shrill vocals created an edgy sound. I was surprised at what I was listening to—especially since the group looked as though they had been transported to the venue from the 70s.

Complete with beards, aviator-esque frames, and brown chords I was skeptical as to how much I would actually enjoy this experience. As soon as their music came through I found myself nodding in agreement with the rest of the room—these guys were the real deal. They were committed to the music and they wouldn’t stop until the crowd was satisfied. They felt comfortable on stage with smiles and appreciative nods to fans that mouthed all lyrics with complete adoration. Using tingly notes, staccato segments and sticky guitar licks the band managed to take the traditional sound of folk and morph it into something totally different and relevant—danceable tracks. Dada continued to play hopscotch on stage while the crowd swayed and swooned with each track. Creating a clap-fest it was obvious fans were rejoicing, as the band’s lyrics and music zig- zagged throughout Mercury Lounge.

Towards the end of the set the band transcended the traditional space of a live show and left the stage to directly perform in the middle of the audience. Among the venue’s darkness, fans devoutly sang while Davison led them on a journey. They fawned over Davison’s voice and got lost in the band’s dreamlike-layered sound. The band captivated the entire room, showcasing not only their talent but also their ability to bring people from all walks of life together.


24 Aug
2010

Runner Runner 8/10 Gramercy Theatre Review/Photos

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By Britnee Foreman

At the Gramercy Theater last Tuesday the band Runner Runner opened for Secondhand Serenade. I watched them come out for their sound check and then leave the stage just to make a dramatic grand entrance. The Huntington Beach quintet rocked out hard to their rock pop ballads to a throng of adolescents that make up the majority of Secondhand Serenade’s demographic. That’s a nice way of saying it was mostly teenage girls giddy and giggly every time the bassist would make eyes at one of them, and he did that a lot. It felt a little and creepy and voyeuristic. Clearly, Mr. Berry probably (almost definitely) needs to get laid. That way he won’t necessarily come off as that creeper at the bar. Not that these teenage girls have yet to encounter that.

Despite their overzealous flirting with the crowd they had a good energy and a great connection with the audience. The drummer, James Ulrich, was having his own little party as well as one of the guitarists, Peter Munters, kissing his guitar. They are a band that clearly enjoys the music they make and that vibe rubs off on the audience. The band got the audience involved with call and response style songs that had them actively participate in the experience. People were dancing to their songs about love and heartbreak. There was a clear theme to all the songs sung that night by front man Ryan Ogren and it all had to do with matters of the heart. Not something I’m too familiar with, but I guess I’ll have to take Runner Runner’s word for it.

Currently, the band is promoting what will be their debut album to be released in September. That said, they are no amateurs to the music scene with all of them coming from previous outfits (Over It, Don’t Look Down, and Rufio). While their previous bands have roots in punk this collective has a more pop vibe as it reaches a broader audience. They are excellent musicians and enjoy putting on a show. It won’t be long until they’re headlining their own shows. If pop rock is your jam, I highly suggest you jump on the band wagon now so that when they’re big, you can gloat. Just some free advice.

(photo credit: Britnee Foreman)


24 Aug
2010

Story Of The Year 8/9 Gramercy Theatre Review/Photos

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By Britnee Foreman

Last Monday I got the chance to catch Story of the Year headlining at the Gramercy Theater and it was a fun experience. The St. Louis band came ready to rock, and boy did they. The Gramercy Theater was a hot and stuffy venue but that did not stop anyone from rocking out, not even the fans dressed in the cow or Winnie the Pooh costumes. They were rocking so hard that the bassist, Adam, fell off the stage and on to my leg. I thought it just an exuberant fan until I looked down and there he was, supine with his arms in the air, his bass strapped to him, and a giant grin on his face. He even asked someone to post his fall on youtube so he could see it. There was lots of love in the air. Love from the stage to the audience and vice versa as well as a bit of flirting going on between Adam and Dan, who fronts the band with vocals. It was a very high energy and amazing show to experience. The band was very engaged with the crowd, which isn’t always the case when it comes to live shows.

The crowd was really into the set judging from the epic mosh pit in the audience. Winnie and the Cow amongst others crowd-surfed several times and Dan gave out his father’s phone number. Well, first he said he was going to give out his number and after he confessed to the crowd that it was actually his dad, Dan Sr.’s, Number. The crowd also seemed to notice that Josh, the drummer, was wearing a Celtics Jersey and began to collectively chant “Celtics Suck”. His response was that the audience could suck his balls. At the end of the set, it was so hot and sweaty, that Dan took off his shirt and wrung it out on the stage floor. Needless to say there was a considerable puddle.

After the set the audience chanted “One more song!” and of course there was an encore. Dan came out and picked up the acoustic guitar. And like always, some idiot yelled out “Free Bird”, however, not like always, Dan actually begins to play it. He only plays the first few measures though, and then divulges to the crowd that he likes to play random covers. He starts to play Weezer’s “Say It Ain’t So”. He gets about halfway before having technical difficulties with the guitar. He picks up an electric and the rest of the band comes out to join him. They play a few more songs. And throw water bottles into the audience for relief from the heat.

It was an amazingly fun show and they have awesome fans. However whoever threw the tampon on stage during the set may be a special snowflake. Other than that the tour they are doing in support of their new album The Constant is definitely one you should check out. You’ll enjoy it.

(photo credit: Britnee Foreman). Also check out photos from Story Of The Year’s show at the Highline Ballroom in June here


23 Aug
2010

Hesta Prynn 8/16 Mercury Lounge Review

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By Britnee Foreman

In the intimate bowels of the Mercury Lounge last Monday, the New York native, Hesta Prynn conducted a party on stage after finishing touring with Tegan and Sara. To mark her arrival on to the stage there was a bevy of ladies parading single-filled onto the stage and occupying the better part of it. Last onto the stage was Hesta herself, looking every bit the grown up Pippi Longstocking as previous reviews advertised. Hesta Prynn was a treat for onlookers on the murky muggy Monday night. She exudes a fun mischievousness that one can’t help but to enjoy.

Her set included songs off her EP Can We Go Wrong as well as songs off the upcoming album. However, it seemed that her set was short given that the previous act went 25 minutes into her set time. Hesta has a lot of energy dancing to every song in her set accompanied musically by a drummer and a bassist only. There was definitely an element of fun even though she acknowledge that a lot of her songs were supposed to be angry. At one point the girls on stage began to thunderclap along to the songs and were dropping it low to the ground.

The sound of Hesta Prynn is very interesting and unique. It seems like one of the dark children chants you hear while watching a horror movie that your are simultaneously drawn to but it freaks the hell out of you at the same time. She definitely has a good sound to her.

Set List:

Woah Woah

Turn it Gold

Old Boy

Le Coq Aux Folles

Motive

Recall

Seven Sisters

You Winding Me Up

Can We Go Wrong


19 Aug
2010

Scream It Like You Mean It Tour 8/5 Irving Plaza Review/Photos

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By Sophia Hepheastou
I arrived at Irving Plaza filled with mixed emotions—I hadn’t gone to a hardcore show in years. Probably the last one was Everytime I Die at Nokia Theater 2 years back with Underoath. Silverstein has been one of my favorite post-harcore bands since my teenage years, finally an opportunity to catch them live. I was pumped. I caught the tail end of We Are Romans and was ready for a good time.

Emery took the stage just as the Bob Marley’s song “ We Jammin” hummed in the background. The band was all clad in Hawaiian shirts, high tube socks and cargo shorts—definitely for a reason. Hormone filled fans raged as they opened their set with “Walls.” Within the first chorus Josh Head stage dove into the crowd creating this Bowie-esque photo-opp. Fan’s hands surrounded Head’s mic and as the set continued the band’s intensity increased. They prefaced their third song, “Rock N Rule” saying “This is a dancing song y’all,” encouraging several mosh-pits to open up within the crowd. Lead singer Devin Shelton experienced several sound problems with his mic but continued to perform with pitch perfect screams and growls. The band’s breakdowns were well received as every person in the crowd clapped eagerly waiting for those gem- like guitar riffs to drop. The band slowed things down with a love song, “In Shallow Seas We Sail” and ended the set on an inspirational note explaining their eccentric outfits saying “We want the music to inspire you to be yourselves; we want to be about something real.” They closed with the track “Studying Politics,” and impressively incorporated various flashy tricks with their instruments, adding even more depth to their already memorable performance.

With the room filled to capacity Silverstein took the stage opening with “Vices.” Two mosh pits instantaneously formed while lead singer, Shane Told stood atop a metal crate-like platform passionately singing “These hotel walls are paper thin.” Neil Boshart, lead guitarist, masterfully moved around the stage with perfectly planted kicks and amazing dedication to the music. Thankfully the band started playing some older tracks like “My Sword vs. Your Dagger,” creating a frenzy within the crowd. Diehard fans mouthed all the lyrics with devotion and fists raised high, eagerly wanting more. Providing a treat, the band played “Ides of March”, a song that had never been played live in New York. Told’s voice blended beautifully with the instrumentation provided by John Bradford on guitar, Billy Hamilton on bass and Paul Koehler on drums. Continuing with older tracks they played their 2004 hit, “ Smashed Into Pieces” bringing back memories of heartache and teenage angst. Hamilton’s solo riff awed listeners and stuck out as one of the best moments in the performance. The band also played a new song “My Sacrifice,” which seemed promising for their upcoming release. Slowing things down, they played “Discovering the Waterfront” showcasing stellar intonation, smooth vocals and seamless transitions. During “Smile in Your Sleep” Hamilton stage dove into the crowd right after a slick breakdown, where infatuated fans idolized him. During “Call It Karma” a huge death pit opened up with fans catapulting themselves closer and closer to the stage. Told was receptive to the energy and used it to put even more soul into his screams. They closed with “ A Shipwreck In The Sand” but it was obvious there would be an encore. After what felt like forever, the room filled with cheers, nonstop screams –one more song—one more song—the band returned to the stage for a couple of songs. They played “A Shipwreck In The Sand,” which opens with spoken dialogue and develops into an inspirational track where Told enigmatically sings “And everyone should take the lead/Follow your dreams/If you don’t try you fail.” Switching gears the band then played “I Am The Arsonist” a more intense track off of their 2009 release Shipwreck In The Sand, which combined heavy guitar parts with layered vocals. Silverstein closed their set with “My Heart Bleeds No More” from When Broken Is Easily Fixed (2003). The track itself is a roller coaster filled with skillful modulations. Starting with a fast tempo Bradford, Hamilton and Koehler shined, paying close attention to the music and also giving Told free reign to project the lyrics with strength and power. The mid-track breakdown was extremely well controlled with a silky violin melody coming through amid the heavier instrumentation. Both the track and the performance ended on a cathartic note, validating just how talented, diverse and relevant Silverstein has and will be for years to come.

Setlist:
1. Vices
2. Broken Stars
3. Your Sword Versus My Dagger
4. Sound Of The Sun
5. The Ides Of March
6. Smashed Into Pieces
7. Your Sacrifice
8. Discovering The Waterfront
9. Born Dead
10. My Heroine
11. Call It Karma
12. Smile In Your Sleep
Encore:
13. A Shipwreck In The Sand
14. I Am The Arsonist
15. Bleeds No More

(Photo credit: Kevin Aranibar)


18 Aug
2010

Empire Of The Sun 8/8 Terminal 5 Review

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By Sophia Hepheastou

Emerging somewhere between David Bowie’s Labyrinth and Pee Wee’s Playhouse, Empire of the Sun completely took my breath away on August 8th at Terminal 5. There were so many wow-worthy elements, I literally forgot I was at a concert and instead felt like a little kid in an epic carnival funhouse. Nick Littlemore, front man of Pnau and Luke Steele of The Sleepy Jackson appeared out of nowhere with sultry smoke filling the eerily neon lit stage. Surrounded by sequin clad interpretive dancers and space- themed projections they began the set with a monotone voiceover reminiscent of early 90s dance anthems. Steel teased fans as he skillfully strung the melodic guitar part in “Standing on the Shore.” Perfectly coiffed with a Statue of Liberty- esque headpiece, Steele pranced around the stage creating an infectious energy, pushing fans to just forget everything and dance. Within the first track everyone was dancing, smiling and eagerly waiting for more. Switching gears- the pair opted for a more rhythmic track with “Breakdown,” and then dreamily segued into “Half Mast”. Steele’s drone- like voice seamlessly melted with Littlemore’s crescendo-ed keyboard effects. Lights flashed on the stage and sweaty fans sang “ Honey, I need you now,” grabbing friends to declare “Baby don’t push me out.” Each track smoothly faded into the next, creating a uniform performance with no end or beginning, just sweet tunes. Next up, with a cathartic guitar opening was “We Are The People.” Aware of the dancers shimmying and shaking all their best assets both Littlemore and Steele were focused and well- rehearsed, appearing as though they were on a mission rather than just singing a live show.

The synth-driven music worked well with the aesthetic add-ons—Who doesn’t love giant jellyfish photos superimposed over purple- hued space nebulas and tron-like graphics? With mini- voiceover breaks Steele vanished allowing an interpretive dance interlude to take place- the dancers of course changed costumes too. Dressed in blue- unitard spandex outfits and perfectly choreographed, it looked like a scene from The Fifth Element. Steele re-appeared wearing a different Star-Trek space inspired get-up and picked up with “The World,” busting out with some sweet falsetto vocals – everyone was swooning and swaying taking in the dream-sequence like track. Hitting a wishy – washy, twangy emotional note– Steele sang “ I get that feeling when we’re apart” in “Without You,” bringing me and all the other love-torn fans back to all those rainy days where all you do is watch 80s chick- flicks—Jake Ryan , sigh. Nearing the end the guys played “Tiger By My Side,” a cute upbeat track that drifted into the highly anticipated song, “Walking On A Dream.” The simple beat crept in and Steele playfully made fans wait for the first vocal drop. Finally it came and instantly everyone was dancing , jumping up and down as though we are all literally “Walking on a dream,” one that mirrored a European dance-hall rave with a Neverending Story backdrop. The song ended on a euphoric note with Steele, Littlemore and all the interpretive dancers taken aback by the amount of support/ enthusiasm generated by fans.


Watching Empire of The Sun had to be one of the most cathartic and enjoyable performances I have seen in a long time. Their integrated approach to music and art creates a hybrid experience; one that is not only ethereal, but more like a spectacle rather than a traditional show. Each track seemed to evoke a different human emotion—making the whole thing meatier. The music came to life, but more importantly it defied all traditional norms of what seeing a band live can/ should be.

Setlist:
1. Intro
2. Standing on the Shore
3. Breakdown
4. Half Mast
5. We Are The People
6. Delta Bay
7. The World
8. Swordfish Hotkiss Night
9. Without You
10. Tiger By My Side
11. Walking on a Dream

(All photos courtesy of Sophia Hepheastou)


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