This was a really fantastic evening organised by the Grammy museum. A succession of artists took on two Beatles songs each to make their own and then moved off to allow the next artist their turn. A great way to experience so many musicians interpreting Beatles favourites.
The Dunwells took on Come Together and Norwegian Wood, with great harmonies and nice arrangements. Come Together was brooding and rumbling. Norwegian Wood took off into a hoedown in the second half.
Tori Kelly sang Blackbird, in a lovely rendition that made it sound like a Joni Mitchell song, and Eleanor Rigby, as a Chicago blues number.
Jovanotti sang Yesterday, in a spaghetti western style, and I Saw Her Standing There, in a rockabilly version, with both in Italian. He explained how big pop hits used to be translated into Italian, but that the Beatles never approved the translations of any of their songs, and the "translations" often bore no relation to the original words.
Ron Sexsmith covered Old Brown Shoe and Mother Nature's Son, which he'd rehearsed, and then Lucy in the Sky with Diamonds, we he hadn't, but he'd been asked just before he came on if he could do three songs. For Lucy, he asked if we could help him out on the chorus.
La Santa Cecilia sang a great bluesy rock version of I Want You (She's So Heavy) and then a wonderful Strawberry Fields Forever, in Spanish and in a tango style, re-imagined and dedicated to people who work the land.
Andy Allo from Prince's New Power Generation sang Yesterday and a soulful version of Let It Be, then a new song of her own.
David Garza took on Julia, She Loves You and then Ron Sexsmith joined him for Here Comes The Sun, which they had just worked up in the dressing room.
Jenny O covered Paperback Writer b-side Rain and then I Will.
Pyramids, the OK-Go and He Say She Say supergroup, sang I'm So Tired, Dear Prudence and then their own Don't Go.
Alexandra and the Starlight Band ripped through glittery garage rock versions of Get Back and Dig A Pony.
Nina Diaz from Girl in a Coma took on Something and In My Life.
Tom Freund sang With A Little Help from My Friends, joined by David Garza, then his own song Collapsable Plans.
With the lyrics on his iPad Mini Luke Sital-Singh covered Honey Pie and did really great version of Girl, with delicate guitar picking and really powerful and touching vocals. He said that, rather than being brought up on The Beatles, he'd be brought up on Chris de Burgh, but that luckily Chris had covered Girl.
Steve Forbert sang great rock and roll versions of You Can't Do That and I'll Follow The Sun, and then his own song about imagining John and Paul meeting.
Blue Sky Riders, including Kenny Loggins, took on Nowhere Man and Help in a bluegrass country style and then a version of their own song Just Say Yes.
Delta Rae sang Oh Darling
Willie Nile spoke about visiting Paul McCartney and John Lennon's childhood houses. He was told about John's treehouse ("No one I think is in my tree...") and about the two of them singing in Paul's porch (or "vestibule" as Willie said). He sang Hard Day's Night and Anytime At All. He also told a sad story about lending guitar strings to John, who was recording in the same set of studios, on the night John was shot. He then closed the evening with a rabble-rousing version of Revolution.
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Tuesday, 19 March 2013
Monday, 18 March 2013
David Wax Museum, Sat 16 March 2013, Victoria Room at Driscoll's, SXSW2013
David Wax Museum featured our first sighting of the donkey jaw onstage at SXSW, a percussion treat that is too often overlooked.
They played some great rousing tunes, with snatches of Spanish and Mexican rhythms and melodies, and made a big sound for the four of them. The band got some very tired feet dancing at close to 2am on the last night of SXSW, which is no mean feat, and really rocked at points, finishing with an brilliant Born With A Broken Heart.
They played some great rousing tunes, with snatches of Spanish and Mexican rhythms and melodies, and made a big sound for the four of them. The band got some very tired feet dancing at close to 2am on the last night of SXSW, which is no mean feat, and really rocked at points, finishing with an brilliant Born With A Broken Heart.
Ron Sexsmith, Sat 16 March 2013, Victoria Room at the Driscoll, SXSW2013
Ron played a handful of songs off his new album, including a lovely version of If Only Avenue, and some older songs. He seemed to enjoy playing in the intimate setting to an attentive crowd who were holding up well after dozens and dozens of sets, and he said he'd played a difficult showcase yesterday. It was a lovely set and a good penultimate show of the SXSW.
Haim, Sat 16 March 2013, Stubbs, SXSW 2013
Dressed in black leathers and with sisterly harmonies, Haim rocked out like a modern Thin Lizzy. They brought to mind great girl rock groups, from the Blackhearts to the Go-Gos and wouldn't have sounded out of place on a John Hughes soundtrack.
During the set they threw out a good mix of sounds and dynamics and had great audience interaction, proving particularly popular with the girls in the audience. They closed with a Stomp-style drumming barrage which was pretty awesome.
During the set they threw out a good mix of sounds and dynamics and had great audience interaction, proving particularly popular with the girls in the audience. They closed with a Stomp-style drumming barrage which was pretty awesome.
Small Black, Sat 16 March 2013, Stubbs, SXSW 2013
The band looked very relieved after repeated technical difficulties during the sound check were resolved and they launched straight into their set. They played fun, upbeat, late-night electropop, like a New York New Order with more breathy vocals.
Sunday, 17 March 2013
Delicate Steve, Stages on Sixth, Austin Tx, March 16 2013
Research as much as you like, some of the real gems of SXSW are the unexpected discoveries. This set was jaw dropping. Like a twisted New Power Generation playing the solos in Paranoid Android or Steve Vai, this band played a largely instrumental set. The rock-jazz-funk had chemical elements and left us wondering how a band like this had developed its sound, or even met like minded fellow musicians.
Leagues, 16 March 2013, Paste Party 2013
Leagues channeled funk and the spirit of disco, saying 'It's music to make you feel good, so let's feel good together.'
With a nod towards Scissor Sisters or the Red Hot Chilli Peppers more melodic moments, Leagues played early-80s style disco funk and the singer was a great everyman frontman. The made the kind of sounds Freddie Mercury might have headed towards with Queen after Another One Bites the Dust or the Pet Shop Boys with more passionate vocals.
The band do not look like they sound, or like they've ever been to Nashville, let alone that they come from there. But they were great, like Elbow mixing with The Gossip. They even played with two basses at point (literally double bass playing), which was brilliant.
With a nod towards Scissor Sisters or the Red Hot Chilli Peppers more melodic moments, Leagues played early-80s style disco funk and the singer was a great everyman frontman. The made the kind of sounds Freddie Mercury might have headed towards with Queen after Another One Bites the Dust or the Pet Shop Boys with more passionate vocals.
The band do not look like they sound, or like they've ever been to Nashville, let alone that they come from there. But they were great, like Elbow mixing with The Gossip. They even played with two basses at point (literally double bass playing), which was brilliant.
Field Report, 16 March 2013, Paste Party 2013
The set opened by 'taking it to church' with a re-written version of one of their own songs, which they had tweaked for a gospel group. The band sounded like a Wisconsin Elbow, with swooping vocals, atmospheric country guitars and cinematic key boards. The drummer was an accomplished musician, doubling up on violin and banjo. The slower songs carried the DNA of Don Henley's Age of Innocence. The lyrics brought Springsteen-esque tales of kitchen sink love, loss and hard times, delivered with the passion of Glen Hansard.
Eric Burdon, 16 March 2013, Paste Party 2013
Eric Burdon, 16 March 2013, Paste Party, Stages on Sixth, SXSW 2013
It isn't often you get to see an artist and performer of this quality and musical importance on the tiny corner stage of a bar in broad daylight. Eric Burdon and his band packed out the venue to an excitable crowd who were even applauding the sound check.
Still a lively, energetic performer backed by a high caliber band, this set mixed material from the new album with classics. The songs were tight, as was the 30 minute slot. Eric and band closed with roof raising versions of Black Dog and House of the Rising Sun which left the audience shouting out for more. Before House..., the bassist had begun We Gotta Get Out..., but Eric signalled for him to stop and switched the band to a rip-roaring version of 'the shortest song I've recorded', beginning with a changed melody and ending like a possessed preacher.
It isn't often you get to see an artist and performer of this quality and musical importance on the tiny corner stage of a bar in broad daylight. Eric Burdon and his band packed out the venue to an excitable crowd who were even applauding the sound check.
Still a lively, energetic performer backed by a high caliber band, this set mixed material from the new album with classics. The songs were tight, as was the 30 minute slot. Eric and band closed with roof raising versions of Black Dog and House of the Rising Sun which left the audience shouting out for more. Before House..., the bassist had begun We Gotta Get Out..., but Eric signalled for him to stop and switched the band to a rip-roaring version of 'the shortest song I've recorded', beginning with a changed melody and ending like a possessed preacher.
Social Studies, 16 March 2013, Paste Party 2013
A lively, enjoyable set. This bouncey act was keyboard led and featured Eagles-esque guitar and echoey female vocals. The funky drumline added a good up tempo atmosphere.
Generationals, 16 March 2013, Paste Party 2013
Bouncy power pop from New Orleans leaning towards Teenage Fanclub, Nick Lowe and Velvet Crush, with funky, bouncy keyboards. The band were friendly, polite and cheery.
They had really well developed texture and style, and their tunes sounded different from one another. They played a number of new songs as they have a album coming out. These sounded good, well rehearsed and the band went down well with the crowd which included a fair few fans and also some new converts.
They had really well developed texture and style, and their tunes sounded different from one another. They played a number of new songs as they have a album coming out. These sounded good, well rehearsed and the band went down well with the crowd which included a fair few fans and also some new converts.
Saturday, 16 March 2013
Wavves, Thurs 15 March 2013, Bar 96 SXSW 2013
Heavy grungy rock, mixed with a fairamount of on-stage silliness. There was lots of crowd-surfing andstage diving, which at points looked like it might end in injury, butwas mainly good-natured.
After a couple of opening songs there was anonstage discussion, which seemed to involve the bassist and guitaristwanting to play a song the singer didn't want to, but they ended updoing, and the audience lapped it up. They then played a couple ofmuch more tuneful songs, like a partying Mudhoney.
After a couple of opening songs there was anonstage discussion, which seemed to involve the bassist and guitaristwanting to play a song the singer didn't want to, but they ended updoing, and the audience lapped it up. They then played a couple ofmuch more tuneful songs, like a partying Mudhoney.
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