Rob Me Blind: Jay Brannan at Le Poisson Rouge

Sexy singer-songwriter Jay Brannan played Le Poisson Rouge to celebrate the release of his four-years-in-the-making new album, Rob Me Blind.  The gracious and humbly self deprecating Short Bus star played to a packed room and performed a number of new songs, older material and surprising covers.  Favorite moments of the night included “Greatest Hit” and “Beautifully” from the new record, “Can’t Have it All” from Goddamned and fantastic covers ranging from Peter Paul & Mary’s “Blowin’ in the Wind” to Nicki Minaj’s “Super Bass.”  A super nice guy, I had the chance to meet him after the show.  He’s about to embark on a tour of Europe and Australia before he’s back in the U.S. late summer.  Check him out!

All Fired Up: Pat Benatar at Irving Plaza

MTV video star and rock vixen Pat Benatar threw me into a frenzy last night at Irving Plaza.  Three takeaways: 1) her 33-year relationship with husband, collaborator, guitarist Neil Giraldo is inspiring;  2) The songs they brought to the world are still relevant, and harken back to the genesis of the MTV generation and 3) Pat’s voice — at 59-years-old she’s as fierce and bad ass as ever.

My delirium kick started with one of the best work-out songs ever, “All Fired Up.”  I’ve seen Pat once before and she appropriately opens her shows with this song to get the crowd warm and toasty and then she slays them with “Shadows of the Night.”  Ahhh!  Then thrusts us forward to the ’90s with “River of Love” from Innamorata and “Everybody Lay Down” from Gravity’s Rainbow.  The power of Benatar’s still pristine vocals shine no better than on “Invincible.”  The intensity of her voice and persona made me Get Nervous when I was a kid.  She’s still got it, but instead of a sneer, she does it with a humbled, settled, appreciative smile.  “Hell is For Children” was up next followed by “You Better Run” which famously was the second video ever played on the burgeoning cable channel MTV in 1981.  The first, “Video Killed the Radio Star,” was performed on synthesizers so hubby Neil Giraldo was the first guitarist to appear on MTV, Pat shared with a wink.  The truth is that MTV made Pat Benatar a video star.  I’m so encouraged by Neil and Pat’s affection on stage.  It’s so obvious how much they love one another.  This year marks their 30 year wedding anniversary and 33 years after they met here in New York City.  It’s a beautiful thing.

She ended the main set with a string of her three biggest hits, “We Belong,” “Hit Me With Your Best Shot,” which she must play or fans go rabid on the Twitter and such, and her signature song, “Love is a Battlefield.”  She sounded exactly the same as she did in the ’80s, which is remarkable for a female vocalist pushing 60.  For her encore, a round of “Happy Birthday” for their lighting guy, Jimmy, and my favorite Pat Benatar song of ALL TIME — “Promises in the Dark.”  I love, love, love this song, and I it’s even better now that I know her story about shoving the lyrics under the bathroom door to Neil because it was so early in their relationship and she was too embarrassed to read it to him face to face.  So real, I love her.  “Precious Time” and “Let’s Stay Together” rounded out the encore before her closer, “Heartbreaker.”  The big surprise came in the form of a mash-up with Johnny Cash’s “Ring of Fire.”  Still bad ass. It was the best concert ending I’ve witnessed in a long time.  Pat Benatar is the rock goddess of the ages.

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.

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