Category Archives: live review

Muuy Biien 12/15/16, Denver

Dates: December 15, 2016

Location: Lost Lake Lounge, Denver, Colorado

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Live at the Lost Lake Lounge, the Georgia band wowed a tiny crowd with noisy, angular post-punk.

BY BEN CURNETT / PHOTOS BY TIM HINELY

Denver, you missed a great show. Last night the Athens quintet-playing-as-a-quartet Muuy Biien graced the stage at Lost Lake to a tiny crowd and played amazing, angular post-punk just like mom used to make. The songs were tight, noisy, and loud to every degree that such music is supposed to be, and the short-ish set was marked by accomplished guitar, bass, and drums skills across the board. Singer Joshua Evans’s manic Jagger-cum-Turretts delivery was a perfect fit for the music and vice-versa. But here’s what struck me: despite driving 24 hours from Seattle, despite only a few tiny Trump-sized handfuls of people showing up, the band played hard and gave every effort to make it a great show.

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I can think of lots and lots (and lots) of bands that would phone it in at that point, disintegrating into the wonky stage banter and half-assed instrument plunking that turns an awkward, mostly empty room into a disturbingly awkward, mostly empty room. Not Muuy Biien last night. And if they fooled me, if they were in fact going through the motions, I’ll be the first in line to see them in front of a packed house when they decide to let it rip.

Muuy Biien’s latest album is Age Of Uncertainty on Autumn Tone. Go HERE to read our recent review of the record.

Brian Wilson 9/9/16, Atlanta

Dates: September 9, 2016

Location: Fox Theatre, Atlanta GA

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Return of the king, and his world-wide wrecking crew. No Mikes allowed.

TEXT & PHOTOS BY JOHN BOYDSTON

Dear BLURT – here’s my gallery from the brilliant Brian Wilson Live show at the fabulous Fox Theater in Atlanta, on Friday September 9th. I don’t have much copy to add on this except to say I remember when seeing The Beach Boys was more about a sloppy beer-soaked sunburned day than about the music. But seeing Brian Wilson live these days is not a Beach Boys concert. It is experiencing the genius of Brian Wilson, as he leads a new hand-picked Wrecking Crew through most of his greatest songs, including all of his acclaimed “Pet Sounds” LP in its entirety, which turned 50 this year, all with the elegance, grace, wit, and top-class musicianship you would expect.

Sorry for all the wide-angle shots but the stage was so full of players; it’s what was going on, so I tried to capture some of that. Even in the widest of shots I don’t think you can see all 11-players up there in a single photo. Al Jardine is part of this ensemble, and carries so much of this show I was amazed to learn how much of the Beach Boys sound he is responsible for. And Al’s son, Matthew (back row, right), takes over the vocals on the songs where Brian can’t hit the falsetto parts, and does so flawlessly.

Just a brilliant performance by all, fun to watch, fun to hear, fun to experience. Tour dates through September and October are at http://www.brianwilson.com/tour/.

PS – the Fox Theater was packed for this show – and I didn’t hear anyone say – “I wish Mike Love was here.” #Mikewho?

Sincerely, John Boydston [Who can be found on Instagram as @rockdawgphoto so visit there and follow if you like pics of everything great.]

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Turkuaz and New Mastersounds 12/14/16, Raleigh, NC

Dates: December 14, 2016

Location: Lincoln Theater, Raleigh NC

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On a chilly mid-December Wednesday night, Turkuaz and the New Mastersounds (above) brought the heat to the Lincoln Theatre in Raleigh, NC.

TEXT & PHOTOS BY TODD GUNSHER

This was one of the last dates on the co-headlining tour they have been on since early October and it was clear that they two bands have been having a good time together.

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First up was Turkuaz (photos above) whose nine members filled up almost every square foot of the stage. This was my first Turkuaz experience and I immediately got into the groove and wondered how I’d not seen them earlier. Funky grooves, horns, great vocals and even the occasional talk-box made it impossible for anyone in the audience to stand still. Sure, I could throw out song titles like “20 Dollar Bill”, “M’Lady”, or the closer “Monkey Fingers”, but the entire set was a highlight. While each musician had their time in the spotlight, it’s the tight ensemble playing that puts this band over the top.

***

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After the stage was cleared, the New Mastersounds (above and below) were on, with all four members right up front, drums, bass, guitar and organ in a tight line, straight across the stage. Where Turkuaz brings the funk, New Mastersounds are more firmly rooted in the soul-jazz world. Filling in on drums was Soullive’s Alan Evans, he and bassist Pete Shand were locked in so tight you’d think they’ve been playing together for years, a sign of true masters of their craft. The playing of Eddie Roberts (guitar) and Joe Tatton (organ) is some of the best I’ve heard in a while, loosely tight, with plenty of energy.

Midway through the set, Greg Sanderson from Turkuaz came out to add some sax to ”I Am Somebody”, and then all the horns joined the band along with local vocalist Charly Lowry to lead the primarily instrumental group in a “Enough Is Enough” and “Joe”.

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For the encore, all the members of both bands filled up the stage to play “On The Border” and “The Rules” to close out an excellent night of funk, soul and jazz.

 

LANY 11/19/16, Los Angeles

Dates: November 19, 2016

Location: Fonda Theater, Los Angeles

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The Upshot: At the Fonda Theater, this rising electro-pop band’s sense of sincerity proved a refreshing anecdote for those turned off by a world full of fake news and staged reality TV.

 BY MICHAEL BERICK

 First, the several Michael Jackson songs played in the theater’s pre-show house music caused a little chuckle. Then, the classic clip of Whitney Houston singing the National Anthem at the 1991 Super Bowl was used to usher the band on stage, which I thought was surely meant to be ironic. After listening to LANY perform a few songs, however, I realized that the band wasn’t being ironic at all, but quite the opposite. Their music, as well as their performance, held a genuine sense of sincerity that was something that their ardent young fans (most who seemed to be between 15-25) really responded to at the sold-out Fonda Theater.

The trio, consisting of drummer Jake Goss, keyboardist/guitarist Les Priest and singer Paul Klein, enthusiastically served up their catchy electro-pop tunes built around lively beats and Klein’s lightly soulful vocals, but it was their lyrics that stood out as another key appeal to the fans. Full of romantic young love, the lyrics had an everyday, conversational quality elevated with just the right amount of poeticism. As my 14-year-old LANY-loving daughter described it, “their lyrics are simple but purposeful.”

Klein displayed a nice way of using a few touchstone words to sketch a scene. “Thrift store fashion/Imperfect tattoos/Taking showers/Minus shampoo” opens “Pink Skies,” before he proclaims “You are my favorite everything/Been telling girls that since I was 16.” Michael Jackson make a cameo – “Drive to the beach, kiss me nice and slow/Michael Jackson so loud on my radio” – in the soothing love ode, “Made in Hollywood.” In “Where The Hell Are My Friends,” Klein bemoans that he’s “home alone, not again/Friday, wine, and the internet/The only love I seem to get” before launching into the singalong refrain: “Am I starting to hate California/Why am I in LA/40 million in California/No one cares if I stay.” Klein, who comes off like some dude you were friendly with in high school, can even pull off a line like “my heart hurts so good/I love you, baby, so bad, so bad” in their highly danceable semi-hit “ILYSB.”

Klein’s “heart on his sleeve” emotions figured in the night’s most memorable moment, which didn’t come in a song, but between songs. After revealing about how he used to live nearby just a couple years earlier (and couldn’t even get hired for a menial job), he shared his amazement at how far they have come in the past two years and urged the audience not to give up on their dreams because “we didn’t give up.” Klein became so overcome with emotions that he broke down in tears, causing the crowd to cheer on their support. The fans also didn’t seem to mind that LANY’s set only lasted around 70 minutes because the band, who has only released a couple EPs and no full-length CDs, played nearly every one of their songs.

LANY didn’t do anything fancy; they aren’t reinventing the wheel; however, their smoothly melodic synth-y pop tunes and heartfelt lyrics are both fun and real, which makes them quite refreshing in today’s world. They certainly won over the cynic in me.

Also impressive was the opening act, the up-and-coming local band Transviolet. Fronted by Sarah McTaggart, an energetic singer whose stage presence suggested an art school gymnast, the band added more of a rock crunch to their electronic beats and loops. With ear candy numbers like “New Bohemia” and “Girls Your Age,” it is easy to imagine this band moving up from opening act status soon.

 

 

 

TAKE MY HAND: Roisin Murphy

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Onstage at the Phoenix Concert Theatre in Toronto on November 2, and promoting her recent solo album, the erstwhile Moloko singer reached out and touched—literally and figuratively—a clearly enthralled crowd of adoring fans.

TEXT & PHOTOS BY APRIL S. ENGRAM

Touring in support of her 2016 album, Take Her up To Monto, UK songstress Roisin Murphy has come and gone, and it was like a living reverie. Her exceptional musical career began in 1993 with Moloko, a captivating band that merged dance, electronica, and jazz to create several catchy, acclaimed releases before disbanding in 2003. In addition to their well-crafted music, lead singer Roisin Murphy’s artsy, quirky, strange, and infectious stage presence, combined with her powerful yet simultaneously genteel vocals, did not go unnoticed. Murphy has since brought her unique style to her solo efforts and, like her fashion sense, has morphed each release into a different sonic landscape, continually forging a unique sound all her own.

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Murphy’s first album, 2005’s Ruby Blue, was carefully constructed by layering a cacophony of sounds to create an organic, jazz-inspired dance album, whereas her 2007 sophomore release, Overpowered, took on a pop-dance trajectory, dripping in electronica and bursting in great songs. It laid out a welcoming mat in preparation for her subsequent strong albums. Then she didn’t release an LP for eight years. Murphy worked on projects with others and released a few singles before suddenly returning in 2015 with Hairless Toys, which was quickly followed by this year’s Take Her up To Monto. In true Murphy custom, these releases were nothing like her earlier albums. Minimal, delicate, yet still fun and polished, Murphy has unveiled her ability to be transformative.

And so it was on the touring for Monto: the rare occurrence of Murphy in North America. On her first solo tour in Canada, the Toronto audience loved every moment; the delighted fans sang nearly every song, and they appeared to be enthralled, utterly delighted in Murphy’s presence.

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For the two hour show at the Phoenix, Murphy included fan favorites from her Moloko days in between material from her more recent releases. The band opened with the first track on the latest album: “Mastermind” is a great opener, as the lilting keys gave way to Murphy’s off-kilter vocals that transitioned between speaking and singing. Yet just when you thought the evening would be highlighting her new songs, the band leapt into the upbeat Moloko single “Forever More” and fans cheered and sang along. Murphy was a treat for the eyes as well as our ears as she changed headdresses, masks, costumes, and accessories throughout the evening. Another treat for fans was the presence of Eddie Stevens, the keyboardist, producer, and composer who has collaborated with Murphy since the Moloko days. It is his tradition to grace the stage shoeless, and he danced in bare feet as he effortlessly controlled multiple devices.

Murphy herself danced, stomped and sashayed about the stage in between singing to the audience and the occasional fondling of her bandmates (everyone laughed at her antics). Making sure she interacted with her fans, Murphy often approached the edge of the stage and reached out to shake hands; one lucky gentleman who stood near center stage was the frequent receiver of her attention as she would lay on the speakers, stretch her arm, and hold his hand while she sang. A photographer’s dream, Murphy’s artful display clearly dazzled the fans. At one point she wore a beautiful, large, white gown and accessorized it with a miner’s helmet that had a flashing strobe light. She switched between multiple head pieces: from a mask with two faces to one with a Pinocchio nose to a crimped, black ball reminiscent to a ‘60s sci-fi helmet to a piece with flowing, red streamers and a red/white bobble at the top of her head. After close inspection you could see it was actually a sideways Ronald McDonald head.

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And during these many visual phases, she and the band played on, effortlessly. A quintessential Murphy song to perform, “Sing it Back,” was performed before the encores,  reworked but still as catchy as the original studio version, and as Murphy sang the words “sing it back to me,” the concert hall erupted into the next line and commenced an organic call-and-answer moment.

Though her mic this evening could’ve been better—when she chatted with the audience between songs, she could not be heard too clearly—the crowd did not seem to care. Fans knew all of the songs old and new, with perhaps the exception of closer “Pure Pleasure Seeker” from Moloko’s 2000 album, although select fans were clearly familiar with this high octane track.

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Now that the two hours of singing and dancing was officially over, the audience cheered and applauded loudly while Murphy again made her way to the front of the stage. This time she walked the entire edge to shake hands one last time, and as she climbed over a speaker to reach the fans at the far right corner, people rushed forward enthusiastically. Murphy took her time, and strongly held as many hands as she could before leaving the stage for the final time. What a strong grip.

 Setlist:
Mastermind
Forever More
Dirty Monkey
Dear Miami
Tight Sweater
In sintesi
Tatty Narja
Gone Fishing
Evil Eyes
House of Glass
Ten Miles High
Overpowered
Exploitation
Sing It Back

Encore:
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Pure Pleasure Seeker

Candace 11/11/16, Denver

Dates: November 11, 2016

Location: Hi-Dive, Denver CO

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Live at the Hi-Dive in the Mile High City, the distaff rockers wanted to take us higher – and they did. Above: pre-buzz.

BY TIM HINELY

My pal Bob has always has good taste in music going back at least 35 years or so so when he tells me to go check out a band I usually do. First he mentioned how I should listen to this Portland via Minneapolic trio of women so I checked out their bandcamp page and really liked what I’d heard. Then then, from his home in N.J. told me they were playing in Denver (dude is more on top of it than I am and I live here!) so of course I went.

They used to be called Is/Is but changed to a better moniker (IMO) and got a little heavier, a little fuzzier. I was first expecting something a bit more, uh, twee (which I don’t mind) but on stage I heard more of a shoehaze influence. They call what they do “ghost rock” or “goblin pop.” Good enough for me! The ladies all do their own thing, and very well.

Up front are vocalist/guitarist Sarah Nienaber, bassist/ guitarist Sarah Rose (though those two switch off on instruments) and in the back, the floppy- haired drummer Mara Appel. They look real young, maybe early 20’s, but from the way they play together you’d think they’ve been at this rock game for a few decades. What I saw were three ladies totally locked in with each other, refusing to let any outside sources ruin the groove.

Rose’s deep bass lines blended perfectly with Appel’s all-over-the-place drumming while Nienaber’s guitar cuts deep, real deep and holy moly was it loud!

They’ve got a few releases dating back to last year but the latest release, New Future, is a righteous effort with some terrific songs  (especially the drowsier title track). Start praying at this band’s altar. Go on…the church isn’t that full right now but the pews are filling up pretty quickly.

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Hozac Records 10th Anniversary Party 11/5/6, Chicago

Dates: November 5, 2016

Location: Double Door, Chicago IL

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“Knocking on Tin” would be the theme of the evening at the Double Door, eh?

BY MARTY PEREZ

On a Saturday night (specifically, Nov. 5), the Chicago label Hozac threw itself a tenth anniversary party. Huh, has it really been ten years that Hozac/CEO Todd Novak’s been pimping out the golden ear trash to the believers and non-believers of simple pleasures in life????? (Below: Novak clearly is in agreement!)

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So it seems, ‘cos Chicago’s Double Door set up two stages to accommodate all the hep bands wanting to show up give a nod to Hozac — party with the people.

Stuck on the basement stage, a Hozac band named COZY (below) in my estimation, ruled the evening. “Imagine, if you will”; a party in your basement, thrown while the ‘rents are away on summer holiday, and Sweet/The Undertones played, and girls actually showed up.  A true Stooges love fest minus the peanut butter, and in the end nothing gets broken and nobody has to be thrown out.

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All the other Hozac stalwarts played to well-received sets and I think the newest band on the label, The Sueves, managed to sneak in its album release party on the arena-lit upstairs stage:

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Double Door Chicago, IL. 11-05-2016

Double Door Chicago, IL. 11-05-2016

Double Door Chicago, IL. 11-05-2016

The Motor City three of Peg, Mick and Dan closed out the party, in a much better Gories fashion than last New Year’s Eve show that took place couple miles away. With no resolutions/expectations, the Gories laughed and stretched out with a highly enjoyable and danceable finale:

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Double Door Chicago, IL. 11-05-2016

Double Door Chicago, IL. 11-05-2016

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Here’s hoping Hozac will do this again in another ten —this time be sure to bring the fine china and we’ll and bust it up while the bands play on. (Pictured below: the 1-800 Band, Mike Rep, the Jeanies, and Heavy Times)

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Machine Gun Kelly 11/8/16, Memphis

Dates: November 8, 2016

Location: New Daisy Theatre, Memphis TN

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Onstage at New Daisy Theatre, openers Mod Sun and headliner Machine Gun Kelly took care of a packed house.

TEXT & PHOTOS BY MARK JACKSON

On a historic night that no one will forget anytime soon, no not the election silly, Machine Gun Kelly playing at the New Daisy theatre.

I have said it before and will say it again. There is not a more monumental and top notch place with the staff to match to see your favorite artist than the New Daisy! In 2015 the venue got a much needed complete overhaul from the floor up. With this total renovation came new owners and a partnership with Live Nation. The history in this building is legendary and many of the greatest of all times have played here and have many fond memories. Over the years it has hosted the likes of Bob Dylan, Red Hot Chili Peppers, Nirvana, Foo Fighters, Smashing Pumpkins, Jack White and Dave Matthews and that’s just to name a few. The remodel allowed the owners to bring in a state of the art light and sound show, remodeled bathrooms, three full bars, and several V.I.P. areas. If you are making a trip to Memphis, I suggest checking to see who’s playing. One last great thing is that it’s right on Beale Street and only a two block walk from the Peabody Hotel.

 

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I arrived at 5:45p.m. and the line was already down the block. The doors were to open at 7:00p.m. and show to start at 8. With New Daisy being a general admission venue unless you have V.I.P. area with couches or the balcony section with seats, People lined up early to try to get as close as they can to the stage as soon as the doors opened. By the time the doors opened at seven, the line stretched down the block and around the building. A packed house was ready to get wild for MGK, but first up was Mod Sun (pictured above). Mod looking like a young Leif Garrett came out and began to get the crowd moving and hyped up for what would soon be an all out party frenzy. I hadn’t heard of Mod Sun before this night, but MGK couldn’t have picked a better performer and Jack Daniels guzzling man to get the crowd ready for the kind of energy that Kelly brings, and brings out in his fans.

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Machine Gun Kelly appeared on a smoke filled stage, blinding lights, and with a full band backing him. I have seen acts his size and bigger, that in my opinion does an injustice to the fans by using a lot of drum machines and backing tracks. Fortunately, this was not the case here! The band was phenomenal, with almost as much stamina as their leader. You might think that Kelly is a rapper and you would be right, but he and the band are so much more. Covering songs like “Small Things” by Blink 182 and Awolnation’s “Sail” MGK shows that he has a wide range of talent. In October he even released his new single Bad Things with Camila Cabello from Fifth Harmony.

The “Wild Boy” kept the crowd jumping, rapping, and dancing while dripping sweat in this packed house. This is the second time this year that I’ve had the pleasure of seeing MGK, first being at Rock On The Range. See our coverage here http://blurtonline.com/review/rock-range-520-2216-columbus-oh/
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Set List:

“Alpha Omega”

“Sail”

“EST 4 Life”

“Young Man”

“Cain-World Series”

“Spotlight”

“Small Things”

“Bad Things”

“BMF”

“Oz 1”

“A Little More”

“Gone-Merry”

“Wild Boy”

“Mixtape Songs W/Mod”

“Dope Man”

“Mind of Stoner”

Till I Die”

“All Night Long”

***

Tour Dates:

 

Nov13

Minneapolis, MN, USA

Varsity Theater

Nov14

Lincoln, NE, USA

Bourbon Theatre

 

Nov16

Chicago, IL, USA

House of Blues Chicago

 

Nov17

Detroit, MI, USA

The Fillmore Detroit

 

Nov18

Grand Rapids, MI, USA

Orbit Room

 

Nov19

Milwaukee, WI, USA

The Rave / Eagles Club

 

Nov20

Cleveland, OH, USA

House of Blues

 

Nov21

Cleveland, OH, USA

House of Blues Cleveland

 

Nov22

Cleveland, OH, USA

House of Blues Cleveland

 

Nov23

Indianapolis, IN, USA

Egyptian Room at Old National Centre

 

Nov24

Toronto, Canada

The Phoenix Concert Theatre

 

Nov26

Montreal, Canada

Olympia Theatre

 

Nov27

Kingston, Canada

Ale House

 

Nov29

Hamilton, Canada

Closed College Event

Nov30

Ottawa, Canada

Algonquin Commons Theatre

 

Dec1

Sarnia, Canada

Station Music Hall

 

Dec2

London, Canada

London Music Hall

 

Dec6

Thunder Bay, Canada

Crocks

 

Dec7

Winnipeg, Canada

Reset

 

Dec8

Saskatoon, SK, USA

Saskatoon Event Centre

 

Dec9

Calgary, Canada

Flames Central

 

Dec10

Edmonton, Canada

Union Hall

 

Dec13

Victoria, Canada

Distrikt Nightclub

 

Dec14

Vancouver, Canada

HARBOUR EVENT CENTRE

 

Dec17

Fargo, ND, USA

Sanctuary Events Center

 

Dec18

Clive, IA, USA

7 Flags Event Center

 

Dec19

Omaha, NE, USA

Sokol Auditorium

 

Dec20

Wichita, KS, USA

The Cotillion Ballroom

 

Dec21

Springfield, MO, USA

Gillioz Theatre

 

THE SOUND & THE FURRY: Pussy Riot

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The Russkies are on a Putin-baiting, talkin’-loud U.S. tour (details HERE, including a stop this week at BLURT’s western getaway), and on Nov. 7 in Los Angeles, they baited pretty much everybody. Check the videos following the photo gallery – if you dare, particularly if the last week was, er, a trying one for you….

TEXT & PHOTOS BY SUSAN MOLL

Author and activist Carol Hanisch astutely observed that the personal is political—an axiom that holds as much water today as it did in 1969– and there’s no one more familiar with the concept than the Pussy Riot. The world watched, aghast, as its personnel were whipped, beaten, pepper-sprayed and imprisoned for daring to engage in public protest. Russia’s most famous musical dissidents visited the Regent Theater in downtown Los Angeles on the night before the most bizarre, ugly, sad, painful and disillusioning election this great nation has ever witnessed, a dumpster fire, a slow-motion freeway pileup, a national shame that delivered an even more shameful verdict.

Artist and activist Shepard Fairey moderated the conversation between Maria “Masha” Alyokhina of Pussy Riot; Alexandra “Sasha” Bogino, a reporter for Mediazona, the band’s own independent news service; Sergey Smirnov, Mediazona’s editor-in-chief; and Allison Wolfe, who cemented her place in riot grrrl immortality as a member of Bratmobile. Wolfe, now a student of journalism and vocalist for the east-L.A. indie foursome Sex Stains, voiced her admiration for her comrades’ many sacrifices.  “I think a lot of us take for granted what we don’t have to deal with,” she admitted. “It’s not like any of us riot grrrls ever thought we were at risk of going to jail.”

Ticketholders griped about the 45-minute delay; it was a work night, after all. The event was billed as a “conversation” so Pussy Riot didn’t perform (we held out hope until the very end, though.) The questions posed them were rambling and trite, and there was nary a balaclava in sight.  For an event for a group that released a single called “Straight Outta Vagina,” there was sure a lot of dick talk: Artist Petr Pavlensky, who aired his grievances with Russia’s political situation by nailing his giblets to the cobblestones paving Red Square; and the giant phallus that someone painted on a drawbridge in St. Petersburg. (It remained fully erect for four hours.)

Smirnov presented the trailer for the forthcoming Pussy Riot documentary Act and Punishment and discussed the dangers Russian journalists face, which are legion: kidnappings, car bombs, imprisonment and worse.  The President-elect’s festering animosity towards the “dishonest” media, coupled with his bromance with Vladimir Putin, is more than enough to give the American press pause. As Alyokhina said, before ending the night on a vote-for-Hillary note, said, “I feel that I need to give support, which I received, to other people who need it.” At this, a time of unprecedented hostility towards women, the conditions are ripe for the emergence of fourth-wave feminism. As America trades one national nightmare for another, we forecast a new crop of Pussy Riots to set free the rage of civil anger. After all, patriarchy is boring.

…………

Below: Sasha Bogino and Maria Alyokhina of Pussy Riot, plus Allison Wolfe (Bratmobile/Sex Stains):

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Petr Pavlensky and his nutsack:petr_pavlensky

 
Screen shots from trailer for new documentary:

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***

Latest Videos:

 

 

 

Austin City Limits Festival Weekend #1 9/30-10/2/16

Dates: September 30, 2016 - October 2, 2016

Location: Zilker Park, Austin TX

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Still going strong and boasting two weekends, the Austin mega-bash hosted, during the first weekend (second weekend is Oct. 7-9), everyone from Mumford & Sons, LCD Soundsystem, Haim, and Kendrick Lamar, to Bomba Estereo, Flying Lotus, Band of Horses and Radiohead.

BY SADIE CLAIRE

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DAY 1 (SEPT. 30)

Eliot Sumner (+ Pierce Brosnan, looking on)

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Jess Glynne

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Strumbellas

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Maren Morris

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Foals

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Die Antwoord

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Radiohead

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DAY 2 (OCT. 1)

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Nothing But Thieves

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City and Colour

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LL Cool J feat. DJ Z-Trip

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Cage the Elephant

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Kendrick Lamar

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DAY 3 (OCT. 2)

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Brett Dennen

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Kacey Musgraves

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Pete Yorn

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Nathaniel Rateliff & The Night Sweats

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Mumford & Sons

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