popwreckoning

Acclaimed singer-songwriter, Rachael Yamagata, will release Chesapeake, her first studio album in three years on October 11, 2011. The album, produced by John Alagia, producer of Yamagata’s Happenstance album as well as albums from Liz Phair, Dave Matthews Band and Jason Mraz, will be self-released on her very own Frankenfish Records. Twelve days following the release of Chesapeake, Yamagata will hit the road on an extensive tour of the United States starting on October 24th in Portland, Maine at the Port City Music Hall and wind down on December 22nd in New York City at City Winery.

For Chesapeake, Yamagata recruited her “dream team” consisting of Victor Indrizzo (Sheryl Crow) on drums, guitarists Mike Viola (Candy Butchers), Michael Chaves (John Mayer), and Kevin Salem, (Dump Truck, Yo La Tengo), cellist Oli Kraus (Sia, Duffy) and Tom Freund on the upright bass. The result is an eclectic collection of songs projecting Yamagata’s new-found optimism and hopefulness, showcasing her sultry and smoky voice, rich, layered harmonies, striking ballads and soulful grooves.

Listeners can get a taste of what’s to come by downloading the song “Starlight” by visiting http://snd.sc/n6ajQf.

Praised by critics for her intimately confessional songwriting and arrangements, Rachael released her last album, Elephants…Teeth Sinking Into Heart on Warner Bros. Records in October of 2008.   Entertainment Weekly called her delivery “gorgeous” and Rolling Stone said her “soulful, cigarette-scratched voice and melancholy lyrics recall Fiona Apple and PJ Harvey.” She toured extensively in support of the album playing to crowds throughout the United States, Europe and Asia. The New York Times hailed “With a deep, melancholy, breathy alto and a fondness for slow, sparsely chorded songs, Ms. Yamagata has a lot in common with Fiona Apple, Norah Jones and Sarah McLachlan. And in her upbeat moments she can sound like a fuller-voiced Liz Phair or a less volatile Chrissie Hynde.” Songs from the album appeared in various television programs and films including Grey’s Anatomy, Private Practice, Brothers and Sisters and more. She also made an appearance in the season finale of 30 Rock in 2009.

Tour Dates:

OCTOBER

24th - Portland, ME - Port City Music Hall

25th - Burlington, VT - Higher Ground Lodge

27th - Ithaca, NY - Deliah’s

28th -  Northampton, MA - Iron Horse

30th - Boston, MA - Brighton Music Hall

31st - Philadelphia, PA - World Café Live

NOVEMBER

1st - Washington, DC - Birchmere

2nd - Baltimore, MD - Sound Stage

4th - Brooklyn, NY - Knitting Factory

5th -  Pittsburgh, PA - Club Café

6th - Cleveland, OH - Beachland Ballroom (Small Room)

7th - Detroit, MI - St Andrews Hall

8th - Chicago, IL - Logan Square

10th - Milwaukee, WI - Turner Ballroom

11th - Minneapolis, MN - Fine Line

12th - Davenport, IA - Redstone Room

14th - Kansas City, KS - Record Bar

16th - Denver, CO - Larimer Lounge

18th - Salt Lake City, UT - State Room

20th - Spokane, WA - A Club

21st - Vancouver, BC - Media Club

22nd - Seattle, WA - Crocodile

23rd - Portland, OR - Doug Fir

25th - San Francisco, CA - Slim’s

27th - San Diego, CA - Casbah

29th - Los Angeles, CA - Troubadour

30th - Tuscon, AZ - Crescent Ballroom

DECEMBER

2nd - Austin, TX - Parish

3rd - Houston, TX - Fitzgerald’s Upstairs

4th - Dallas, TX - The Loft

5th - Tulsa, OK - Cain’s Ballroom – 2nd Stage

7th - St. Louis, MO - Blueberry Hill

8th - Nashville, TN - 12th and Porter

9th - Birmingham, AL - Work Play

10th - Atlanta, GA - Vinyl

12th - Charleston, SC - New Brookland Tavern

13th - Charlotte, NC - Visulite Theatre

15th - Chapel Hill, NC - Local 506

16th - Charlottesville, VA - The Southern

17th - Louisville, KY - Headliners

18th - Columbus, OH - The Basement

20th - Hoboken, NJ - Maxwell’s

21st - New York, NY - City Winery

22nd - New York, NY - City Winery

www.rachaelyamagata.com

It’s almost as though it’s a surreal trip, and a really good one at that. Taking a few of the most influential music ingredients today, a layer of Brett Dennen’s words and vocals, the backing of Forro In The Dark and a pinch of Jason Mraz and mixing them for a simple taste, not a whole meal, but it certainly is not one you would turn away for any reason. For the majority of this seven song EP, Brett displays to us a fun and poignant versatility.

Countless hours have been spent by hundreds of bands on song placement in any given LP. But when you have multiple works to pull from and also adding new material, it’s “enough to make you go crazy.” But with “Blessed” as his title track, Brett and company say simply, “I’m gonna celebrate being alive.” It’s like an old friend who has invited you to his fire side get together. And as Forro In The Dark skillfully adds the subtleties and impacting Brazilian swagger, Brett flies through and says this is where I’ve been. A massive introduction to this compilation EP.

With each song, Brett’s vocals and Forro’s beats literally refuse you to simply sit, it’s a work of dance and poetry. Even in writing this, I felt the strong need to book a flight to “San Francisco” and get an old accordion and play for the tourists on the Golden Gate. Making us believe that circumstances are not permanent, we simply dance into what we want to be and to damn the fires we walk on.

Dennen’s writing has always been prolific and prophetic, and hearing it in a different light, only reassures the listener that they can dig into songs like “Closer To You” with multiple points of view.

Adding Jason Mraz to this EP was like adding that secret spice to a sauce that was already amazing. It also reminds that as songwriters, Dennen and Mraz are powerhouses. “Long Road To Forgiveness” is smoky and flowing, as though you’re at a crossroads of some great journey and we got “nothing but time.”

And of course “Make You Crazy” is just fun, plain and simple fun. Yes, it’s embedded with very serious issues, it’s important to remember that, but man if you don’t wanna just get up and grab your most loved dance partner and move to the beats of Forro as they make this track a true force of nature. It also introduces those who have had no idea what true Brazilian “Forro” is. And “Forro” in Brazilian literally translates to the word “party,” and this track is guaranteed to excite the senses into a groove potentially foreign to Brett Dennen fans. But that’s exactly what this work is designed for, to broaden us all.

Power in words and song are truly relative to the reception, but it does happen universally at times and “Aint Gonna Lose You” is truly universal. We have all made those declarations of love and commitment, and here’s the anthem to prove it. With lyrics like “You could put a stick in my spokes, I can be the butt of your jokes….but I ain’t gonna lose you,” are just confirmations that as fun as this EP is, it’s also memorable and destined for immediate adoration on all sides. With so much out there that can decimate the belief that we can hold on to that in which we truly love, Brett says with determination and confidence, “They can tear my house down…but I ain’t gonna lose you.” And with this work, Brett Dennen and company hold on to us and make us dance!

Track Listing:
01. Blessed
02. San Francisco
03. Joan of Arc
04. Closer to You
05. Long Road to Forgiveness
06. Make You Crazy
07. Ain’t Gonna Lose You

Brett Dennen: website | myspace | @ bonnaroo

The second night of Butch Walker’s month-long Wednesday night residency at Hollywood’s Hotel Café was quite a bit of a party. I’ve lived in LA for close to a year now, but I still get excited at celebrity sightings, and Butch’s collection of famous friends did not disappoint me in the slightest. In attendance that night were Jeremy Piven, Derrick Whibley (of Sum 41 and Avril Lavigne-marriage-drama fame), and not in the VIP section but in the crowd with the rest of us plebians, Alex Solowitz, best known for his portrayal of Mickey Parke in the faux MTV boy band 2ge+her. Damn, I love Los Angeles.

Tonight, Butch would be treating the crowd to a live, stripped-down rendition of The Rise and Fall of Butch Walker and the Lets-Go-Out-Tonites. He played the album straight through, no deviations aside from his usual shtick; references to the ‘97 hit “How Bizarre” by OMC, comparing his riffing and soloing to every Led Zeppelin song that ever existed, while consequently singing “baby, baby, baby, baby!” much like Robert Plant does on every other Led Zeppelin song. You know. The usual.

He did make up for missing a song the previous week, treating us to “#1 Summer Jam,” and resolving to not miss a single song from The Rise and Fall… Pausing for a minute in the musical revelry, he talks about the forgiveness that his hardcore fans give him for his wackiness, refers to himself as being compared to Jason Mraz with tattoos, and tells us how sometimes, he wants to be filthy, stinkin’ famous. And then things happen like the YouTube video of him recording his version of “You Belong With Me” from the previous week, and he gets torn the hell up, and he realizes that he likes his little bubble. And he loves his hardcore fans. It’s good to be loved.

Getting close to the end of the album, Butch pulls out his big political song, “Paid to Get Excited,” and flat out admits that he had no idea what he was thinking when he wrote the album. Or why he wrote a political song. After playing through the first two verses and choruses, he also admits, “I don’t even like this last song! So I’m gonna do something different,” and segues into Dramarama’s “Anything, Anything,” which is a KROQ favorite and absolute staple.

In my mind, that was the cover of the night. However, soon after, Walker busts into Pulp’s “Common People,” and I honestly think I was one of five people in the entire audience who knew the song. Still, as great a song as it is, I’m not sure if it was Butch’s best choice for a cover. Shatner did it better.

Finally, the highlight of the entire night was the unintentional encore. As he’s leaving the stage for the night, someone holds up a cake with a candle in it and the crowd begins singing “Happy Birthday,” as Walker’s 40th birthday was on the Saturday to follow. That just set him off in a rockin’ mood and he did not want to stop. Calling up Hotel Café regular, Jim Bianco, the boys jam a little bit more, treating the crowd to the title track off of Jim Bianco’s latest album, Sing. I will totally and completely admit to loudly singing the harmonies from the crowd on that one. Continuing on, the boys bust out into a cover of Prince’s “Kiss” with Ari Gold himself, Jeremy Piven, joining them on the drum set….sans cymbals and with woodwhacks instead of sticks.

I have yet to be disappointed by one of these shows these month. I know that everything says its sold out, but they’ve been selling a small number of tickets at the door. Come on down and join the fun, and GET THERE EARLY!!!!!

Butch Walker: website | myspace | Sycamore Meadows review | interview with | @ grog shop | @ hotel cafe: night 1

Arriving in the Seattle Center on Sunday proved that people don’t give a shit about the weather when good music is involved. It reminded me of a movie I recently saw – “Taking Woodstock,” where the famous Woodstock festival was almost put to a halt because of a terrible rainstorm.

We’re Seattle, it doesn’t affect us much.

But in defiance of the sky’s will, the rain did stop and start during various times during the day – the most ironic one actually was during the Cold War Kids set on the main stage when they started playing their hit “Hang Me Up To Dry.” Seriously. Everyone had just put on their hooded raincoats, and the sun came out all of sudden. It was magical. Even the front man Nathan Willett noticed it – “clothes are just coming off all over the place.” For being the first set on the main stage, the Cold War Kids rocked Memorial Stadium. Guitarist Jonnie Russell brought a lot of the charisma to the stage, switching instruments, and beating a cymbal with a maraca. It took a little while for the crowd to build up their energy, seeing that it was early in the day, and wet, but the Cold War Kids didn’t really give a crap about the rain. They played some old songs and some new songs, but since I was pretty close to the stage, I noticed that the crowd sucked compared to Saturday. But it was early yet, so I didn’t mind.

And they were great warm up for Yeah Yeah Yeahs, who were next on the main stage.

Holy crap, I’m so glad I had a second chance to see them. They came to the Sasquatch Festival back in May, and I missed them because Bon Iver played at the exact same time, and when I saw that they were playing at Bumbershoot too, I jumped to joy.

Let me tell you – that is one live show you can’t afford to miss. Karen O came bounding on stage in this multi-colored stringy, almost harness-like get up, with a equally colorful cape, and Nick came out with his ridiculously awesome hair and dark pair of wayfarers, and they killed it. The rain had started again by then, but I couldn’t count how many people crowd surfed in that hour-and-a-half. A few people around me actually were dropped because people weren’t paying attention to them enough to remember to hold them up. Karen said over and over how awesome the crowd was – and I couldn’t argue with her. We were singing along to slower hits like “Runaway” from It’s Blitz! and frantically jumping and dancing to older heavy hits like “Date With A Night.” Karen O is the epitome of a front-woman, with her melodic singing, fantastic shrieking, and something that sounds almost like an orgasm, especially during “Date With A Night” as she shouts “I’ll set you, I’ll set it off!” At this point, I was thinking to myself, “why are they playing at 2:30 p.m. in the afternoon?” The scheduling for Sunday didn’t make much sense, having Yeah Yeah Yeahs in the early afternoon and Jason Mraz being the headliner at 9:30 p.m. But that’s a testament to how great a show Yeah Yeah Yeahs put on.

During the last half of “Skeletons,” where Karen O wasn’t singing, and it was just a powerful keyboard solo, a huge gust of wind blew in and tossed the tarps lining the stage around like sails on a boat. I might have been the only one who thought it was cool, but it fit perfectly into the song. But the best part of the Yeah Yeah Yeahs’ set came when Nick switched to an acoustic guitar and we all knew “Maps” was coming.

“This is a song about love. Yeah Yeah Yeahs – Seattle – Yeah Yeah Yeahs – Seattle – love.” And Karen O put her hand on her heart. Her stage presence reminds of Freddie Mercury – with her wild outfits and insurmountable amount of energy. It’s amazing. And on this day, the Yeah Yeah Yeahs could feel the love from Seattle, and Seattle – for sure – could feel the love from the Yeah Yeah Yeahs.

After my sister and I left the main stage, trotting through puddles and slowly ascending the wet stairs, we took a breather to have some lunch and shop around to give my sister’s back a rest. At 6 p.m., we headed over to the Broad Street Stage to catch the Vivian Girls. The audience was quite a bit smaller than Matt & Kim or Natalie Portman’s Shaved Head from the previous day, but the crowd they did have were really into it. But I think the Vivian Girls music is more fit for smaller clubs than large festivals. I haven’t heard much of their music, but oddly enough, they were very reminiscent of late 90s indie chick rock, but with a little more grungy edge. I’d like to think that Kurt Cobain would enjoy their music. That’s basically how I can describe it, with everything from their vocal stylings, fashion, and stage presence. My sister made some odd comparison as, “the less poppy Donnas.” I personally wouldn’t go see them again live, as I like my live shows to be slightly more energetic, but I listen to their self-titled record a lot. I’m a 90s kid, so the Vivian Girls are my kinda nostalgia.

At that point, the batteries in my camera died, so I had to run down the street to OfficeMax and pick up some more AAs before we got in line for Patton Oswalt at the Charlotte Martin Theater. I’ll just say this – I haven’t laughed that hard in…well I don’t remember the last time I laughed that hard. And I’m so glad I got to see him Sunday, because his set on Monday is during Franz Ferdinand – which is the one band I’m not missing for anything.

The last act of the night – Jason Mraz, I went merely to appease the wishes of my sister. I own one Jason Mraz album from when I was 14, and since then, my musical taste had changed a bit, so I wasn’t nearly as excited to see him as the thousands of girls and frat boys packed inside Memorial Stadium. It’s almost insane how much ladies go crazy for Jason Mraz. He has the appeal of a younger Dave Matthews, certainly with the instruments he works into his live performance. Even though it took me awhile to warm up to him, he’s awesome live. He’s way better than on his record, without a doubt. But it took him a long time to get to the more upbeat, crowd-pleasing songs. At the beginning, I was almost bored, as the songs didn’t fit the enthusiasm of the crowd and the greatness of the venue. This is where I questioned the scheduling again.

His beachy, surfer-dude, chill persona didn’t fit at 9:30 p.m. Chill music doesn’t work well with people who are already tired. But once he got to the second half of the show, and busted out with some Lionel Richie, everyone sang along to “party, karamu, fiesta, forever!” It didn’t make much sense to me, but I sang along as well. He played some more upbeat songs, “The Remedy” and “Coyotes,” which kept the energy up. By then, I was having fun, but what made me and the rest of the people around me extremely frustrated were the constant stream of people leaving. Now, we were towards the front of the crowd, and people who were much closer than we were left 20 minutes in. And they kept leaving throughout the show. I ask you – why squeeze your way to the most crowded area of the venue if you’re just going to leave halfway through? I don’t get it. The father with his 3-year-old standing right in front of me stayed all the way through. And it was adorable, especially during “I’m Yours,” when the 3-year-old sang all the words. That’s how big a spectrum Jason Mraz appeals to. You’ve got middle-aged women, frat boys, boy-crazy teenage girls, and fathers and their young sons.

By the end of Jason Mraz’s set and he played a wicked version of “Butterfly,” I was dancing along like the uber fangirl standing right next to me. From starting slow, to picking up the tempo and getting the crowd more involved, and ending with a bang – Mraz did not disappoint me. At that point, the scheduling made more sense having him as the headliner – because his fans love him.

I’ve still got one more day of this. Yes.

Bumbershoot: website | day 1

Written by: Abby Williamson