Fair Warning: Obsessed with Penguin Prison at Industry

I love New York for no other reason than to happen upon a gig for one of my favorite up-and-coming bands.  It was the night of the Bjork concert at Roseland Ballroom, and my buddy Brian and I always meet up for a drink or two before any show we see.  Always.  Local neighborhood bar Industry sits just down the street from Bjork’s venue, so we met there.  As I walked up, Penguin Prison posters were plastered everywhere and I found out they were playing after 11 p.m.  I could not believe they were playing this joint.  It’s one of those moments when in a year from now, you can brag that you saw them perform for 100 people on a Tuesday night at a gay bar in Hell’s Kitchen.

As soon as Bjork finished her concert, I high-tailed it to Industry to catch Chris Glover, the man behind Penguin Prison with his rich voice, catchy tunes and pretty face play a truncated set of songs off his debut album.  I’m so into Penguin Prison lately I even bought tickets to see Miike Snow at Terminal 5 in April just to see these guys as the opening act.  They started with “The Worse It Gets” and then played my favorite track “Fair Warning” (see the video below).  They closed the set with their latest single, “Don’t Fuck with My Money” and “Multimillionaire.”  Get their album.  Go to their shows.  Power to the Penguins.

Biophilia: Bjork at Roseland Ballroom

The eccentric Icelandic performing artist Bjork scheduled a slew of dates in New York to bring to life her 2011 album Biophilia.  I’ve never seen her perform live before, so I had to go.  I love vintage Bjork’s “Big Time Sensuality” and “Bachelorette,” but the material from Biophilia is from another world, or perhaps just biologically and organically from our world.  Billed as the world’s first “app album,”  Bjork has described the project as a multimedia installation that features music, apps, sculpture, animation, video, Internet and live shows and focuses such themes as viruses, gravity, weather and the moving of tectonic plates.  Taking over Roseland Ballroom for a week or so, she set up theater-in-the-round style to bring all these elements to life in an exhilarating and haunting show.

Her performance featured the support of 20-25 beautiful Icelandic women who served as choir, back-up singers and dancers.  Really interesting to see Bjork, dressed in an over-exaggerated indigo dress and rusted Brillo pad wig, work all corners of the stage with her entourage of girls.  I didn’t know any of the songs she performed until the encore when she sang “Possibly Maybe” from the 1995 album Post.  My favorite moment of the show was when the screens above the stage projected time lapsed video of star fish and sea cucumbers devouring a carcass (see below).  Only Bjork.

How About I Be Me: Sinead O’Connor at Highline Ballroom

Even with laryngitis, Irish pop icon Sinead O’Connor was brilliant.  I was fortunate enough to take in her show at Highline Ballroom the same week she released her stellar new album, How About I Be Me (And You Be You).  It’s been a tumultuous two decades since Ireland’s child was propelled onto the world’s stage.  After four marriages, nine albums and that little SNL incident, it was interesting to see how O’Connor has evolved.  Now a mother, she’s still strikingly unique with her rough exterior, angelic dimpled face and sensational voice.  A modest fan before the show, my respect for her grew immensely as the show progressed.

She opened with “Take Off Your Shoes” and “I Had a Baby” from the new album and then performed my favorite song of her’s from I Do Not Want What I Haven’t Got, “The Emperor’s New Clothes.”   “Never Get Old” from her first album came next and was followed by “No Man’s Woman” and “Jealous” from the 1994 Faith & Courage album.  Three more from the new album, “The Wolf is Getting Married,” “Old Lady” and “Reason With Me” made me immediately download the whole album.  My fanzine was growing.   Then came a beautiful tribute to the late Whitney Houston, a stunning a capella version of “I Am Stretched On Your Grave.”   She then sang “4th and Vine” may be my favorite new song off her new album, and closed with three Sinead O’Connor standards: “The Lamb’s Book of Life,” her most famous hit, the Prince-penned “Nothing Compares 2 U,” which she dedicated to her children, and “The Last Day of Our Acquaintance.”

Her encore featured four songs: “V.I.P.,” “Jackie” and “Queen of Denmark,” all from the new album.  She left us with a 40 second prayer that she learned from Irish monks in Limerick, Ireland, “Before We End Our Day.”  It was a great evening, and I will forever be a Sinead O’Connor fan.  I can’t wait to see her again when her voice is in tip top shape.  Love.

Don’t Kick the Chair: Dia Frampton at Highline Ballroom

Can The Voice’s Season 1 runner-up Dia Frampton be any cuter?  I couldn’t resist the opportunity to see the singer-songwriter at one of my favorite New York venues, Highline Ballroom.  At 24, Frampton has a soft, sweet voice that reminds me of a young Dolly Parton, but a lot more sultry and smokey.  She’s supporting her solo album Red with a tour featuring her super cute sister Meg on keys and guitar and three other band members.  The two also tour together as Meg & Dia, but it was The Voice that launched the latter Frampton sister as a solo artist.  Highlights of the night were her opener, “Don’t Kick the Chair,” “Trapeze” and her first single, “The Broken Ones.”  She also covered some of her older Meg & Dia material and the Tom Petty classic, “American Girl.”  Keep an ear open for this girl.  I’m hooked.

Whitney Houston: 1986 Greatest Love World Tour

That you’ve been dreaming of...”  With the graceful sweep of her long, slender arm lilting my way, those were the words Whitney Houston sang to me when our eyes locked.

I was a lanky 15-year-old at the time.  September 1986 at Kemper Arena in Kansas City.  I brought her flowers, and I’m pretty sure they were carnations.  Classy.  I brought a date, Amy Chwojko (and I didn’t bring her flowers), and I was terribly disappointed that our seats were nowhere near the stage.  I imagined that after the show, she would absolutely sneak out from behind the stage to meet me.  Why not?  I brought her carnations.  I was her biggest fan.  It was a completely plausible scenario.

Whitney Houston was my pop star idol, like she was to so many.  The first singer I was ever obsessed with because she was astonishingly beautiful — that face and that voice.  In every Grammy Awards show she was nominated, I could hardly contain myself, more nervous than her momma Cissy and auntie Dionne, I’m sure.  In my bedroom, my walls were plastered with any poster, record jacket, Teen Beat photos I could find.  Whitney represented something to me back then.  I identified with her.  I felt a connection to her.  Perhaps overzealous teenage hormones run amok?  My first (female) celebrity crush?  Diva worship?  Appreciation for a truly gifted vocalist?  Probably all of the above.

I remember she opened that concert with Michael Jackson’s “Wanna Be Startin Somethin?” prancing across the stage with a giant bouquet of balloons.  Think of Pixar’s Up.  I swear there were that many balloons, all anchored by Whitney’s tiny frame.  And that was about as much dancing as she did that night.  It was all about her voice and its crescendo to the final encore and her signature song at the time, “The Greatest Love of All.”  This was it and the rebel in me took over.  I abandoned Amy, jumped to the floor of the arena and rushed the stage.  She was drenched with sweat but she was gorgeous.  Pacing back and forth across the stage singing to everyone in the front row.  As the song wound to an end, Whitney belted out the final verse, “And if by chance that special place, (eye lock with Whitney now) that you’ve been dreaming of…. leads you to a lonely place, find your strength in love.”  I never met her of course.  The guard who took my flowers surely pitched them in the garbage immediately.  But it was as close as I got and it was enough.

As hokey as the lyrics are to me today, they were a source of strength for me when I was coming of age.  There’s something to be said about youth and how music can get you through the crap and the angst of teenage life.  My love for Whitney goes beyond her looks and voice, she represented the promise of my future.  “The Greatest Love of All” was my “It Gets Better” inspiration in 1986.  It reminded me to keep my eyes on the horizon.  Always.  Thank you, Whitney.  You’ll be missed.

She’s Stronger: Kelly Clarkson at Radio City Music Hall

Ten years ago, Kelly Clarkson stole the hearts of a nation on the Fox juggernaut American Idol.  She was an every-girl.  Not razor thin and stunningly gorgeous, she looked like a real girl.  She wasn’t polished, she was socially awkward using terms like “cool beans” all the time.  She was an underdog, a fighter coming back to win the competition with the one thing no one can argue about — that voice.  Seemingly unaffected and genuinely grateful, Clarkson is still that every girl and brought her Stronger tour to New York and Radio City Music Hall for the first time.

A thin screen projected “failure,” “fat,” and other criticisms as she opened the show with “Dark Side.”  I love the lyric, “everybody has a dark side.  Do you love me?  Can you love mine?“  See?  Every girl.  Unapologetic for who she is, Clarkson is one decade and five albums into her professional music career and this show highlighted her at her best.  She followed with “Behind These Hazel Eyes,” “Since U Been Gone” and “Gone” from Breakaway and ended the first act of her show with “You Love Me” from Stronger.

The second act was my favorite of the whole show.  Appearing in the boxes above the crowd she covered Florence & The Machine’s “Heavy in Your Arms” from the Twilight movies.  Haunting.  She descended to the stage where the band had moved off their platforms and created a more intimate setting for the tributes part of the show.  In all her endearing awkwardness, she kept telling the crowd “I’m so excited! I’m so excited!”  We learned she’s a big fan of Broadway and Barbra Streisand before spectacularly performing “My Man” from Funny Girl.  Next, Kelly paid her respect to the great Etta James, who passed away the night before the show.  “This isn’t ‘At Last’ because everyone covers that so I wanted to do my favorite, actually. My favorite song is ‘I’d Rather Go Blind.’ So, this is for Etta!”  The Babs and Etta tributes were by far my favorite moments of the show.  She really needs to cut a whole album of standards.

Next she played a favorite track off each of her first four albums:  “The Trouble With Love Is,” from her debut album, “Walk Away” from Breakaway, “How I Feel” from My December and “I Want You” from All I Ever Wanted.   If anyone saw the YouTube video from the Troubadour in LA from last October, you may have caught Kelly covering a Carrie Underwood song.  As good fortune for her fans, the popularity of that video prompted Clarkson to add it to her set list.  “Carrie recorded a lovely country version of this song, and I wanted it, so I stole it” was how Kelly set up this song, but I’m sure she meant, “Carrie’s version was ok, but this is how you really sing it.”  “I Know You Won’t” is a gorgeous song and she slayed it.  If the American Idol title included a crown, Kelly just snatched it off Carrie’s head.  Sorry.

In her final act, Clarkson played a few off the new album including “Don’t You Wanna Stay” featuring a giant projection of Jason Aldean, “Let Me Down” and “I Forgive You,” which I love.  She closed the main set with her monster hit “Breakaway,” her current single, the defiant fighter anthem, “What Doesn’t Kill You (Stronger)” and the pogo-dance ready “My Life Would Suck Without You.”  For her encore, she returned for a stripped down, piano led version of “Never Again.”  Amazing, I had chills.  Then she introduced her good pal Reba McIntyre who was somewhere in the crowd before she sang “Because of You.”  Reba is a big fan, she’s always at a Kelly Clarkson concert.  Hmmm.  Florence, Reba, red-heads… Interesting.  She closed with “Mr. Know It All” and “Miss Independent.”  Love you, Kelly.  Here’s to another 10 years of great pop music from you.  Never change.

Yelle at El Teatro Colegiales in Buenos Aires

Un, deux, trois times I have seen Yelle this year.  First at Coachella, second in New York, and now at El Teatro Colegiales in Buenos Aires.  The Argentine love their Yelle, especially the French band’s frontwoman, the sleek, slender siren Julie Budet.  She’s beautiful and always reminds me of Martina Sorbara of Dragonette.  They must be twins separated at birth and by country, France and Canada, respectively.

They opened with “S’éteint Le Soleil” and the Robyn cover, “Qui Est Cette Fille?” (Who’s That Girl?).  The latter song earned Yelle a fan in me immediately at Coachella.  I have no clue what they’re singing about, but I love their sound.  “Unillusion” was next followed by “J’ai Bu” and their latest single, “Comme Un Enfant.”  Check out their brand new video.  So pink, pleasing, perfect.  So Yelle.

The Argentine fans are intensely into Yelle and it’s pretty exciting.  I was at this club in February when I visited Buenos Aires and I loved it then.  I love it even more now, even with all the damn smokers.  A true concert pro, I avoided the line but still wound up in the front row, on the right side.  The vantage point was precise, and the energy was palpable.  I used to think New Yorkers were the best audiences, but bands have to love playing Buenos Aires.  It was such a fantastic experience to see Yelle here.  I love them even more now.  On with the show, “Ce Jeu” was next, then “La Musique.”  I love the song “Mon Pays,” which sounds so electro-lush and “Chimie Physique.”  The best came last as they performed my favorite song, “Que Veux-Tu,” but in the Madeon extended mix version.  So sexy.  I can’t help but make a heart with my hands like Yelle does to express their love and appreciation.  They closed with their international hit, “Safari Disco Club,” also the title of their current album.  For their encore, they played stuff from their first album as well as “Cooler Couler,” a Crookers cover.    I see Yelle again this week in New York City.  Dying, I can’t wait.

 

Hola Buenos Aires! Es Britney, Puta.

Remember that concert that made your heart race like a 13-year-old boy on a first date?  Sweaty palms, the anxiety of anticipation and no expectations?  For me, that concert was Whitney Houston in 1987 at Sandstone Ampitheater in Bonner Springs, Kans.  It was her first tour when “How Will I Know?” was a #1 hit.  I was so in love with Whitney, but now I know it was simply diva worship.  She didn’t dance, she just skipped around the stage and sang her face off.  There were others like Madonna, Cyndi, Pebbles, but it was Whitney who always captured my imagination and made my heart race.

So let’s talk about Britney Spears.  My heart has never raced for her.  Sure, a fantastic dancer once upon a time, lots of well-produced pop songs and dancefloor anthems, but the girl doesn’t sing well, I feel like she’s a product, not an artist, her tabloid life has been one train wreck after another, her irresponsible string of marriages a slap in the face to her gay fans.  Lip syncing and half-ass dance moves were my expectation of seeing her perform the Latin America leg of her worldwide Femme Fatale tour.  Now I’ll put all my preconceived notions aside and relish in helping my friend Ramses realize his lifelong dream of seeing his Whitney Houston for the first time.

Estadio Unidad La Plata was the venue.  It’s where Madonna and U2 played, and it’s an hour outside of Buenos Aires, and we took a bus.  It’s a cavernous open stadium that holds more than 50,000 people.  It’s three times the size of Madison Square Garden, and it’s nearly packed.  I can’t imagine anything more terrifying than being in the throngs of that mass of people on the floor.  People were being pulled from the crowd by paramedics from heat exhaustion during the opening act, Almost Angels, the Argentinean version of High School Musical.  Yes, I’m really here. 

While the faux Angels performed, a number of Argentine celebrities made there way in and out of the crowd and it was fascinating to see fans swarm all over the floor to wherever the latest celebrity popped up.  I gathered the Argentine are starved for celebrity sightings, and they are a screaming people.  Wow, it was loud.  With great relief, I witnessed it all from the stands, above the fray.  Finally, at 9 p.m., lights out and Brit Brit appeared singing “Hold it Against Me.”  As expected, lip sync, uninspired dancing ensued.  “3″ was fun, as was “Piece of Me.”  “Big Fat Bass” is a great song, but by this point, it became a game to sip my Quilmes every time Britney sat down.  It’s like her entire choreography was designed around where should could sit on her big fat bass.  Ok, that’s not fair.  Britney looked gorgeous and her body was in top form, perfect.  The constant sitting and singing was just really, really amusing.

 

“Don’t Let Me Be The Last To Know” was her only ballad and she sang it from a swing that moved up and down, with a trapeze artist dangling from it.  I think this was the one song where she had to really sing.  She did alright and the crowd loved it as they sang along.  My favorite moments were when she was relieved from having to dance and just bounce like a pogo stick.  “I Wanna Go” was a great moment.  Not only an excellent song, but her dancers brought up a number of fans to dance with her.  While she was still guarded by her real dancers, it was cool to see her more relaxed and it seemed as if she was having more fun.  “Boys” was Ramses’ favorite moment and one of his favorite songs.  “Hit Me Baby One More Time,” the Rihanna cover of “S&M” and “I’m a Slave 4 U” were all fun.  She saved the best for her encore, which featured “Toxic” and my all-time favorite Britney song, “Til the World Ends.” 

In the end, I gained a little more respect for Britney, mostly because she inspires a lot of excitement the way Whitney Houston did for me when I was a teenager.  So Britney’s not the best singer.  Whitney’s not the best dancer.  They’ve both have had their fair share of troubles, as we all have, so who the hell am I to criticize Britney?  There was a kid in front of me wearing a Britney Spears t-shirt that he had made.  I’ve never seen a happier kid, clapping off beat, both arms flailing uncontrollably, like two overzealous fist pumps, dancing like no one was watching him, and singing along to every word.  Normally, that kid would have annoyed me to high heaven, but not tonight.  He was a reminder of why I love music and the thrill live music gives people like me.  Keep on dancing kid, until the world ends.

10 Feet Tall: V.V. Brown at Mercury Lounge

Thrilled am I for British crooner V.V. Brown‘s new album, Lollipops & Politics, due to drop in February.  After respectful success in 2010 of her fantastic debut album, Traveling Like the Light, Brown seems to have dropped the Motown girl group sound, war paint, headdress, Mardi Gras mask, and gotten back to basics.  Her gig at Mercury Lounge was only her second performance of the new material ever.  Getting there was a journey.  I dashed out of a client meeting in Indianapolis, changed clothes in the taxi (oddly, my cabbie named Darla gave me her number) and barely caught my flight back to New York to make the 7:30 curtain call.  I made it with time for a Quilmes and to meet up with friends.

She opened with a song called “Tough Like Glue” which I interpreted as her new self empowerment anthem that sets the tone for the album.  Another song called “Famous” came next followed by “Red Balloon,” “Be Yours” and “Like Fire,” all off the new record.  The first of two jams from her last record was “Quick Fix” which got me dancing.  “Circus Town” really caught my ear.  I loved this song and it made me so anxious to get my hands on her new material for my iPod.  I don’t know if I can wait three more months.  Then she played her best known song, “Shark in the Water,” but in a very silky, innocent, stripped down version.  Simply marvelous.  Her voice sounds so good, healthy, mature, and oh so effortless.  When I thought the best of her new stuff had been played, she performed “10 Feet Tall,” which I think will be my favorite.  To end her set, she performed her latest single, “Children (Keep on Singing).” At the end of her set, V.V. shouted out to the crowd, “what do you think of my new music?“  Yours truly hollered back from the front row, “it’s beautiful!“  She looked at me, smiled and said, “thanks, man,” in her gorgeous British accent.  Sigh.

All You Need Is Now: Duran Duran at MSG

Twenty-eight years ago in the lonesome halls of Park Hill North Junior High, the center of my myopic teen-angst world, a question was raised by ’80s icons Duran Duran,Is there something I should know?”  Retrospectively clueless, the answer eluded me for years, until last year.  ”All you need is now” is the album and title track of their latest album, and the mantra I adopted when I turned 40 years old.  I have been talking to girls about Duran Duran and dreaming of the glam life the notorious band members carried out for so long now.  Funny how events conjure up the same fantasy today.  This year I have been fortunate to see my favorite band perform for the first time — twice.  The first was in April at this year’s Coachella and the second this week at Madison Square Garden. 

Back in 2010, someone had the brilliant idea to pair Mark Ronson with our wild boys to produce their new album.  The result was their best record in years.  Ronson insisted they use instruments from the ’80s to recapture their iconic sound after recent misfires with Timberlake, Timbaland and other trendy timbers.  Simon’s still pitch-perfect voice, Nick’s stoically goth/glam musical genius, John’s bass picking, swagger and supermodel looks and Roger, well, he’s the drummer.  I always love the drummer.  The third Taylor, Andy, is no longer in the band, but Dom Brown, the electric guitar replacement is superb.  The spitting image of a young Bryan Adams, Brown co-wrote seven of Duran Duran’s new tracks.  So a concert chock full of ’80s hits and ’10s gems made for a seamless, perfect blend of old and new.

I’m going to admit again that I felt like a 14-year-old seeing Duran Duran for the first time.  At Coachella, I was a lone Duranny in a sea of Strokes fans.  Not this time.  My buddy Brian and I splurged on pricey pit tickets and packed extra undies to toss at Simon, but not until I got to the floor of Madison Square Garden, a mere 20 feet from the stage, did it really sink in.  We positioned ourselves at the foot of John Taylor (of course).  Not long after we got there, lights out, the boys in the band made their way to their instruments and Simon glided into the mid-tempo “Before the Rain.”  Love it when a band eases you in slowly.  Their first hit from 1982 ”Planet Earth” followed and put their long-time fans into teenage euphoria, as did the kitchy and now campy 007 theme song, “A View to a Kill.”

“Blame the Machines” off the new album was up next and it’s such a terrific song, as was the haunting “Come Undone” from 1994.  I’m struck by how pristine Simon Le Bon’s voice has remained.  Close your eyes and it’s still 1984.  Continuing with new material, Simon welcomed a surprise guest, the sensational and self-proclaimed “Duranny” Ana Matronic of the Scissor Sisters to sing one of the strongest tracks on the new record, “Safe (In The Heat of The Moment).”  I love that song and I love that girl.  I’m jealous of her.

Every song they played was better than the last.  Everyone’s favorite track off Seven and the Ragged Tiger, “The Reflex,” threw me into a dancing frenzy.  I kept waiting for the wave of water to pour from the ceiling like in the video, but it never did.  “The Reflex” was followed by ”The Man Who Stole a Leopard.”  Special guest number two was producer Mark Ronson, who joined the guys on stage for a song he co-wrote, and my personal favorite off the new record, “Girl Panic!”  It’s quintessential Duran Duran.  “Please, please tell me now!” and the opening chords to “Is There Something I Should Know?” was my favorite moment of the show (call it closure), and it’s one of my all-time favorite songs. 

“Leave A Light On” off the new record is Duran Duran’s new “Save a Prayer.”  I love this song, it’s beautiful, as well as “Ordinary World” which they dedicated to friends who have passed away.  Spirits were lifted quickly with the closing crescendo trilogy featuring “no! no! no! Notorious!” “Hungry Like a Wolf” and “(Reach Up for the) Sunrise,” which is an amazing live performance.  It’s such a pleasure to see these guys still having fun, soaking in the moment and being honestly appreciative for the long-time love and adoration from their fans.  For their encore, they didn’t disappoint.  The guys returned to perform “Wild Boys” and perhaps the song the defines them, ”Rio.”  Upon reflection of this show, I learned that dreams never die.  I feel lucky that my dreams have come true.  Not about seeing Duran Duran live, but pursuing, chasing and fighting for the life I wanted to live, and taking to heart the lyrics that inspire my fifth decade of life:  ”When you move into the light, you’re the greatest thing alive.  And you sway in the moon, the way you did when you were younger.  We told everybody – All you need is now.”

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