What can Kanye possibly do that will shock us? The man has seemingly done and said it all! The man literally said “George Bush doesn’t care about black people” on live TV. While he was 100% right with that statement, still; shocking.
However, it seems Kanye still has some tricks up his Yeezy-branded sleeves. The prolific and controversial rapper and artist announced late on July 4th that he intends to run for President of the United States.
While this is an incredibly interesting idea in theory, in actuality, this is a beautiful, dark, twisted, bad idea. The world need an actual stable genius now.
Apparently, Kanye’s late night tweet wasn’t just lip service, he actually has a platform loosely put together, and it is terrible.
In an interview this morning with Forbes, Kanye flaunted his anti-vaxx views, saying:
“It’s so many of our children that are being vaccinated and paralyzed… So when they say the way we’re going to fix Covid is with a vaccine, I’m extremely cautious. That’s the mark of the beast. They want to put chips inside of us, they want to do all kinds of things, to make it where we can’t cross the gates of heaven. I’m sorry when I say they, the humans that have the Devil inside them.”
He also said that ““Planned Parenthoods have been placed inside cities by white supremacists to do the Devil’s work.” He doesn’t believe in the death penalty. He thinks there should be prayer in schools. One of his main priorities is chemicals: “In our deodorant, in our toothpaste, there are chemicals that affect our ability to be of service to God.”
As troubling as all of these statements are, we can at least take solace in the face that Kanye appears to be over his commitment to Trump. “I’m taking the red hat off with this interview… It looks like one big mess to me. I don’t like that I caught wind that he hid in the bunker.”
The whole interview is incredibly wild, just as the Kanye West fan journey has been. Read the rest of the interview here
When taking photos of a rock show, it’s easy to be distracted by the band. These are the guys that are on stage, shrouded in fog and lights, slinging the expensive equipment, creating the sound. But there’s a moment, when you turn around, and take a look at the real rockstars: the fans. The folks who worked hard day in, day out, to buy a ticket to their favorite band’s show, got there early, wore their tattered t-shirt, and get to experience true effervescent, visceral joy. This joy dissolves all troubles in the world, just for a moment. This joy, this power that music brings, makes more sense to me than anything else ever could.
Drive By Truckers are a Southern rock/ alternative country band from Athens, Georgia, with a deep -fried Alabama sound. It’s the kind of crunchy, soulful, rebellious music that could soundtrack a dusty-road expedition, a cookout, maybe even a mild riot. That’s because this music just sounds BIG. It sounds like three guitarists trading solos, a bassist laying down heavy grooves, a heavy handed drummer, and two vocalists with pipes that can belt out with the kind of emotion that really moves people.
When DBT, as their fans know them, arrived in Kansas City, they carried a pride in their walk. It was a strut like they were so glad to be back on stage, and were ready to rock. Kansas City was their first show on their tour, and they had quite a bit to get off their chests. As singer Mike Cooley stated in a Rolling Stone interview, “These are fucked up times we’re living in.”
Written in a post-Trump era, the band’s latest album American Band, is their most political. Issues addressed in the music include gun violence, police brutality, political aggression against minority groups, and more gun violence. Scrawled on one of the amps onstage is a sign: “Black Lives Matter” written in all caps.
The weight of the music comes across in the live performance. The band, notably one of the more outspoken among their musical peers, dares to be bold. They dare to challenge their audience. They dare to wear their believes on their sleeves and play through songs like “Surrender Under Protest” and “Filthy and Fried” not because they are easy, but because they are hard. It is absolutely necessary to occupy this vital stage time breaking down the issues the band sees in America, while still providing a raucously fun rock show. Honestly, I don’t know how they do it, find the balance.
The show was one of those reminders that music is the most powerful instrument for change ever created. It’s always been a method for expressing our deepest emotions, happy or sad, exhilarated or disheartened. It can be heavy as a brick or light as a breeze. It can connect things or tear them apart. But no matter what the content, the feeling it creates in those who play it and those who listen it, is what keeps people going. This couldn’t be more true than when you turn around and notice those smiling, singing faces all around you, united, even for a moment in the sound.
There’s a tried and true expression that has found it’s way around many aspects of our lives. It comes from the great 1989 film Field of Dreams. It goes: “if you build it, they will come.” This sentiment can extend to music venues, restaurants and rock bands. If you rock hard enough, and well enough, a crowd of 2000 rowdy fans, hungry for that insatiable rhythm, will stand for hours and watch you wail.
Greta Van Fleet, the youthful and vibrant American rock band touched down in Lawrence, KS last Thursday to play a sold-out show at The Granada Theatre. The show was put on by the Kansas City alternative rock station X 101.5 FM.
As a collection of three brothers, Greta Van Fleet has a cohesiveness, a rhythm, a vibe that is truly unparalleled. These guys are seriously on the same wave length onstage, playing off each others’ energies, performing with a vigor that almost definitely took years of garage band practicing to perfect.
While performing, Greta Van Fleet is a wrecking ball of pure rocking power. The band opened with the sensational “Talk on the Street,” which shook the walls of the venue like an earthquake. In fact, the whole show could have charted on the Richter Scale.
“Edge of Darkness” is a booming and crushing track, with one of the band’s most catastrophic guitar riffs. The song builds and builds until the chorus stands 25 feet tall and could tackle a mountain. The power behind Josh Kiszka’s vocals is so strong as he belts out the lyrics “All my brothers we stand / For the peace of the land / Is there meaning / I’ve got love in my heart / For an army apart / I am bleeding.”
Then Jake Kiszka takes that six-stringed ax of his, and absolutely melts faces for about 6 minutes of pure, unadulterated guitar shredding. I’ve seen great guitar solos, and this was ranking in the top 5 of them.
The band belted out eight more high-octane rock tunes before sauntering off the stage. They eventually emerged for a fiendishly-craved encore. They performed two of their heaviest, more riff driven anthemic songs, “Highway Tune” and “Safari Song” to the ravenous crowd. That night, everyone in the venue was electrified by this pact of incredible brother musicians.
Even as I’m writing this, I’m reminded of the power I felt that night. The soul emitting from Josh’s voice, the insanity pouring out of Jake’s guitar, Sam’s booming bass. Everything about this band is impressive, and elevated to the highest power in a live setting. Greta Van Fleet’s sound is unlike anything else right now, and when they’re headlining major festivals, it will be because of the way they wow a crowd in towns like Lawrence, KS.
List season, baby! This is what I’ve all been waiting for all year. I’ve listened to so much music this year, it’s actually kind of fucked up. But I did it all for this. This list. This brief summary of the 50 best songs of 2017. Let’s burn this mother down and start fresh in 2018.
Remember 2009? Damn, what a good year! “I Gotta Feeling” was on the radio, Silly Bandz were stacked on our wrists, and this was the Internet craze your family sent you over and over
Those were simpler times, and the brighter days of ’09 feel so far away. But sometimes, a band, a song, an album is so powerful, it pulls you back to that year, and that feeling. That feeling only comes around rarely. That feeling happens during “Listzomania” and “1901” by the formidable French indie-rock troupe Phoenix.
During an incredible opening night of 96.5 FM’s “The Nights Buzz Stole Christmas” concert series, Phoenix brought their decadent lights, silky smooth music, and over-the-top cool persona to the Midland Theatre in Kansas City.
The band wasted no time kicking off the show. They opened with their latest hit, “J Boy” from new album Ti Amo, and then instantly gave the fans what they wanted to hear. They tore into a raucous rendition of “Lasso,” from 2009’s breakout album, Wolfgang Amadeus Phoenix. It won over the hearts of the large crowd within seconds of the song starting.
Over the course of the night, they continued to play gem after gem, hit after hit, until the dancefloor was theirs. “Rome,” “Girlfriend,” “Entertainment,” “Trying to be Cool,” and more. Relentless they were with the amount of hits they played. The band sounded insanely tight knit, and every guitar stroke or drum beat was impeccably perfected.
They closed with the stellar track “1901,” but that didn’t mean the show was over. Not by a long shot. Lead singer Thomas Mars strolled out into the crowd casually, carrying a microphone with a extended, light up red chord. He strutted through the entire crowd, before finally standing up above the fans. With balloons bouncing around him, he chugged a fan’s drink given to him, and surveyed the audience. He led the crowd in singing the final notes of “1901” and wished everyone goodnight. It was an extraordinary end to an extraordinary show.
Phoenix were supported by Hembree, a local Kansas City indie-rock band with a sound that is supremely ready for the biggest of stages. They truly have everything necessary for a successful band that will go the distance: incredibly catchy guitar riffs, pounding drum rhythms, fantastic lyrics, likable band members, and a readiness to have a fun time on stage that is infectious for the crowd, (i.e. their tremendously fun cover of the Gorillaz’ “DARE, that got the party going.)
While watching them onstage, I couldn’t help but imagine them on the festival circuit- starting low in the bill, playing the 3pm time slot, building an audience in the sunny afternoons. However, their audiences continue to build until they find themselves playing to the sunset, and maybe, just maybe, closing out the day. This may be idealistic, but I absolutely think that this is a capable goal for Hembree. Their love for music is palpable, and that kind of appreciation for the music, and the enjoyment of playing it for people, will get you far in this business.
The first opener of the evening was another local outfit, Y God Y. Led by Garrett Marsh, their sound is unique and inviting. Driven by warm synths, and spacey drum beats, Marsh’s voice carries the sound into another dimension. Their style is equally indie-rock and electronic-synth pop. The combination of styles works well for them, and they created a big hit with fans. With their Afentra-approved cosign, I can see this band growing into a prominent touring band, taking their weird and fantastic sounds on the road to audiences all over the world.
When was the last time a concert blew your mind? Did you lose track of time while your jaw dropped to your feet? This kind of response is rare, and it takes a special show to cause this.
Flying Lotus took over the Midland Theatre on 11/16 with his incredible 3D show. In the space of the venue, he ascended to supersonic levels.
A Flying Lotus show is something to marvel at. There are few artists who create sounds so complex and challenging as FlyLo. His beats, which can span from hip-hop to freeform jazz to G-funk, incorporate some of the most eclectic sounds imaginable. They take so many turns, they could be mistaken for a race down the Autobahn.
FlyLo opened with some of his more ethereal, jazz-based jams, “Getting There” and “Computer Face/ Pure Being.” These songs were a good introduction to the weirdness that was going to become the night. Behind a large, asteroid-looking DJ table, a wildly braid-haired Steven Ellison, aka Flying Lotus, fiddled with controls and laid down the intense tracks. Behind him, a screen projected one of the wildest light shows I’ve ever seen.
The entire show was in 3D. What does that mean, exactly? After all, everything in life is 3D.
Well, every attendee at the show was given 3D glasses to effectively perceive the vision FlyLo was trying to portray. On the screen, colors and shapes flashed vividly, puzzles and landscapes became marbled and warped as they cascaded into each other. All of these visions erupted out of the screen and crawled toward the audience.
As the show progressed, FlyLo was handed a red solo cup, and the show took another, darker turn. It was time for Flying Lotus’ alter-ego, Captain Murphy, to arise. As the beat for “The Killing Joke” eerily crept in, like a demented lullaby, FlyLo grabbed the microphone and rapped every bar of the menacing verse.
The moment of the night occurred when Flying Lotus played his dark, spacious Earl Sweatshirt featuring “Between Friends” from the Adult Swim singles series. The beat is deadly and the crowd vibes to it in a major way. As FlyLo played Kendrick Lamar “Wesley’s Theory” followed by fellow BrainFeeder label artist, Thundercat’s “Friend Zone,” the show reached it’s climax.
Finally, FlyLo unleashed his ace in the hole, “Never Catch Me” featuring an unstoppable Kendrick verse and a blitzing bass solo.
During the show, cosmic beats collided with bombastic weirdness in a perfect space. The 3D imagery was perfectly conceptualized and completed. The beats thrown down were filthy and unexpected. The show was magnificent and bizarre.
There is no other way to watch a Flying Lotus show than with your mouth slack jawed and your mind blown.
On Wednesday, Toronto indie-rockers Death From Above played a rambunctious and hard-hitting set at the Record Bar in Kansas City, MO. The two-piece tore the roof off the venue with their heavily distorted bass and bruising drums.
The world was a much different place when Death From Above 1979 released their acclaimed 2004 album “You’re a Woman, I’m a Machine.” The album was beloved by rock fans who were captivated by the amount of sound these two guys could create. The group then took a 10 year hiatus before returning with “The Physical World.” Now, back and better than ever, Death From Above performed in support of their new album “Outrage! Is Now.”
The band opened with the first song off the new album “Nomad,” which blared out of the speakers so loud that my earplugs almost seemed useless, as hearing damage was inevitable, and accepted. It just seemed like part of the deal of going to a Death From Above show.
The song “Virgins” pounded out of the enormous speaker stack the band had onstage as guitarist Jesse Keeler strummed his distortion-heavy bass guitar and vocalist Sebastian Grainger crashed into his drum kit while singing with amazing range. He shouted every word while hammering his drums, which is honestly one of the most impressive things ever.
Fans in the audience said that they have waited 10 years to see the band live and in person, and the energy in the room mirrored this feeling. Fans shouted every word along to “Turn It Out” the album’s opener, which screeches with aggression and absolutely blistering drums. Fists pumped emphatically in the air.
The unstoppably catchy song “Freeze Me” got every foot in the venue moving. The band experienced difficulties with the sampler while performing the track, but didn’t let it stop them.
The band concluded their regular set with a blistering trifecta of “Trainwreck 1979,” The Physical World” and crowd favorite “Romantic Rights.” During “Romantic Rights,” the band built the anticipation and power of the song until the exact right moment before unleashing the final chorus. The amount of energy the band produced during this song could crumble buildings and collapse regimes.
They closed their set with “Pull Out” which was a highlight of the night as it was a crowd request, and the fastest song played. During this track, the crowd pushed and shoved each other joyously, celebrating the rarity of seeing this band play live after so many years.
Death From Above sound exactly like their name. The sound produced by these two guys is staggering, and the catchiness of the songs makes listening incredibly easy. There is no doubt that the world is a better place with them in it, even if they’re best suited for soundtracking a riot, as the new album states, “Outrage! Is NOW.”
Tyler The Creator performed in front of a sold-out audience at the Truman in Kansas City last night as a part of his Flower Boy tour. He played a majority of new songs, with some old gems thrown in the mix, and the fervent crowd loved every minute of it.
The charismatic rapper swooned to his die-hard fans with opener “Where This Flower Blooms” and the screaming audience made the first lines of the song inaudible. Tyler performed on an elevated platform on the stage where he danced like Kanye West, grooving wildly to the music.
Tyler then kicked the show into second gear with the blistering and guitar-heavy track “DEATHCAMP.” While Tyler shows his emphatic and loving side on Flower Boy, the Cherry Bomb opener is filled to the brim with crushing aggression. The barricade, separating the audience from the stage, rattled and shook like a thunderous earthquake was hitting the venue.
Tyler played around with these two vibes perfectly throughout the show, embarking on a sweet ballads like “Foreward,” or throwing down bombardments of sound like “IFHY.” On songs like “Tamale” the crowd jumped emphatically in the air and shook the ground.
The clear-cut sing-a-long favorite was Goblin standout “She” which the crowd recited perfectly and sung beautifully along to the Frank Ocean crooned chorus.
During the intro of “Who Dat Boy” Tyler asked every member of the audience “put your phones away. I want you to remember this.” The crowd did just that, and came the closest all night to bringing down the venue with their incredible energy.
It wasn’t all turning up though. Tyler lead the crowd in a beautiful recital of “November” leading into “Glitter.” These songs clearly resonated with the audience. When the show concluded with “See You Again,” fans hugged and smiled with warmness, because they had just seen their favorite artist live. It’s moments like that, proving that concerts are clearly more than just the music.
Tyler the Creator has seen a huge evolution in his career, and on “Flower Boy,” he is at his most musically focused and lyrically gifted. His honesty has never been so relatable and with the rate that he is elevating as a musician, the sky is absolutely the limit for the Odd Future commander-in-chief.
The Pen is mightier than the sword. That’s what they say. Now I’ve never seen a sword, and I don’t know much about armory, but who in the indie-rock world is mightier with the pen than Craig Finn?
Craig Finn and his backing band, the Uptown Controllers played an intimate and powerful show at the Record Bar in Kansas City, MO on October 17. The Hold-Steady leader, and prolific lyricist rattled off nearly an hour and a half of his solo-work to a room of dedicated and literary-inclined fans.
A story, a tidbit about the past, a joke, often punctuated each song or lead seamlessly into the next track. Finn reflected on such heady topics as: fear, faith, love, pain, loss, and finally honesty. “We have to be honest with one another,” was his response to the insanity that seems to found itself into society today.
As if he was an author, reading off pages of his latest work, Finn and his band strummed coolly through several tracks off his latest album, “We All Want the Same Things.” Some crowd favorites were “Jester and June,” “Preludes,” and a solo-acoustic performance of “Tangletown” that was especially emotionally hard-hitting.
Finn made eye contact with every member of the crowd, and would interact in banter with folks about baseball, books, and politics. It was the most transparent show I’ve seen all year.
With an artist as skilled with the pen as Craig Finn, each word hangs on the one before it. Each line anticipates the next. I found myself listening to the songs like reading a book I didn’t want to put down.
Craig Finn can be explosive with his singing and performing, or he can be subtle and thoughtful. During his performance at the Record Bar, he was both, in equal parts, for maximum effect. The show didn’t feel overly folksy, but definitely didn’t feel like a regular rock show. Imagine Bob Dylan in Greenwich, Neil Young in Tennessee. Craig Finn in Kansas City.