This weekend was one for the books. A massive crowd gathered at The Truman in Kansas City, Missouri to enjoy a sold-out show featuring CVBZ and Teddy Swims. We happened upon the artist and his band during their Bonnaroo set this summer, and have been singing their praises ever since. His powerhouse vocals and humble nature, and everyone’s massive musical talent, are endearing as hell.
The band walked in at the start, followed by the charming lead singer. He was propped on two crutches, with two bare feet wrapped in athletic tape. You could tell the crowd was confused, but everyone’s attention was immediately drawn to the energy of the band.
After singing a bit, he addressed his bare feet, the clear elephant in the room. He told us that he sustained an injury while on a tour stop in Las Vegas. Instead of getting his ankle checked out, he chose to favor his leg and limp in the coming days. Today, however, a trip to urgent care revealed that, because he did not seek medical care for this first injury, he now had two sprained ankles. While he spent a few songs on his feet, there was a loveseat conveniently located by the microphone and a pile of water bottles for him to enjoy as he entertained the crowd.
His set included a few lively covers, “Broke,” the sultry “Two Moods” and crowd favorites “Simple Things” and “Bed on Fire.”
Simple Plan headlined The Blame Canada Tour at Uptown Theater on Wednesday, May 18th, 2022. Along with Set It Off and Sum 41, they lit up the stage with their intense and joyous energy. Yes, despite the most gut-wrenching emo lyrics, these guys couldn’t help but lift the entire audience up with their stage presence.
Touring in support of their new album Harder Than It Looks, they pulled an array of crowd favorites out for our nostalgic enjoyment, as well as some great new tracks. The most relatable moment, however, happened toward the beginning of the set, when Pierre encouraged everyone to stretch before the ever-enjoyable “Jump”.
We hate to admit that Enjoyable Listens led in the ranks of the most “enjoyable” set at SXSW 2022, but they – ahem, HE – totally did. While the Oxford-based act normally performs as a duo, brainchild Luke Duffett appeared solo this time around, as his bass guitarist partner-in-crime was stuck overseas for WORK. (Something he mentioned multiple times during his set.)
In all honesty, we almost didn’t stay for the set. We had the privilege of covering an array of international artists over the course of the week, and when a slightly sunburnt man in a suit with a bolo tie and slicked-back hair was sound-checking, I prematurely judged him and suggested we leave the Registrant’s Lounge. Luckily, our dear friend Whiteclaw (sorry – they sponsored the fest and I was already a few deep) kept us glued to the spot when Duffett took the stage.
While their Facebook page boasts that they are “a bloodstained fur coat floating on the undulating beat of street talk,” we were absolutely delighted by the theatrics employed by Duffett on that fated Saturday afternoon. He introduced the act, pushed a button on the soundboard, and walked off the stage to make a grand entrance. And this was only after he verbally commanded the attention of everyone in the area three separate times.
A type of Baroque-pop, the music took on an experimental vibe at times. This man was absolutely the manifestation of if one of our best friends from high school had a child with Rick Astley. In all honesty, the vocals and blazer were the only traces of Astley. (After sending a video to Erin’s husband, we received word that we weren’t the only two who had this exact thought.) His vocal range was unexpected and alluring, while the lyrics were poignant, funny, and utilized an expanse of vocabulary. (One of the best ways to pinpoint a favorable lyricist, if we do say so ourselves.) At times, he would do more of a spoken word situation over the music, which we found later to be a common thread in the recorded versions of the tracks. He would also interrupt his own songs to talk to the audience. He even warned us about “spontaneous clapping” and “crowd surfing” he predicted for later in the show — all of this to a still rather small crowd.
But as his set went on, the crowd grew. And the smiles multiplied. And his dance moves got even more outlandish. He jumped off the stage, lunged at attendees, and performed for the (non-operating) camera, all the while maintaining this artistic persona that we all grew to love over the course of his set.
If you get the chance to see this act live, run… do not walk. I promise it will change your life.
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.
Murder by Death returned to Lawrence, KS, on March 7 for a show at historic Liberty Hall. The group is mid-way through their current tour celebrating 20 years as a band. The crowd was so happy to welcome them back to Lawrence. The night included a great moment when lead singer, Adam Turla, acknowledged their love and long history with the town, from playing house parties in the early 00’s, to Liberty hall on Saturday. The group was energetic and cohesive – you could tell they’ve been performing together for 20 years.
Joseph’s February 11th concert at the Madrid Theatre, promoting their newest album “Good Luck, Kid,” was the band’s first Kansas City performance in almost three years. Even so, the trio admitted to always being fond of KC, reminiscing of a stop on one of their first nationwide tours, and apologizing profusely for an early edition of a tour poster which placed Tuesday’s concert in Kansas City, KS…
KC clearly loves them back. An energetic crowd enthusiastically sang the band’s lyrics back to them. In the front row were participants of Joseph’s recent “Good Luck, Kid” cover contest, which the band mentioned by name. There was a celebratory mood all night as Joseph performed an outstanding show for their eager KC fans.
Last week, Grammy nominated phenoms Black Pumas dazzled on stage in Madison, with support from Seratones. Photographer Justin Kibbel caught some magnificent
Keep up with Black Pumas here. (And catch them on the Grammys this Sunday!)
On Thursday night, Arvest Bank Theater at The Midland hosted the storied Angels and Airwaves for their first run through Kansas City in ten years. The crowd was absolutely enamored, and we caught some brilliant shots. Check them out below!
On December 13th, Boston Manor headlined an energetic show at Davey’s Uptown Rambler’s Club in Kansas City, MO. Photographer Ashleigh Lee caught some highlights exclusively for us!
