I am envious of everyone who was able to attend this show – Booker T. Jones and the Black Keys!? Are you freaking kidding me!? – but we are fortunate enough to have this great review and fantastic photos from Jessi Smith. Thanks so much, Jessi.
As I type this The Black Keys are in the midst of their tour of Canada, where they seem to get a lot more recognition than around here. They get invited to perform at Canadian awards shows, unlike here where they have to accept their Grammy’s during the pre-show. America is coming around though. Less frequently am I met with blank stares and well meaning corrections of, “Do you mean the Black Eyed Peas?” when I mention their name. However, with shows like the one I went to in Indianapolis on June 10th under their belts, they’re going to be household names before you can say “That’s not how you say Auerbach”. Then all the hipsters can hate them for selling out, which I won’t mind because the fewer faux fan douchebags that like them the better.
A $5 skip the line pass … Continue reading
The release date of Nicole Atkins’ new album Mondo Amore has been pushed back to February 8.
While you wait, check out the first of three vignettes Atkins and filmmakers Mandy Bisesti and Lucia Holm have created.
They say you shouldn’t judge a book by its cover, but ‘they’ are generally full of shit. A study of the cover for Nicole Atkins’ forthcoming album, Mondo Amore, will give you a good sketch of what’s inside. New cozying up with old, light defined by dark, the rugged and the ethereal, beauty borne of unexpected juxtapositions.
Both lyrically and sonically, Mondo Amore is dramatic. The sweep of Atkins voice is often cinematic, and she is backed by instrumentation that often combines the more theatrical heights of ’60s pop and soul productions with the guitar-centric heart of ’70s rock. Sometimes the drama teeters on the edge of being overwrought, but Atkins generally saves herself with strong but modest musical sensibilities (I find hooks from this album, like the chorus of “Cry Cry Cry”, popping into my head even after I haven’t listened to the album for a couple of days) and those killer pipes.
Atkins is at her best when she leans more toward rock than pop, and the first track, “Vultures”, is the head-and-shoulders-above-the-rest stand-out on this album, … Continue reading