Concerts from a Month or So Back... Margo Price, Hop Along, Soccer Mommy, and PVRIS
First up, Margo Price came to Portland and played the small venue, Port City Music Hall, for a steal of only $20. This is unbelievable, considering she'd recently toured with Chris Stapleton and has been making a name for herself as one of the many "new" female country artists coming out of Nashville lately bringing a new breed of alt- anti-pop country music (re: Kacey Musgraves, as young as she is, seemed to lead that charge a few years ago). This of course also seemed to be made possible from the post-George W. Bush/ 9/11 era and attitude of "Proud to be an American" type of country music.
Besides this obvious attraction to her music, add to that the fact that she is signed to Jack White's Third Man record label, so you know her music will be authentic.
Her live show was unreal, showcasing her powerful voice and the band's tightness (with a few breaks for solos throughout the show). She put her flair on some great covers and ended the night with an incredible version of "Proud Mary" during which she came down to the front row, shook my hand AND gave me a hug (after I, in true Sean-awkward fashion, turned around stunned that she actually shook my hand and talked to me).
Besides this obvious attraction to her music, add to that the fact that she is signed to Jack White's Third Man record label, so you know her music will be authentic.
Her live show was unreal, showcasing her powerful voice and the band's tightness (with a few breaks for solos throughout the show). She put her flair on some great covers and ended the night with an incredible version of "Proud Mary" during which she came down to the front row, shook my hand AND gave me a hug (after I, in true Sean-awkward fashion, turned around stunned that she actually shook my hand and talked to me).
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(Guy Clark cover)
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(Margo Solo on Keys)
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(Bob Dylan cover) (Margo on drums)
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(Stevie Nicks cover) (with Aaron Lee Tasjan)
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(Creedence Clearwater Revival cover)
Aaron Lee Tasjan was her opening act and I'd heard a few of his songs a couple of years ago, but to experience his live show, I believe, is to truly hear what he is capable of. Add to his incredible song writing the fact that he came out on stage in a tight-fitting dress, which clearly he wasn't meant to be wearing and was perhaps the consolation prize to a bet he'd lost the night before. His stage banter and schtick was great, along with his amazing band. He is definitely one to watch and catch live if you can.
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At the beginning of this month (May), I was able to catch Soccer Mommy (the stage moniker of Sophie Allison) at a sold out show at the tiny bar-venue Great Scott in Boston, for a headlining tour in support of her amazing new album "Clean" (which, to date, is probably my favorite album of the year) which is gives you a reminding to the early days/recordings of Liz Phair circa- "Exile in Guyville" which is sort of ironic because she will be heading out on tour again with Liz Phair in a week or two (which I'll be going to their Boston show at the beginning of June).
Soccer Mommy (re: Sophie) is an incredibly talented songwriter and a humble, quiet guitarist. The place was mostly quiet and attentive for the entirety of her brief 50 minute set, which included an interpretation of The Boss' "I'm on Fire" as well as a few old songs and of course enough songs from her new album.
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(Bruce Springsteen cover)
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A couple of nights later, I was back in Boston for a show I had been anticipating for a few months. Hop Along was playing a headlining show at the Royale. My sister joined me for this show, and we stood right up in the front, as she'd followed me along the Hop Along journey for a couple of years now, and dare I say, they are one of our favorite bands. Not only are their songs incredibly crafted, but I was immediately drawn to singer Frances Quinlan's raspy/throaty singing voice when I saw them open for Modest Mouse here in Portland a few years ago. They played the Civic Center (re: arena) which was a huge room for them, but they played it well. The Royale, though, seemed like the perfect size to let the band's sound bounce off the walls and ceiling. They have amazing chemistry as a band and were clearly having fun this night, trading quips and inside jokes with each other and involving the crowd in their conversations. It was probably one of the best shows I've seen this year. And I cannot wait to see them in Portland at the beginning of June. Their new album is a bit of a departure from their alternative rock roots, an experiment of sorts but it plays really really well after repeated listens and seeing/hearing these new songs interpreted live is a treat.
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Following in the same category of female-fronted (or female, period) bands/artists, I recently saw PVRIS (a semi-local via Lowell, MA band) as they played a sold-out show at Port City Music Hall here in Portland. This venue was packed, hot and sweaty, filled with people that perhaps obviously had never been to a show like this before, as it happened to be an all-ages show. I also took note of how many of these all-ages (re: younger) folks were on their phones and attempting to record practically every moment of this show with their phones. Yes, I've been known to take out my phone for a brief recording of my favorite songs from my favorite bands on occasion, but recently I've tried extremely hard to just remain in the moment when at shows and leave my phone in my pocket. With this attempt, I've come to realize how distracting and irritating phones are at shows. I am now an advocate for banning phones at shows. It is getting ridiculous. Is it a generational thing? Am I being a curmudgeon? (and how many of you had to look up that word on your phones using Google?!)
Regardless, I tried to enjoy the show as best as I could, not letting the actions of others distract from my enjoyment of the music. I'd only recently heard and gotten into PVRIS, by the way, so I was intrigued first of all by the fact that it was sold out, and I wanted to see how the new album sounded live. The singer's voice is incredible and sort of hints at Hayley Williams' star potential, albeit a bit heavier sounding than Paramore.
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(Stripped)
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