Is Your Favorite Band A Great Live Band?

by Chris Catania on November 11, 2009

 

What do you think makes a band a great live band?

Is it how well they play live?

Is it how well they interact with the fans during the show?

Is it how well they meet your expectations after the show?

Well, after reviewing Wilco’s live show for Ink19 a few weeks back I wrote how they are one of the best live bands touring today and possibly one of the best live bands ever. 

I also wondered if they would ever put on a bad show. 

I don’t think they will. 

But you welcome to disagree with me. 

But before you do. 

Just take a look at these highlights from the show then argue with me in the comments. 

These moments show how Wilco is a master of the live performance, knows how to interact with their fans, and meets (and exceeds) our expectations during a concert.

Tweedy humour

This show didn’t sell out like Sunday’s did which gave Tweedy a humorous angle to connect with fans telling them, “This is the first time ever we’ve invited anybody who wanted to come see us play…there’s plenty of seats available…”

Fans tweet emotions, grab the mic and then nail the chorus

As I followed the flood of Wilco fan tweets on the way to the concert, I had the pleasure of reading one fan expresss his excitment about seeing Wilco with his brother.

Then at the concert, a gorgeous moment blossomed during “Jesus, Etc.” when Tweedy let fans handle most of the vocals and they filled the Pavilion like they had been with Wilco for the whole tour as a traveling choir. 

YouTube Preview Image

 

Tweedy turns Wilco fans against each other

Tweedy loved the fan’s performance during “Jesus, Etc.”and created a bit of good-humored animosity saying, “This night’s crowd is far superior, as if last night’s crowd didn’t even know the words.”   

Vinyl is still alive

Later on Tweedy tossed a Wilco (the Album) LP in to the crowd that was instantly snatched up.  (If you were the fan that grabbed the album please say so. I’dlove to get your perspective too.)  

 YouTube Preview Image

So I ask you again, what do you think makes a band a great live band?

Does your favorite band meet your live concert expectations?

Photo credit Colleen Catania

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Can We Create Real Live Concert Mashups?

by Chris Catania on November 9, 2009

Livefixmashup1

Fool's Gold -- Talib Kweli -- Miike Snow

 

 

The debut album of Los Angeles afro-pop collective Fool’s Gold erupts with an exotic mix of African rhythms, percolating rock melodies and purring synths. Instantly the urge to dance grabs you. Then the fantastic fusion of music and lyrics (sung mostly in Hebrew) sends you on an ancient journey that’s majestic, yet intimate, as the songs unfold with a spiritual subtext of adoration and celebration.

Sitting backstage with the band’s two front men vocalist/bassist Luke Top and guitarist Lewis Pesacov—moments before their show at Chicago’s Bottom Lounge—it’s obvious why the album sounds so warm and genuine. As we start to talk about the band’s origins, I instantly get the feeling that Fool’s Gold eclectic hybrid of joyous world rhythms is simply the result of a strong friendship that’s developed over time.

That’s a snippet from my forthcoming interview with Fool’s Gold for Popmatters.  I interviewed them before their show at the Bottom Lounge in September and during the interview I got a great feel for what makes the band and their music so warm, fun and genuine.

And it’s a show that might have been very different had what I’m going to share with you been possible.

Fool’s Gold/Mariah Carey Mad Decent Mashup

I started to think about how we remember concerts differently when I came across this Stereogum post featuring a mashup from Mad Decent’s Wallpaper of Fool’s Gold’s “Surprise Hotel” with Mariah Carey’s “Emotions.” 

It’s an odd paring that I’m still getting used too and definitely puts a new sonic spin on what I’ve loved about Fool’s Gold so far.  Hopefully it will get them into more ears and hearts as the year in music wraps up. You can compare it to the original “Surprise Hotel” via the video (below) released earlier this year on IAMSOUND.

But then all this mashup business got me thinking about something I haven’t seen before: 

The Historical Live Concert  Mashup

Now, when I say  “live concert mashup” I’m not talking about what Papa Roach/Xzibit  or Kelly Clarkson and Reba McEntire did. 

Those concert mashups involved both artists coming on stage together at the same time in the flesh.  What I’m talking about is more  sci-fi and virtual and would involve a lot more technological advances and wizardry to make it happen.

But what if we could create Historical Live Concert Mashups? 

For example, what if we were able to merge Woodstock 1969 with Woodstock 1994, or two of your favorite concerts?  

What if we were able to take both the performances of the artists and the emotions of the fans and merge their the collective “concert experience” DNA together?

It seems that we’ve begun to do it with other forms of entertainment like movie posters and even movies themselves with a little editing trickery.

For now, I see there being two types of Live Concert Mashups:

1) The type we create with expertly spliced photos and produced video footage of  classic concerts.

2) The type that’s more sci-fi and virtual where we take the emotional “concert experience” DNA of fans and artists who attended and performed at two different classic concerts and merge them together to create a mega live concert mashup. This type would also appear to have the most impact on our brain’s memory storage design and chemistry.

The future evolution of the live music experience?

Is this  Live Concert Mashup where the live concert experience is headed? 

Will you enjoy mashing up your favorite concerts with fellow fans and their favorite artists in a virtual world? 

If we did do something like this would it create a wonderful concert experience epiphany?  Or would it create a scary hybrid, or even a terrible mutant live music fan–like Dr. Frankenstein or Dr. Moreau did–that we’d regret ever thinking about or creating?

So now you can bet I’m watching both videos below with a whole new perspective on mashups.

For starters, I had Colleen do a photo mashup (above) of three of my favorite concerts (Fool’s Gold & Talib Kweli and Miike Snow) from this year.  The photo is just a start to exploring this idea because there are many ways we can create Live Concert Mashups. And this photo illustrates how I stored and recalled these three shows as seperate events (verticle lines) in certain parts of my brain, while I recalled other favorite moments of the concerts as more blended together and “mashedup.”

How ’bout you?

Which concerts would you choose to mashup?

And remember that I’m still defining what a Live Concert Mashup is, so I’d love to hear what you think defines such a creation.

Surprise Hotel

Fool’s Gold at Bottom Lounge

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Wanna Help Book The Bill For Lollapalooza 2010?

by Chris Catania on November 7, 2009

lolla2010

Hey aspiring booking agents, you still have a few days left  (until Nov10th) to help pick the bill and  “Be a Booking Agent” for Lollapalooza 2010. 

It’s an interesting twist for fans as the Lolla site explains:

Tell us who you’d put on next year’s Lollapalooza lineup, happening August 6-8, 2010. Give us your Top 5 artists — monster headliners to bands we’ve never even heard of — from rock to avant-garde, indie to hip-hop, and all the sounds in between. Speak up by November 10. We’ll collect all of your ideas, then see what we can make happen.

Now, the early bird tickets for 2010 have already sold out, but let’s see if Perry Farrell and company go all the way and let fans choose the ticket prices, too.  

Let’s see if they can make THAT happen?

Ever wondered what it means to be a booking agent? Check out this link to see if you have what it takes to really be a booking agent.

What 5 bands would you pick for Lollapalooza?

If you could name your ticket price, what would you pay?

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Look What I Found At A Matisyahu Concert

by Chris Catania on November 7, 2009

 

 Matisyahu

 

Seeing Matisyahu on Tuesday night was just like I thought it would be.  

Communal. Eternal. Spiritual.

It also was a very busy night filled with rare fan-to-fan interaction. 

I came across some very interesting fan inventions and had a full-circle and unexpected connection via Twitter.

Ingenious Reflections of Matisyahu: Short Concert Fans Stand Up!

My eyes bulged out and my jaw dropped when I saw it. 

I shook my head, grinned and then chuckled, too.

Was that really a periscope I saw in the hands of concert fan?!

Yes, it was.

 I leaned over to the fan, Cindy, who was holding it and Dave (standing behind her) who made it, and asked if I could write about them and their amazing periscope. 

Cindy smiled wide grin and shouted to me as the bass rumble of Matisyahu’s set roared on around us. “Sure you can write about us and the periscope but only if you take a look in the periscope too!”

Cindy and the Periscope

Cindy and the Periscope

I grabbed it and peered in. 

It felt so odd to do so because it was the first time I had used a periscope at a concert. But sure enough, just as I expected, in the bottom area where the first reflecting mirror was, I saw the entire stage as Matisyahu danced around joyously with his band mates. It was pretty frickin’ cool!

I handed the periscope back to Cindy and put my thumbs to work and tweeted this from my Blackberry Storm:   “I amazed at the creativity of vertically challenged concert fans…”

Being a vertically challenged concert fan myself, I marveled at how bringing a simple thing like a periscope to a concert can completly alter the whole experience. I also reflected (no pun intended) on how melding such a simple invention with the live concert experience gave short concert fans the creative angle we need to see the action on stage.  Believe me, I know, we need all the help we can get to see beyond the tall dudes in front us. And having a periscope at a venue like the House of Blues was very helpful because  every fan doesn’t have a clear view of the stage with all the blind spots. And looking through the periscope was way more fun than watching the concert on the monitors throughout the venue.

We didn’t have the chance to talk any further but after our brief meeting I wondered how Cindy and Dave got their periscope in the venue since I would imagine that security would have stopped them from bringing it in.  Hopefully we can connect and talk more about their live concert ingenuity. 

Which brings me to my next thought about the periscope. 

What other live concert inventions would make the concert experience better for short people, tall people or all concert fans?  I’ve written before about how mobile devices and iPhone apps can help us better enjoy and engage during concerts, but this periscope was such a simple creation that it made me look at my mobile device as a worthless piece of garbage.

But I know that my Blackberry isn’t a complete waste because it enabled me to have another fantastic and unlikely interaction with a fellow fan during the Matisyahu concert.

One Picture + One Tweet = Crazy Connection

Okay, I’ll try to explain this as best I can.

And I hope I don’t confuse you.

While I waited for the concert to start I was conducting another Live Fix Experiment via Twitter on my Blackberry.  I had an idea that I wanted to experiment by taking a very rough and raw photo with my Blackberry capturing exactly what it looked like from where I was standing.  I didn’t want to have the picture perfectly framed or stylized. I wanted it to be a true “Chris-eyed-view” of the my concert experience at that moment.  I wanted it to be one that I could toy around with on a future post.  Little did I know what I was actually doing.

Chris-eyed-view

So I lifted up my Blackberry and snapped a photo (see above) and then attached it to a Twitter update using Ubertwitter  that read “Chris-eyed-view” from the main floor @Matisyahu concert.” 

I was happy with the tweet and the pic, and thought nothing more of it.  If one of my Followers saw it on Twitter, great, but  I didn’t really do it for that purpose. 

I continued to tweet during the concert but I didn’t look at my @replies (how people respond to your Tweets) until I got home. 

 

And when I saw this in my @replies the next morning I was amazed:

 GinnyTweet

I immediatly sent a reply back inquiring more info. 

Ginny gave me more info about how she was standing right next to me. She express how much she love the concert and also that she had seen Matisyahu at Rothbury just as I had this summer.  That was another fact that further confirmed the rareness of this whole amazing series of events.

Let me explain why I think this whole thing is so rare and amazing.

First, though I love doing the Live Fix Experiments, the Twitter response tends to be low.

But when I do get @replies, like Ginny’s,  they are extremely personal and highly meaningful to the fan-to-fan experience. Their like gold to me because they don’t happen that often.

Secondly, when I thought about the completeness and ripple effect of the whole situation, it related to and illustrated ideas from a recent guest post I read by Niraldo Nacimento about Synchronicity and Social Networks on Liz Strauss’s Successful Blog.  

Going even further, I broke the whole situation down into two streams that shows how synchronicity, social Networks and live music all wonderfully converged at one concert

Two Social Streams Flow into a Synchronous River of Interaction

 My stream/perspective: My idea. I took the picture. It flashed. I uploaded it. I tweeted it.

Ginny’s stream/perspective:   She saw me take the picture.  She looked down and saw the tweet.  She tweeted back to me.

Our streams/perspectives converge:  She @replied me.  I read her reply.  We connected. We followed up.  She told me about both Matisyahu shows (and the river continues).

Now, let’s stop and think about this for a moment.

What I just explained by using the streams/perspective example illustrates a very special moment in concert sociology, a moment that relied on both social media and mobile technology working correctly in sync to happen. 

What I mean by “working correctly in sync” is that I experienced a rare form of  fan-t0-fan  concert connection that involved social media and technology that didn’t take away from the concert experience andbrought two fans together instead of just keeping our experiences separate from each other. 

And like an serendipitous scientific discoveries breakthroughs I did not plan, nor could I plan if I wanted to. It just sort of happened. I know you’re thinking how can you call this a great discovery. And you might be right.  But for right now. On this post.  I’m deeming this a great discovery in the sociological science of live concert and social media.

Why?

I’ll tell you why.

Most concerts we go to are usually just one way closed circuit loops of human interaction. 

Sure, there’s the  interaction between the fan and the band, or the music. 

But very rarely, does it that inward loop inside our experience break free and head outward in the way it did for me at Matisyahu.

And the facts that two fans connected in this way, let alone on Twitter knowing how my unfortunate and Sensual Collision Michigan State Police at Rothbury went sadly unnoticed by my “Followers.” makes this a great discovery. 

Are we superficially connected at concerts?

But there’s one last thing I want to be honest with you about.

I’m still sifting through my thoughts about what I experienced at the Matisyahu concert and I’ll probably will developed them over time.  But I at least wanted to share my initial thoughts with you today, so that when you go to your next concert you’ll be more aware. 

I know I will.

I will be thinking about how my perspective changed. 

I came to the concert feeling strangely irritated with all the superficial intimacy wit all rubbing and bumping I experienced on the main floor as fans moved around getting drinks and finding a place to stand.  I don’t usually feel that way at concerts but I did during this one.  And before the concert started I struggled with the idea of how we tend to be superficially connected at concerts just like we are in several of our social media network connections.

But after receiving Ginny’s tweet and seeing Cindy and Dave’s amazing periscope my level of annoyance reduced dramatically.  By the end of the concert, and the morning after, I realized that I had experienced genuine fan interactions that made the night more than just a concert.

Sure, I walked out of the House of Blues with a memorable Matisyahu concert experience and but I also walked away with two fantastic discoveries.

1) I connected with two concerts fans and their periscope and 2) I understood better how Twitter can be used to bring fans together.

And the beauty of it all is that I’m certain that Matisyahu’s reggae, communal vibe and how he uses twitter had a lot to do with both discoveries.

Because the music and the behaviors of artists like Matisyahu (who’s embraced social media) tend to be reflected in their fan’s behavior and vice versa, meaning that  reggae-flavored concerts tend to have crowds that are more jovial and welcoming than other genres. And that’s because that’s generally how reggae music makes you feel and it’s how guys like Bob Marley and Jimmy Cliff  rallied their people for social and political movements. Toss in the social media element and my discoveries make perfect sense.

And whenever I listen to his new album “Light” I’ll think of what I experienced that night. And that’s fantastic because making a strong emotional connection between the live show and the album is the ultimate goal for any artist and their fans.   

What great fan inventions have you seen at concerts?

What do you think about fan-to-fan interaction at concerts?

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Fans Are the Future of Music Journalism

by Chris Catania on November 4, 2009

fmc

In almost every panel, every discussion, this was the core message that came through. Don’t suck at playing music.  Don’t suck at writing about it.  Don’t suck at seeing the bigger picture. Don’t suck at realizing that future potential of technology is more important than squashing it short-term gains.

That was a funny and deft summary by Claire Marie Blaustein to her Blogcritics  article  about the discussions during the music journalist panels at the Future of Music Coalition Policy Summit.

Needless to say the article got my brain firing and heart pumping.

I got pretty worked up when I read the article because I feel very strongly that the future of music journalism lies in journalists ability to not only tell the story of the music but also tell THE STORY OF THE FANS

This might not be the only path to take– and seems like a novel idea to focus more on the fan experience–but it’s certainly one way music journalists can reclaim some direction or reinvent our craft. I know I’ve had a great time exploring and experimenting with it so far here on Live Fix.

But the truth is that not every “music journalist” or  “critic” has the tools (music knowledge + people skills+ story telling chops ) to tell a good fan focused story.  I know this because I’ve done it. And it’s hard. 

It takes time and energy because, though I love reading them, there aren’t a lot of examples to follow among most music websites and blogs. 

So I’ve had to create my own rules by pulling from unlikely sources and plug away at it day by day, while keeping up with the usual grind of reviewing music the way people expect to read about their favorite bands and emerging artists.

And, as the article points out, the curiosity of many music journalists these days is lacking because of  the sheer amount of music available for review.  So I think it’s extremely challenging to simultaneously review what you know and still explore new music.

That said, I feel for my fellow music writers and I don’t fault any of them for a lack of curiosity because I know what were all up against.   

But if I were to offer a suggestion to my fellow music writers…

One of the ways I’ve dealt with the girth of music that floods our way is that I always strive to pursue music writing from a state of constant curiosity.

Another thing that’s helped me is that I’ve always loved writing about many different genres and live music experiences.  I do so because I know that it adds depth to my writing and keeps things fresh.  When I’ve written about hip hop for several album in a row, a great rock or bluegrass album always catches my attention and reveals nuances about each different genre.

And that’s how I approach Live Fix, too. I actively seek out all types of live music experiences.

And I always rely on my curiosity because I’ve long since faced the truth that most of my music writing idols and peers have been at it for a lot longer than me and have way more “music knowledge” than me. 

But I don’t let that stop me.

Because along time ago I decided I wanted to do something fresh, and try “not to suck”, so I created Live Fix.

I have a passionate and raging curiosity for understanding human behavior and a love for live music.  And I wanted to read about those topics together in the same context.

But I didn’t see anyone writing what I wanted to read.

So I created my own micro-music niche via Live Fix. 

And as I move along, I depend on both my own music knowledge and curiosity and the work of others to further my explorations on Live Fix.

You’ve probably heard me say this before, but I’ll say it again just in case you missed it:

Aside from satisfying my own curiosity, giving fans a voice is at the heart of why I  do Live Fix. I strongly believe that the stories of fans and their live music experiences need and deserve to be told.

And on top of that, there’s way too much amazing stuff to discover about the psychology and physiology of live music:

Like what goes on inside our minds, or what is the impact of live music on our bodies. 

I love exploring it all!

And with each Live Fix post, I see the truth that fans, music writers, and artists all have a need to express what goes on in their mind and hearts during a concert. 

So in the spirit of Studs Terkel’s ground-breaking book “Working” I seek to tell those stories and concert experiences that everyone doesn’t think wants to be heard or told.  I also want to create “a community” or a “tribe”, as Seth Godin would call it, around the mission of Live Fix.

And when I get amazing emotional responses to this post, on which I wrote about experiencing grief, joy and community in live music, I know I’m on the write path.

There’s a lot more that I can say about “The Future of Music Journalism and not sucking” but I’ll stop here.

Because I want to hear from YOU now.

Fans, writers, musicians, PR folk , label owners, venue owners, etc.

What do you think is the future of music journalism?

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Saul Williams Experiment: The Dual Review

by Chris Catania on November 4, 2009

 

Saul Williams

Saul Williams

I’ve always wanted to do this. 

So I did it.

But before I share with you Part One of a recent Live Fix Experiment, I want to thank my friend and fellow music writer Moira McCormick for giving me the chance to test out some ideas and explore another aspect of live music.

The Dual Concert Review

Last Tuesday, I reviewed Saul Williams and the Afro Punk tour stop when it came to the Double Door. You can check out my review and more of Colleen’s photos here.

But I’d like to give Moira’s review center stage because it was her review that made this Dual Review Experiment a success.

For some time know, I’ve been wanting to team up with a fellow music writer and have us attend the same concert and both write reviews just to see what sort of things show up.  I wanted to see if there would be similarities or differences in how the show moved or didn’t move us, how we each interpreted the crowd response, and what sort of expectations we both brought to the show and how those expectations influenced our reviews.  (The bold areas are my additions that I’ll explain later.)

Moira’s review

 
Saul Williams live at the Double Door, Chicago, 27 October 2009
 
When Saul Williams played Lollapalooza 2008, the multi-hyphenate artist (poet-actor-emcee-activist-writer-avant-rocker) scorched an already sultry Sunday afternoon. His skin-flaying barrage of electro, industrial, rap, and riffage was glandular in its intensity; the fact that it scared off a pair of yammering fratboys to my left made Williams’ startling set that much more delicious.
 
Thus, my question: was the impression that Williams’ Chicago appearance (Tuesday night at the Double Door, as headliner of the Afro-Punk Tour) was just a skosh less gobsmacking due (at least to some degree) to the following: the amiably dank Wicker Park venue’s near-capacity crowd was rather emphatically preppy?
 
And my answer: Oh, probably.  It’s that how-radical-can-this-be-if-these-people-like-it bias, embodied since time immemorial by music snobs everywhere (I will admit, grudgingly, to swelling their ranks now and then myself.)
 
If Saul Williams is swelling his own ranks with this brand of mass audience, it’s due in no small part to the brands of two corporate footwear titans: Nike, who made indelible use of Williams’ ferocious punk salvo “List of Demands (Reparations)” in a 2008 ad campaign; and now Converse, sponsor of the multi-city Afro-Punk Tour. It’s large-scale exposure, and it works.
 
Headliner Williams (who was immediately preceded at the Double Door by the workmanlike clatter of Houston-based American Fangs) took the stage calling a litany of names who have influenced him (and his alter ego, Niggy Tardust.) Baldwin, Coltrane, Hendrix, Shakespeare, Marley, and many more were invoked, while the four-piece band Krak Attak – led by drum machinist and Williams’ longtime compatriot CX Kidtronik – loosed a fire-hose spray of large rusty nails.
 
“Too many people to dance?” queried Williams, crowned with turquoise feathers and sizing up the sardined throng in the mosh pit. “No? Prove it!” He lurched into the fury of “Sha-Clack-Clack,” his declaration of incandescence from the 1998 movie Slam, going on to deliver a seething hit parade of signature tunes, including the sinuous “WTF,” jazz-inflected “Black Stacey,” jagged “Surrender (A Second to Think),” and deeply rocking “Tr(n)igger.” All eminently worthy, if (as mentioned) maybe not quite as utterly staggering as Williams’ Lolla set. 
 
A handful of new material did intrigue, in particular the piece Williams introduced as “a demo,” all ominous synths oozing between anxious staccato beats. By his performing the work-in-progress, Williams announced to the crowd, “You’re helping me write it.”  Also striking was a song so freshly minted Williams described it as “barely written;” it had a loping, psychotic-Asian-cowboy feel – the soundtrack to an Eastern Western, maybe.
 
The show could very easily have done without Kidtronik’s playing-to-the-groundlings antics towards the end, soliciting “the ladies” to dance onstage, but it was followed with a respectable version of “List of Demands” – a crowd-pleasing closer that got the desired response.

 

I learn a lot from reading the work of fellow music writers and this was no different.  The areas I bolded were spots where I really zeroed in because Moira’s descriptions were either strikingly different than mine or revealed a side to Williams music that I hadn’t seen before.  We had talked about her Lollapalooza 2008 review before the show and I didn’t expect her to use that as a lead.  Nonetheless I loved how she used “delicious” as a way to describe her excitement and anticipation Williams show.

The other part I loved about doing this Experiment was how it unlocked ways to describe live music.

Sometime I get in ruts and when I read reviews like these I walk away inspired and pumped because I feel like I have just added new weapons into my music writing arsenal.

Reading her ”loosed a fire-hose spray…” and  ”…soundtrack to an Eastern Western…” descriptions were truly  ”new weapons” moments.  And it’s moments like those that make writing, and reading, about live music so fun and a great creative adventure.  Because let’s be honest, writing about music doesn’t always pay the big bucks so there’s got to a be reason why we do it for so long and for so little pay most of the time.  One reason, I know, is because when we’re having fun doing it, it’s a highly pleasurable creative outlet and a powerful form of self-expression.

And this makes perfect sense because many music writers (me included) are better at writing about music than playing, so it’s only natural that we’d turn to the written word to express ourselves. 

The other part of this experiment that I loved was the chance to connect and collaborate with a fellow music writer.  It’s not to often that I get to meet and work with my colleagues in this way, so this was a great chance to do something fresh with a old craft and build our  Live Fix community.

Part Two:  a music journalist  tells her story

I hope you enjoyed Part One and stay tuned for Part Two as I interview Moira about some of her favorite concert experiences as a fan and a music journalist.   We had a brief time to chat before the Saul Williams and I’m excited to share the rest of her story with you.

Are you a music writer?  If you want to share your story or do a Dual Review send me an email at chris@christophercatania.com

 Photo credit Colleen Catania

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Live Preview: Matisyahu at House of Blues

by Chris Catania on November 3, 2009

 

A few hours later, it was time to enter the holy realm of bearded and baseball-capped Hasidic Jewish rapper Matisyahu. He dropped my jaw instantly with his awe-inspiring beat boxing performance using his mouth as a nimble multi-instrument to bridge together a set of spiritual transcendence. Everyone in the crowd seemed to be lifted up off the ground in some way — even the naked couple who danced freely in the afternoon sun and wore only large grins and fuzz patches. As Matisyahu continued to play tracks from his forthcoming album Light, those festivalgoers who saw the couple watched with a sense of awkward pleasure and a sense of deviant and peculiar enjoyment. The couple seemed like a stark contrast to Matisyahu’s worshipful performance. But when I thought about it, I wondered if we were actually getting an unexpected insight into what it might have looked like to see the Bible’s King David dance around in just a skimpy loincloth entranced and praising the Lord.

Such was my experience seeing American Hasidic Jewish reagge/beatboxer Matisyahu at Rothbury a few months back at Rothbury

It was a concert performance I’ve told many people about. And there’s one thing I’ve always comes up when I talk with music fans about Matisyahu: the difference of energy between his album and live show.  And the show that most people reference is his second recorded album was his “Live at Stubbs” in Austin, TX.   That recording is vintage Matisyahu live.

But after listening to him progress over the last few albums, and after soaking up his latest album “Light”, I think he’s found a way to inject the massive amounts of energy and heart of his live show in to his recording process.

I’ll be seeing Matisyahu tonight at the House of Blues in Chicago. I don’t expect to see any naked dancing couples this time around, but I do expect to experience Matisyahu evoke the heavens with his deeply spiritual mix of reggae, dub, rock, hip hop and beatboxing.

Be sure to check out  the video below from Everything about Matisyahu, it’s a pretty funny way to get to know Matisyahu as he interviews himself on a beach.

Have you seen Matisyahu live before?

What you do think of artists who are great live but don’t have the same energy on record?

 Photo credit: Colleen Catania

 Matisyahu Interviews Himself

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