August 13th was a Saturday night unlike any I have seen in a very long time. Approaching the outside of T-Mobile Center Arena in Kansas City, MO, you would have no idea by the soothing, music-filled area outside the gates that you were entering an almost-sold-out show in a multi-thousand-seat arena. an enigmatic atmosphere. Those in attendance had been waiting to see The Lumineers since the show was announced prior to the pandemic setting in.
The 25-song set included crowd favorites like “Ho Hey,” “Dead Sea,” “Ophelia,” and “Stubborn Love.” Their spin on “You Can’t Always Get What You Want” masterfully blended original track “Leader of the Landslide” into an easily digestible and beautiful new work of art. One of the most notable tracks, however, was their Petty cover “Walls (Circus)”, which was performed with their openers, Gregory Alan Isakov and Daniel Rodriguez.
Much as their name suggests, The Lumineers’ set design left the crowd ensconced in the warm glow of the lights. Their multi-runway stage gave the show a dynamic we have not had the privilege of seeing in the past. While each member of the band is a multi-instrumentalist and talented as all get out, we are more familiar with a stage presence that keeps them all solitary, in a straight line with equal lighting for the audience to enjoy. For this show, we witnessed climbing on pianos, jumping from one part of the stage to the next, and dancing under the most magical disco ball the crowd has ever seen. Add the flurry of confetti mid-show to the mix and you’ve got yourself a kaleidoscope snow globe experience.
Before the pandemic, it truly was all about the music. Now, it seems to be about creating a joyful atmosphere. Sure, the music holds as the firm base and is what gets the audience in the doors. But this band has taken their set design to a level that makes everyone — whether you are in the VIP pit or in the nosebleeds — feel as though they are snuggled with a blanket under starry skies as summer fades.
Dashboard Confessional was slated to headline Boulevardia 2019. Then, a massive summer storm blew threw and everyone ended up hanging out under shelter, many in a parking garage in Kansas City’s West Bottoms region.
Kansas City was ready for a Dashboard Confessional show. Way past due, Carraba started the show by addressing that night, and explaining how much he had been looking forward to hanging out with us over the last three years. We bought it, and sang the night away under the stars–our echoes reverberating off the downtown skyline–during one of the most excruciatingly hot weekends of the summer. Ah, Boulevardia.
The indelible Tayla Parx performed for the masses at Day 1 of Dr. Martens Presents at SXSW 2022. The singer/songwriter/actress shared her incredible voice while the crowd – which was wrapped around the building to get into the party – went wild from both inside the venue and outside the gates. Her stage presence was absolutely off the charts, as she garnered everyone’s attention despite other activities provided at the event. (Can you say “free tattoos”?) With two Grammy nominations under her belt for writing credits on Ariana Grande’s Thank U, Next and Justin Bieber’s Justice, it seems like the songstress that is Tayla Parx isn’t slowing down anytime soon.
Anna Hamilton was the newcomer most hadn’t been acquainted with, winning a contest to open for Dermot Kennedy as a local act. A Kansas native and one of 12 children in her family, Anna’s music dripped with bits of nostalgia and hopeful thoughts for the future. It was also an insanely beautiful experience, her sweet-as-honey vocals accompanied only by a guitar. It was mesmerizing.
By her third song, we caught a glimpse at specificity in a track about a boy that left her for a city – “Me For Barcelona.” The song had never been played in front of a live audience before and is not currently available, but is open for preorder via her link in bio at clever Instagram handle @a.ham.sandwich. Her fourth trach was about leaving Kansas to pursue her singing career in Tennessee, something so many artists struggle with. She has clearly found a safe haven and inspirational options in her relocation, as her last track – “Self Help” – was realized so early on. Of the track, she admitted that it was about taking care of yourself before allowing others to benefit from you. “You need to be 100% before your cup overflows and they can receive it.”
Bishop Briggs emerged, energetic as ever and donning a leather jacket on a pretty balmy night in the midwest. It was shed quickly, to reveal skeleton-printed fingerless gloves and delicate tattoos dancing across both forearms. The first time this town got acquainted with Bishop, she had barely edged into the world of tattoos. Now, you find yourself mesmerized by them as she jumps across the stage with every robust, belted line.
An artist that truly allows you to feel the songs with her, Bishop has cultivated a fandom that spans generations, cultures, and ideals. Perhaps the show’s littlest attendant – a young man no older than 10 or 11 – could be found belting out lyrics and clapping in time with his family during the intense track “Hi-Lo (Hollow)”. Her set included “Someone Else,” “Darkside,” and her most recognizable hit, “River”, among others.
August 7, 2021 was my first show back. Back, from where? Who even knows? While the pandemic rages on, I wonder, more often than not, if leaving my house is even worth it. But I’ve been enjoying – and producing – livestreams and digital concert experiences since COVID-19 took SXSW 2020 from us all, and I knew the joy that came from that massively sustained me over the last 17 months.
The first time I saw Dermot Kennedy was in a church off 6th Street in Austin, Texas during SXSW 2018. I chose to spend the evening with a handful of friends from my hometown, wandering into shows and experiencing new acts to write about and photograph for the (still new) site. But something about Kennedy’s vocal delivery – the vulnerability and intensity with which he delivered some of the most emotionally charged lyrics I’d ever heard – made me forget I was trying to compile content for the site at all. A handful of distanced, “between tall guys’ bobbing heads” photos happened, but the music was so compelling that I spent an embarrassing amount of the set with my eyes closed, or staring up at the vaulted ceilings, marveling at the magic that music creates, and the magic from which it is derived.
When SXSW 2020 was canceled, I decided to make the quick, 4-hour jaunt to St. Louis to see Kennedy. Within a couple of days, the tour was indefinitely postponed. COVID-19 set in, and March saw stages around the world shutter. Deafening silence. And while artists tried to keep the spark alive with their multi-dimensional at-home creations, new directions, and interactive experiences, there was just something missing. That spark that live music incites, the way it can make an entire room feel like it’s on fire, hearts dancing in unison. As someone who once took for granted a 2-5 concert per week schedule, I began to feel lost in a sea of digital analysis and curation. I am humbled by the art that has come from our time locked away, but it never had the energy of a live show.
By the time I realized live music was coming back, Kennedy had sold out his St. Louis reschedule. And his Red Rocks performance. I spoke with a friend who was going to work with me on getting tickets in Wisconsin, which would be my saving grace for his tour since Kennedy was no longer appearing on the postponed Bonnaroo lineup (because of touring conflicts). But my sister happening upon a radio tour announcement a couple of weeks before her big move to Los Angeles and a random discussion that occurred a half-hour before tickets went on sale for the Kansas City stop made it all possible. Me – the woman who often feels jaded by the industry, especially for how little people truly rallied for the arts through this dark time -, I allowed myself to finally get excited about an event. I had something to look forward to that I knew could help me heal.
And still, I wondered, could I possibly stand in a crowded venue again? Could I find joy in the music – the one thing that makes me feel like I have my head screwed on straight on a daily basis – amidst a crowd of maybe-vaxxers from the midwest? (That wild, wild midwest that we have come to know as a largely “denying science” crowd.) I spent days before this show panicking about everything. Would there be space to spread out? The show wasn’t entirely sold out, the venue was more intimate, it couldn’t be too insane. Right? Would I melt in my mask? Would my friends be comfortable?
I almost had no words to explain how it all felt. Sure, I annoyed my +1 (Hi, mom!) and a couple of friends (I see you Anjelica and Kevin!) with some fears about everything. But, I was mostly entirely back in my element. As an observer, an enjoyer. I ensured we got pretty good spots to watch the show, over by the rail on the right side next to the stage. Dermot Kennedy’s Kansas City (Missouri) leg of his Better Days tour was officially sold out at the Uptown Theater, however, there was substantial space on the sides of the stage to ensure that we felt comfortable. I did some people watching like I used to. (I’d like to think that people couldn’t handle their liquor because they hadn’t imbibed at that level in a while, but who knows?) And, truly, I spent the majority of the evening belting out lyrics behind my mask, staring up at the shadows dancing on the ceiling, really indulging in the collective atmosphere of it all.
Set List: Lost Power Over Me All My Friends An Evening I Will Not Forget Outgrown The Corner Rome For Island Fires and Family Outnumbered Better Days Moments Passed Glory Giants Encore: After Rain Without Fear
Thank you to Anna Hamilton, Bishop Briggs, and Dermot Kennedy for “an evening I will not forget.” (I know I’m the first one to use that reference, of course.) I can only say that it helped to inflate my sad, darkened, emo heart. So perhaps I’ll Grinch less for a while. 😉
Anna Hamilton and Bishop Briggs thoughts + photos to come.
Thursday, March 18th brought with it some new sounds from far-off places. I was overjoyed to sit in on night 2 of “Close Up: A Sounds Australia Showcase.” Hosted by Dom Alessio of Sounds Australia, this relaxing evening featured music by Kee’ahn, Beans, Death by Denim, The Chats, and Kota Banks & Ninajirachi.
We think the photos do this showcase quite a bit of justice. The feeling of connecting with the earth and these natural landscapes while engaging with incredible international artists is absolutely captivating. Check out the snaps below, and add these bands to your next playlist!
