Julien Baker Week descended on New York City with a flourish, the rush of which resembled the city itself. With three sold-out nights at Webster Hall, tickets were highly coveted. This was even reflected in the line prior to doors, as fans began to line up around 2-3pm, gunning for the first row.
On the second night, however, Baker suffered from a stomach bug and had to end the show after 40 minutes. Thankfully, she added a date to make up for the shorter set, this time at Brooklyn Steel, where she has played three times in the past. Unfortunately, due to the fact that the show was added last minute, Baker didn’t have a second opener. She then enlisted her Boygenius bandmate, Lucy Dacus, to do a short interlude after singer/songwriter Katie Malco’s set.
As Lucy Dacus took the stage, armed only with her acoustic guitar, the ear-piercing screams that greeted her would have had one convinced that she herself was the headliner as opposed to Baker. The crowd sang along, providing enthusiastic accompaniment. Dacus was smiley and chatty, joking around between songs and telling stories, even debuting a brand-new song. Ending with “Night Shift,” Baker and her band joined in to do it electric, mimicking the exact feeling of the night.
When Baker took the stage, the energy shifted to one of quiet reverence. After her band played the intro to her second LP, Turn Out the Lights, “Over,” Baker began to sing “Appointments,” the opening track. Performing songs from each of her records, 2015’s Sprained Ankle, 2017’s aforementioned Turn Out the Lights, and 2019’s Little Oblivions, the setlist covered the span of her career, including some of her EPs, such as tracks like “Tokyo” and “Red Door.” She also played two new songs, “Middle Children” and “High in the Basement.’ Further, Baker excitingly rearranged some of her songs, giving them a new emotional pull. She also had her band backing her up (which has only occurred on the Wild Hearts tour) as opposed to her earlier shows with only an acoustic guitar.
Baker next heads to San Francisco and LA, where she is playing a 3-show residency in each city. After, she will fly to London for a 4-show residency.
Have we mentioned that day 2 at Riot Fest 2024 was hot as hell? And The Hives had the audacity to come out on stage and act like we weren’t all absolutely falling over under the heat of the midday sun. In their full, black and white suits, they ran around the stage like it was the 90s, absolutely reinvigorating the worn-out afternoon crowd. Every single person who walked away from this set had a massive smile, which isn’t a common situation at a festival that melts faces like this one.
Setlist Bogus Operandi Main Offender Rigor Mortis Radio Walk Idiot Walk Good Samaritan Hate to Say I Told You So Come On! Tick Tick Boom Countdown to Shutdown
Supergroup L.S. Dunes brought their high-octane energy to the stage on day 2 at Riot Fest 2024. Having wandered the grounds earlier in the day with their new music, lead singer Anthony Green (Circa Survive/Saosin/The Sound of Animals Fighting) drummed up some excitement around their set.
This was the only set we caught in its entirety of the festival. Crowd participation was noticeable, and a larger audience was drawn throughout their performance as people began to notice the artistry on stage. We overheard new fans gushing about the performance on public transit after Saturday wound down.
Setlist 2022 Bombsquad Like Forever Grey Veins Benadryl Subreddit How Dare You It Takes Time Permanent Rebellion Past Lives Fatal Deluxe
Manchester Orchestra brought their unique brand of indie rock to the afternoon on day two of Riot Fest 2024. Douglass Park was set ablaze by not only the temperatures but also the energy from the crowd as they recognized and recited song after song during the twelve-track set. Despite the heat, the guys were top form, and we couldn’t have had a more entrancing experience.
Setlist Top Notch Choose You Girl Harbor The Mansion The Ocean Every Stone All That I Really Wanted Trees Indentions See It Again Cope The Silence
Alternative/indie trio Princess Goes had an early afternoon slot on day two of Riot Fest 2024 in Douglass Park. Their unique brand of goth-tinted rock helped to set a moody glow across the field as the midday sun entered everyone’s lives. Hall’s vocals were clear — scratchy at times — drawing a crowd as the set went on at the AAA Stage. This was a wonderful — and often mellow — way to welcome the second day of an epic festival weekend.
On the night of August 15th, I went to The Anthem in DC to see the band King Gizzard and the Lizard Wizard. If you’re unfamiliar with them, they’re an incredibly popular Australian rock band made up of talented multi-instrumentalists Stu Mackenzie, Ambrose Kenny-Smith, Cook Craig, Joey Walker, Lucas Harwood, and Michael Cavanagh. One of their main appeals is their approach to genre and exploring as many sounds in their work as they can. Since forming in 2010, they’ve put out 26 studio albums (not to mention 16 live albums) that have ranged from psychedelia, various kinds of metal, progressive rock, synth-pop, sunshine pop, folk, and many more. Despite this, they still have a consistent “King Gizzard” sound that’s rooted in vintage psychedelic rock. Flight b741, which was released on August 9th, is another new musical avenue for them: an early 70s-inspired blues rock album with obvious references to The Rolling Stones and T. Rex. My brief review is that it captures the sound perfectly, with heaps of nostalgia to boot, but still provides plenty of hooks and fuzzy guitar riffs to keep it a consistently entertaining listen. Give it a whirl when on a road trip. You won’t regret it.
Okay, now back to the concert. This was the first show for their tour to support Flight b741, with the opener at this show being Brooklyn-based indie-punk band Geese. They proved to be a fitting match for King Gizzard, as their newest LP 3D Country features a classic rock sound similar to Flight b741, albeit with more country influence. I enjoyed their performance, though, with only the core members of the band, their sound was more alternative rock that doesn’t capture the roots-based atmosphere of the album. Still, they were fun despite the more stripped-back aesthetic. There were occasional unique touches like hand drums and smooth keyboard playing, and I gotta give props to their frontman Cameron Winter. He’s a very interesting and captivating presence, with an oddball southern yodel-ish twang in his vocals that stood out to me.
After Geese’s set, there was a 30-minute break so King Gizzard’s crew could set up. Right before their performance started, a message appeared on screen reminding the audience to have fun in the mosh pit but to look after each other and report anyone dangerous to security. I didn’t get close enough to mosh, but I’ve heard enough horror stories of audience injuries to know that the message was responsible on the band’s part. I should also note the atmosphere and the crowd of the show. There were lots of young people at the show, (more men than women, though still a decent mixture) around their 20s and early 30s. With the band’s decade-spanning influences, it also made sense that there were also some middle-aged and older people that were likely fans of similar bands such as Phish or The Grateful Dead. All the concert tickets sold out quickly, so the general audience pit on the main floor had to be packed tightly to accommodate everyone. From my firsthand experience, it smelled of sweat, pot, and alcohol the entire time. Still, that was to be expected from a crowd made up mainly of stoners wanting to mosh or get zonked out on hallucinogens.
King Gizzard’s main ethos seems to be that not only do they never repeat an album, they also never repeat a show. The band’s live performances feature lots of extensive jamming, allowing for the musicians to ride a groove and riff off one another with improvisations, giving the songs a different feel from their studio counterparts. While the jams of earlier shows may have focused more on heavier metal riffs (according to my friend, anyway. Shoutout Nayeli!), the ones this one had fit more with the influences on the new album and are more bluesy (featuring harmonicas!) with some fuzzy psychedelia and touches of funk. I’m a fan of extended performances of songs to ride out a groove to its fullest, but admittedly some improvisations could be too aimless and lengthy. They were fun, but it got to a point where I nodded off before things kicked back into gear. However, these jams are a staple of their concerts, and it may not entirely matter to you if you enjoy watching talented performers work their craft (or if you’re super high). I’ll also give the band jams credit for being more inviting to new fans that may not have listened to all of King Gizzard’s albums and giving them something entirely distinctive to their concert.
The band’s setlist was very diverse and featured 14 songs from their catalog within 2+ hours. This included three of the new songs from Flight b741, and songs from Omnium Gatherum, Ice, Death, Planets, Lungs, Mushrooms and Lava, Nonagon Infinity, and others. Despite each album representing a new era and sound, they all fit well together and never appeared too different from each other while still being distinctive. The funk grooves of “Iron Lung”, the raw acid flavoring of “The Dripping Tap”, and the last 30 minutes of the show with back-to-back metal songs (featuring fan favorites “Mars for the Rich” and “Supercell”) all shine brightly. What I admire about the band is their democratic approach to playing, with no member seeming more important than the other. Sure, Stu Mackenzie is their designated “frontman”, but each member gets time to solo, time to speak to the crowd, and opportunities to do what they’re good at. The concert closes on an intense and completely hypnotic drum solo by Michael Cavanagh at the end of “Gaia”.
King Gizzard provided and continues to provide wonderful concerts that rock out, all the while showcasing the band’s chemistry and never-ending talents as they continue being one of the best live acts around. I can’t recommend seeing them enough, whether it’s once or multiple times.
Thursday took the stage 5th on Friday at the Uptown Theater, another incredible punk/emo act that we all know and love on the Twenty Years of Tears tour. Playing directly after Anberlin and before Hawthorne Heights, this band truly threw their energy into the entire performance, per usual.
We got up close and personal for an evening we just absolutely cannot believe happened.
Setlist The Other Side of the Crash/Over and Out (of Control) Cross Out the Eyes Signals Over the Air Standing on the Edge of Summer Jet Black New Year This Song Brought to You by a Falling Bomb Fast to the End Application for Release From the Dream Paris in Flames Running From the Rain Understanding in a Car Crash War All the Time
The world’s favorite cowboy, Orville Peck, took the stage on Day 2 of the Newport Folk Festival 2024. His feisty set — and incredible boots — was a standout, and Eric Tsurumoto got a few fun photos for proof.
Indie sensation Thao brought down the house on day 3 of the Newport Folk Festival 2024. Photographer Eric Tsurumoto captured some of the raw emotion from the set, and it is absolutely gorgeous.
