Not even freezing temperatures and icy roads could stop Kansas City from showing up for their favorite hometown act last Saturday as indie-pop band The Greeting Committee returned home and took the stage for a sold-out crowd at Uptown Theater. The energy in the theater was absolutely electric as fans packed into the venue, eager for an escape from the cold and snowy night. It was delivered.
Addie Sartino, the band’s frontwoman and charismatic shining star, was, as expected by the eager crowd, a force to be reckoned with. It was a constant stream of highs as Sartino led the audience through a whirlwind of emotions throughout the night. The group played fan favorites like “Don’t Go”, “Pull It Together”, and “You’ve Got Me” as an ecstatic crowd danced and sang along with Sartino. She flawlessly demonstrated her talents on every one, not missing a beat and thriving throughout the spirited set.
A notable moment came fairly early on as a nostalgia-inducing “salute to our youth” saw the band bring on stage a large group of local Kansas City musicians for a cover of Arcade Fire’s “Wake Up” that bordered on spiritual. But the homegrown band was just getting started.
About halfway through the show, Sartino asked the audience to respect her request “human being to human being” as she asked that everyone be completely silent while she performed “Call in the Morning”, a somber track that deals with tragedy off of the band’s new EP. Complete and total silence blanketed Uptown as Sartino traded her typical high-energy performance style for vulnerability and a powerful stillness as she stood center-stage while singing the track. Even in her stillness, her ability to connect to her material shone through. A completely mesmerized crowd couldn’t peel their eyes away from the frontwoman, who encapsulated what it means to put yourself into a performance. Sartino’s demanor shifted as she made it to the song’s spoken word portion, and she frantically ran around the stage as the lights went blue and she yelled out the monologue to a sea of teary faces. “Call the police, drain the bathtub, hide the bleach, call ‘em quick love. I think we’ve lost it” she screamed. “I cannot find another you”.
Sartino threw herself to the floor and pounded her fists along with the heartbeat-like drums as she screamed “Call the police!” over and over again. The song appeared to be pure catharsis for the young performer. The theater went dark as “1-800-273-8255” and “If you’re looking for a sign to stay alive, this is it” appeared on the screen and remained there as the band played the ending to the song softly in the background. 2,000 fans stood unmoving and silent, and many faces were streaked with tears as the audience stared at the dark stage, completely overcome by the power of the moment that they had just witnessed. Uptown was momentarily still as the crowd stood frozen, unsure of how or if the silence should be broken.
But just like that, Sartino was back on stage and better than ever, and the crowd rallied along with their fearless leader. The band took what could easily have been a hard moment to recover from and kept the wonderful moments coming, and it was impossible not to latch on to their infectious energy. The crowd’s spirits climbed through the roof as the show continued to escalate. The back half of the night included a mosh pit during fan-favorite “Hands Down”, and crowd-surfing by literally everyone in the band. The final song of the night, “Gold Star”, got intimate as the band got off stage and played amongst the very crowd that helped them make their largest show to date possible before exiting (while still playing of course) out the front door. It was a full-circle kind of night for the band and fans alike, and, in the words of the guy in front of me who couldn’t stop crying, “That was just special”.
Judah & the Lion…what can I say? They are a band that I have seen multiple times, and that I will probably continue to see. My first encounter, admittedly, was a personal tour with the guys around the Kansas City Zoo as they were just gaining traction with “Take It All Back”, and they were such a joy to speak with and to capture (with the lions, no less!). They put on such an undeniably powerful, upbeat, and fun show, and consistently! Everywhere from a packed old theater to an intimate set in a bar, they know how to make you FEEL with their lyrics AND music.
Th latest venue when they passed through Kansas City on August 10th? The gorgeous outdoor stage at Starlight Theater. (Yup. Home to bats and big ass fans.) Aside from the wicked humidity that evening, I think it was my favorite show from them yet, which is a tall order! It truly felt like I was invited to a party as one of the band’s closest friends as I witnessed their talent beneath the summertime sky.
Prior to releasing their album Pep Talks in May, I don’t think I would have felt like they were speaking directly to me. But the lyrics are made up of stories that are trauma-informed and emotional, like the band has cracked themselves open to being completely honest and transparent to anyone that will listen. Their Nashville-infused folk-pop mixed with some clearly Blink 182-style beats – well informed influence, as they’ve been covering a Blink favorite on this tour – this whole concert felt like a nod to early 2000s teen flick house parties (you know, with the live punk band playing in the backyard by the pool a la “Scotty Doesn’t Know”?).
Judah and The Lion’s energy is undeniable. The dropping of a curtain makes me want to listen more. And share more and connect more with other humans. And it had a greater impact on me as I listened Saturday night.
They opened with “Pep Talk” (the first song on their new album of the same name) as the last glow of the evening sun disappeared over the horizon and brought the heat as the weather cooled (to a chill 76 degrees). They played their entire new album and mixed in some fan favorites along the way – including a Blink 182 cover! And, even though I love the new stuff, my ears perked up and my tail started wagging when “Suit and Jacket” started up a few songs in.
They sing. They dance. They play the banjo. They tell enveloping stories while running around the stage and tiring you out just watching them. But, most of all, they inspire you to live in the moment, dance like no one is watching, and remind you that you are never alone.
I attended the Judah & the Lion concert by myself on Saturday night. But, as I walked to my car during the encore of “Take It All Back”, I realized I was really in my own backyard, connecting through song and movement with 5,000 of mine and the band’s closest friends.
Kansas City setlist:
1. Pep Talk
2. Quarter-Life Crisis
3. Over My Head
4. i’m ok.
5. Conversations
6. Suit and Jacket
7. Reputation
8. All the Small Things (blink‐182 cover)
9. Queen Songs / human.
10. Don’t Mess With My Mama
11. 7000x
12. GoofBallerz
13. Going to Mars
14. JOYBOY
15. Rich Kids
16. Dance With Ya
17. pictures
18. Family / Best Is Yet to Come
19. sportz
20. Alright (frick it!)
21. Why Did You Run?
22. Take It All Back
On Friday, May 10th, the legendary Neko Case made a fiery appearance at The Uptown Theater in Kansas City, MO. Taking the stage very casually, she wore pants with a skeleton frame on them and slowly introduced us to her set with “Pitch or Honey”. She then launched into “Bad Luck”, which had the majority of the lower level seated section on their feet for a good portion of the track. The lights glowed warmly behind Case, making it look as though she had a true halo around her head. Her on stage cohorts – all basked in a warm glow – seemed to be no less than thrilled to be performing with her, and we can’t say we’re surprised.
After experiencing Case for the first time at 2018’s Sasquatch Music Festival – I know, where have I been? -, I was concerned that the performance might not ignite the level of magic that seemed to seep up from the canyon at the venue in Washington last year. But Case has an aura about her that far exceeds the surrounding environment. And – in any case (no pun intended, truly) – The Uptown Theater provides an ambiance that feels unique to Case’s brand of performance style. It was a night made in heaven.
Our hearts melted the moment the first chords of seventh song of the evening – “Maybe Sparrow” – hit the air. That song and the accompanying level of shaken you feel after experiencing it live truly attest to Case’s magnetic nature. And, of course, nothing left the room more energized than when she pulled “Train From Kansas City” out of her back pocket as the second of three encore tracks. If nothing else, this city is known for its appreciation of the wealth of music and culture it inspires and is mentioned in. Forever, we will appreciate her for that nod to what was once a flyover city.
Case’s sound can only be categorized as the perfect blend of nature and otherworldly, enigmatic energy. To have the pleasure of enjoying it live will leave a mark on your soul, no matter the night of the week. Though it DOES help that it was a Friday night experience, as we had the remainder of the weekend to really digest it all.
If you haven’t witnessed UPSAHL live, now is the perfect time. This female act is about to be major, and if her recorded music is not already any indication of that, then her live performance is absolute proof. And we couldn’t have thought of anyone better to open Max Frost’s show at The Riot Room on Monday, March 11th.
Rolling through . And during “All My Friends Are Rich”, you could tell the entire crowd was identifying with the lyrics in some way or another. (Hi. Yes. “Now where in the hell is my money?”) In fact, we were thrilled to see her perform any of the tracks off of her new Hindsight 20/20 EP, as it is such a vulnerable and theatrical work of art. Lucky us, UPSAHL’s vocals are just as raspy and enticing in real life as they are recorded, so her entire performance felt as though we were inside the EP itself. Not to mention, “Drugs” gave us all the confidence.
We walked away from that set to the bar like the badasses we had always dreamt of being, and we owe it all to an evening of fun with UPSAHL.
On February 26th, Soccer Mommy made a phenomenal appearance at the recordBar in Kansas City, MO to a sold out crowd. Openers Mess and Hovvdy laid perfect groundwork for the rowdy group, who were all in for a night of emotional and heartbreaking music. The house was packed before Hovvdy even started playing. which would normally come as a surprise to Kansas City concert-goers, as our city isn’t known for showing up early for the opening act. But Mess has developed a reputation of incredibly vibrant vocals and highly relatable songs that bring their crowds out early with anticipation. This evening seemed to be no exception, and we’re overjoyed that we got to witness that spark Mess ignites with each performance once again.
When Hovvdy took the stage, their steady, slow, crooning energy took over. And that same energy continued into the night, Soccer Mommy propelling it forward with her own brand of east coast bedroom pop. Within the summertime sounds of “Last Girl”, woven into the edge of “Skin”, and found in her older catalog inclusions as well, this type of energy is almost indescribable. Quirky, young, inspired, fun.
It seemed – in a moment surrounded by this soundscape, this crowd – around the third song of Soccer Mommy’s performance, that perhaps it wasn’t just this crowd that had latched on to the debut album she released just last summer. No, it seemed as if the words from Clean had soaked into our very surroundings, and that recordBar was emitting this palpable energy that made said surroundings feel like home.
Ciaran Lavery, an Irish singer/songwriter, performed an intimate solo set at New York City’s Rockwood Music Hall on June 22nd.
Playing to a small, darkened room, a reverent silence took hold of the audience the moment Lavery began his first song. Switching back and forth between acoustic guitar and piano, his sparse accompaniments allowed his gentle, hushed voice to soar. With introspective, narrative lyrics, Lavery is a poetic storyteller. His ballads pull at your heartstrings, his words run the gamut of emotional experience. As a performer, he makes meaningful eye contact with each member of his audience, drawing his listeners further into his world.
In-between songs, Lavery continued his stories, revealing his sense of humor. Speaking of nervousness on an airplane, he once tried to relax by watching, as a dog lover, Marley and Me. He wasn’t, however, aware of the ending. Lavery also had a revelation while listening to the radio on a long drive, attempting to figure out the meaning of the genre “soft rock.” With a creeping sense of dread, he put it together: he is soft rock. Lavery easily pulled laughs from his listeners’ throats as he framed simple, universal experiences as ones of casual mirth.
On May 3rd, K.Flay headlined The Truman in Kansas City, MO. The warehouse was filled to the brim, as she performed in her quintessentially endearing way to a sold out crowd.
WhenPhoebe Bridgers announced a tour date at Brooklyn’s Music Hall of Williamsburg, it sold out. So she added another. And that sold out, too.
At just 23 years old, Bridgers released her first record, Stranger in the Alps, in September of 2017 to critical acclaim. Musicians such as Ryan Adams, Conor Oberst, and Julien Baker have sung her praises; Adams produced Bridgers’ EP, Killer, which preceded Stranger. Oberst has brought her out on tour with him, as has Baker. Oberst also sings on “Would You Rather,” a track on Stranger that Bridgers wrote about her brother.
Despite such preeminent musical relationships and accolades, Bridgers stands on her own. Her soft, expressive voice can hush a crowded room. Her lyrics, revealing an introspection well beyond her years, can bring listeners to tears.There’s an innate intimacy to Bridgers’ work, a seemingly effortless evocation of raw human emotion. She has an inexplicable ability to connect with others in a way that most artists don’t, one that seamlessly translated from Stranger into her live performance.
The stage was dimly lit save for a string of yellow lights wrapped around Bridgers’ mic stand, often giving her face the appearance of a soft glow, a sharp contrast to the dark of the room. As she began her set with “Smoke Signals,” the audience burst into thunderous applause, welcoming her to Brooklyn before immediately quieting, a note they would hold for the rest of the evening.
The show was momentous: during “Would You Rather,” surprise guest Conor Oberst delighted the crowd by joining Bridgers. It was also drummer Marshall Vore’s birthday, and he was given a cupcake with a single lit candle and a joint chorus of “Happy Birthday.” The end of the night, however, was undoubtedly the best: at the end of “Motion Sickness,” Bridgers’ most musically upbeat song, massive black balloons filled with confetti were thrown into the audience to cheers. The penultimate song prior to the encore, “Scott Street,” immediately followed, and Bridgers was joined once again by Oberst, as well as openers Soccer Mommy.
In-between sharing a mic with Bridgers, Oberst set himself to work lobbing balloons off the stage and into the expectant crowd, whoeagerly batted them around. As the balloons often managed to make their way back to the stage, Oberst continued to promptly pick them up and hurl them back, playing a reciprocal game of catch-and-release that went on throughout the majority of the song.
After everyone exited the stage, Bridgers and Vore then sang “You Missed My Heart,” by Mark Kozelek, a heartrending cover that appears on Stranger. Bridgers sank onto the floor of the stage holding a microphone as her vocals and Vore’s harmonies soared in their own still way. All the chaos and noise of the prior song was suddenly forgotten and the audience found themselves suddenly muted and rapt.
For the encore, Bridgers covered Sheryl Crow’s “If It Makes You Happy” as the entire audience sang along. Making their reappearance was Oberst and Soccer Mommy, providing a triumphant end to an incredible night.
On Sunday, at Immanuel Baptist Church in Los Angeles, hundreds gathered to witness the incomparable James Blake.
When he got to the stage, he was humble, and friendly—even his attire was casual (a red and white soccer jersey). His demeanor was reminiscent of a friend that was asking you to listen to their new music as you both sat casually in a makeshift studio.
Once he began to play, it was clear that James Blake performing in a place of worship was all too perfect. The crowd became deafeningly silent, and like a tsunami, Blake was still and suddenly commanding, prominent—like a pastor in the middle of a passionate sermon. Heads bowed and swayed in sync, as if in trance.
His set list included the beloved, “Limit to Your Love,” “Retrograde,” and “Love Me In Whatever Way,” “Wilhelm Scream,” and other ethereal tracks. A new song he gifted the audience with was “Asking for a Friend.”
By the end of the show, it was clear that while it wasn’t his intention, Blake became the leader of a new religion: a group of people mesmerized by his (incomparable) vocal abilities, modesty and genuine connectivity.
If you get the opportunity, it would serve you well to see James Blake live in concert, it may not save your soul, but you can feel like it for a couple of hours.
