Category: Live Footage

Throwback: Happy Birthday, Louis Armstrong!

JOVM celebrates Louis Armstrong’s 120th birthday.

Live Footage: METZ Performs “Pulse” Live at Toronto’s Opera House

Throughout the course of this site’s 11 year history, I’ve spilled copious amount of virtual ink covering Toronto-based punk trio and JOVM mainstays METZ. The JOVM mainstays’ fourth album, last year’s Atlas Vending found the band setting a goal for themselves and for the album before they set to work on it: they wanted to make a much more patient and honest album, an album that invited repeated listens rather than a few exhilarating mosh-pit friendly bludgeonings. Co-produced by Uniform’s Ben Greenberg and mastered by Seth Manchester at Pawtucket’s Machines with Magnets, the album sees the band attempting to intentionally craft music for the long haul, with the hopes that their work could serve as a constant as they — and their fans — navigated through life’s trials, tribulations and victories.

Sonically, Atlas Vending sees the band retaining the massive sound that has won them attention and fans across the world — but while arguably being their most articulate, earnest and dynamic of their growing catalog. Thematically, the album touches upon disparate yet very adult themes: paternity, crushing social anxiety, addiction, isolation, media-inducing paranoia and the restless urge to stop everything and just say “Fuck this!” and leave it all behind. Much like its immediate predecessor, Altas Vending offers a snapshot of the the modern condition as they see it. However, what makes Atlas Vending different is that each of its ten songs were written to form musical and narrative whole with the album’s songs following a cradle-to-grave trajectory.

As a result, the album’s material emotionally runs through a gamut of emotions — from the most rudimentary and simple of adulthood to the increasingly nuanced and turbulent peaks and valleys of adulthood. So in some way, the album finds the band tackling what’s inevitable for all of us: getting older, especially in an industry suspended in perpetual youth. “Change is inevitable if you’re lucky,” METZ’s Alex Eadkins says of the band’s fourth album Atlas Vending. “Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.”

METZ have developed and furthered a reputation as purveyors of abrasive melodicism and one of the planet’s most bombastic, contemporary live acts through relentless touring across the globe throughout both this site’s history and their history. Determined to connect with their fans and to find a way within the confines of the pandemic to create a live experience as dynamic as Atlas Vending, the members of the Canadian JOVM mainstays took the stage at Toronto’s Opera House in October 2020 to livestream their latest album in its entirety. Today, the band announced the official release of the live show, Live at the Opera House recorded by longtime collaborator Graham Walsh and mixed by Seth Manchester through all the digital service providers with bundles at Bandcamp and Sub Pop’s Mega Mart that include the full concert film, directed by the band’s longtime video collaborator Scott Cudmore.

There’s also a pre-order for a limited 1,000 piece vinyl pressing on tricolor (Black/White/Oxblood), which also includes a download of the full concert film. The LP can be ordered through, METZ’s merch store, and Bandcamp, and will be available November 5th in select independent retailers in North America.

Now, as may remember I wrote about Live at the Opera House single “A Boat to Drown In,” which was also coincidentally, Atlas Vending’s first official single. While continuing the band’s long-held reputation for crafting enormous, aural assaults centered around layers of distortion pedaled power chords, thunderous drumming mosh pit friendly hooks and chorus, and Eadkins’ howled vocals, “A Boat to Drown In” also finds the trio subtly moving away from their grunge influences with the song possessing an oceanic heft.

“Pulse” is a seething and furious roar, full of the anxious and uncertain dread and that has become a part of our daily lives since the Trump Administration — and has continued through a deadly pandemic that has put most of our lives in disarray. The live footage finds the band delivering a blistering and forceful performance that’s shot with an intimate yet cinematic aplomb.

Live Footage: Primal Scream at LEVITATION Festival

ea devised by the members of JOVM mainstay act The Black Angels in the back of a tour van back in 2007: “Let’s invite all of our favorite bands and all of our friends for our version of a music festival.”

The inaugural Austin Psych Fest was in March 2008 — and by popular demand, the festival expanded to a three-day event the following year. Within a relatively short period of time, Austin Psych Fest became an international destination for psych fans across the globe, with the festival featuring lineups that included up-and-comers, cult favorites, legendary and influential acts and a headlining set from the festival’s founders, The Black Angels. A few years ago, the festival was renamed Levitation in honor of Austin psych rock pioneers The 13th Floor Elevators, but in in its almost 15 year run, the festival has helped spark a new, international psych rock movement while inspiring the creation of similar events across the globe, including Levitation Festival events in Chicago, Vancouver, France and a SXSW showcase, as well as other special events in Europe and Latin America.

last year, Levitation Festival’s record label, The Reverberation Appreciation Society announced the launch of a new live album series, Live at LEVITATION. Comprised of material played and recorded throughout the festival’s decade-plus history, the live album series specifically captures and documents key artists in the contemporary psych rock scene. Of course, many of these moments were also important moments of Austin’s live music scene. 

The live series’ first album Kikagaku Moyo — Live at LEVITATION featured two different Kikagaku Moyo sets — their 2014 Levitation Festival set, which was one of the Japanese psych rock act’s first Stateside shows and their return to Levitation back in 2019, during a sold-out Stateside tour, which included a stop at Warsaw that year with Japanese krautrockers Minami Deutsch.
The series’ second album The Black Angels — Live at LEVITATION featured the festival’s founders The Black Angels. The Black Angels live album is comprised of material recorded at Austin Psych Fest 2010, 2011 and 2012, and captures a rare glimpse of the festival’s earlier, more humble days. And of course, for Black Angels fans, like myself, the album features live version of six songs from their first two albums — Passover and Directions to See a Ghost.

e (vocals), Andrew Innes (guitar), Martin Duffy (keys), Simone Butler (bass) and Darrin Mooney (drums) — have embraced an eclectic and diverse array of styles and sounds from psych pop, degenerate rock ‘n’ roll, euphoric rave and industrial gloom while going through a complicated series of lineup changes that have also included The Stone Roses’ Mani and My Bloody Valentine’s Kevin Shields, and the death of beloved guitarist Robert “Throb” Young. They’ve collaborated on material with George Clinton and Kate Moss. And throughout their run, they’ve managed to capture the mood and tone of the UK several times over — while surviving narcotic oblivion and countless personal traumas.

Slated for a November 19, 2021 release through The Reverberation Appreciation Society, Primal Scream — Live at LEVITATION is centered around the British legends’ 2015 LEVITATION set, a career spanning set, which pulled hits from landmark records like Screamadelica, Give Out But Don’t Give Up, XTRMNTR and others. To build up buzz for the album, LEVITATION, The Reverberation Appreciation Society and Primal Scream released two singles off the album: muscular renditions of Give Out But Don’t Give Up track “Jailbird” and XTRMNTR track “Accelerator.” The accompanying live footage serves as a reminder that Primal Scream is one of the best live bands in the entire world.

A/Canada and British and European stores, a Rough Trade vinyl exclusive and a very special American feature as part of the annual Ten Bands One Cause charity initiative. That feature will launch around National Breast Cancer Awareness Month in October — and will benefit Red Door Community, where no one faces cancer alone.

Live Footage: JOVM Mainstay Yola Performs “Stand For Myself” on “Late Show with Stephen Colbert”

With the release of 2019’s Walk Through Fire, her critically applauded Dan Auerbach-produced full-length debut, the the Bristol, UK-born, Nashville-based singer/songwriter, guitarist and JOVM mainstay Yola had a breakthrough year, which included:

making her New York debut at Rockwood Music Hall
playing a buzz-worthy, breakout performance at that year’s SXSW
opening for a list of acclaimed artists including Kacey Musgraves, Lake Street Dive and Andrew Bird on a select series of US tour dates that featured stops at Newport Folk Festival, Hollywood Bowl, Austin City Limits Festival, and Lincoln Center Out of Doors
playing a YouTube session at YouTube Space New York
making her nationally televised debut on CBS This Morning: Saturday Sessions
receiving a Grammy nomination for Best Artist, along with fellow JOVM mainstays The Black Pumas
making her late night national television debut on Jimmy Kimmel Live! 
releasing a soulful cover of Elton John‘s “Goodbye Yellow Brick Road, ”that not only quickly became a staple of her live sets — but caught the attention of Sir Elton John, who praised her and her cover

year, the JOVM mainstay had a massive year ahead of her. Early in the year, it was announced that she was cast to play gospel, blues and rock ‘n’ roll pioneer Sister Rosetta Tharpe in Baz Luhrmann’s musical drama Elvis alongside Austin Butler in the title role, Tom Hanks as Colonel Tom Parker and Maggie Gyllenhaal as Presley’s mother. Much like everyone else, the pandemic threw an enormous monkey wrench in her plans: Tom Hanks wound contracting COVID-19 while filming in Australia. Pandemic-related lockdowns, quarantines and restrictions added further delays to the filming schedule.

or country superstar Chris Stapleton (at Madison Square Garden!) and for Grammy Award-winning acts  The Black Keys and Brandi Carlile. Those dates were eventually postponed with some dates rescheduled for later this year. (As always, tour dates will be below.)

Luckily, the Bristol-born, Nashville-based JOVM mainstay was able to finish her first Stateside headlining tour, a tour that included a Music Hall of Williamsburg a few weeks before the pandemic wrecked havoc across the globe. With the pandemic putting everything on pause, Yola managed to remain busy: She made virtual stops across the domestic, late night television circuit, which included playing album bonus track “I Don’t Want to Lie” on The Late Late Show with James Corden and a gospel-tinged cover Nina Simone‘s classic and beloved “To Be Young, Gifted and Black” filmed at The Ryman Auditorium for Late Night with Seth Meyers.

With the unexpected gift of time and space, Yola founded herself physically and mentally as she began to write the material that would eventually become her soon-to-be released sophomore album Stand For Myself. Interestingly, some of the album’s material was written several years perviously and was inspired by some deeply personal moments, like her mother’s funeral. Other songs were written during pandemic quarantine and isolation, and as a result, they reflect on personal and collective moments of longing and awakening, inspired and informed by Black Lives Matter and other social justice movements. Album tracks were cowritten with an incredibly diverse array of collaborators including Ruby Amanfu, John Bettis, Pat McLaughlin, Natalie Hemby, Joy Oladokun, Paul Overstreet, Liz Rose, Aaron Lee Tasjan, Hannah Vasanth and Bobby Wood.

Thematically, Stand For Myself’s material will make a connection with anyone who has ever experienced the feeling as though they were an “other,” while urging the listener to challenge the biases and assumptions that fuel bigotry, inequality and tokenism — all of which have impacted Yola’s personal life and career in some way or another.

thinking and paradigm shift at their core.” Yola says in press note, adding, “It is an album not blindly positive and it does not simply plead for everyone to come together. It instead explores ways that we need to stand for ourselves throughout our lives, what limits our connection as humans and declares that real change will come when we challenge our thinking and acknowledge our true complexity.” Ultimately, the JOVM mainstay’s hope is that the album will encourage both empathy and self actualization, all while returning to where she started, to the real Yola. “I kind of got talked out of being me, and now I’m here. This is who I’ve always been in music and in life. There was a little hiatus where I got brainwashed out of my own majesty, but a bitch is back.”

ngside Aaron Frazier (drums), a rising solo artist in his own right, the album is sonically is a noticeable shift from her debut, inspired by the seminal albums she discovered through her mother’s record collection, as well as the eclectic mixtapes featuring neo-soul, R&B, Brit Pop and others that she created as a young person listening to British radio. Aesthetically, the album frequently is a mesh of symphonic soul and classic pop that occasionally hints at the country soul of her breakthrough debut.

For Myself” is a bold feminist anthem written from the perspective of a survivor, who boldly asserts her desire to thrive and to be wholly herself — in her own terms and at all costs. While reflecting on the JOVM mainstay’s belief in the possibility of paradigm shift beyond the noxious mental programming that creates tokenism and bigotry, the song is centered around a rousingly anthemic, shout-along worthy chorus, Yola’s soulful, powerhouse vocals paired with a clean, modern Nashville meets symphonic pop sound.

“The song’s protagonist ‘token,’ has been shrinking themselves to fit into the narrative of another’s making, but it becomes clear that shrinking is pointless,” Yola explains. She adds “This song is about a celebration of being awake from the nightmare supremacist paradigm. Truly alive, awake and eyes finally wide open and trained on your path to self actualisation. You are thinking freely and working on undoing the mental programming that has made you live in fear. It is about standing for ourselves throughout our lives and real change coming when we challenge our thinking. This is who I’ve always been in music and in life.”

Last night, the JOVM mainstay performed a subtly stripped down version of “Stand For Myself” accompanied by a guest spot from Jon Batiste that managed to retain the song’s anthemic nature and powerfully necessary message.

New Video: Laura Carbone Performs “Nightride” at Rockpalast

With the release of her first two albums — 2016’s Sirens and 2018’s Empty Sea — Berlin-based singer/songwriter, guitarist and photographer  Laura Carbone received attention across the European Union and elsewhere for a sound and approach that frequently draws comparisons to PJ Harvey, Shana Falana, Chelsea Wolfe, St. Vincent and others.

While opening for The Jesus and Mary Chain and The Pains of Being Pure at Heart, Carbone and her backing band quickly established a reputation for a powerful live show, which she further cemented with a headlining tours across the European Union and North America. (If you’ve been frequenting this site over the past couple of years, you might recall that I caught Carbone when she played Baby’s All Right back in 2019. A lifetime ago, it seems.)

s the story goes, Carbone and her backing band were slated to go into the studio last May to record what would be her highly-anticipated, third album. But as a result of pandemic-related restrictions and lockdowns, Carbone’s plans were indefinitely shelved at the time, much like countless other artists across the globe. While she was touring across the European Union, Carbone and her band made an appearance on the beloved German live concert series Rockpalast. For Carbone, who grew up in a small, southwestern German town watching Rockpaalst as a music obsessed youth, appearing on the show was the achievement of a lifelong dream: Rockpalast has recorded and broadcasted a who’s who list of influential and important artists, including Siouxsie and The Banshees, Radiohead, Sonic Youth, Patti Smith, Sinead O’Connor, David Bowie, R.E.M., Echo and the Bunnymen, Screaming Trees, Lynyrd Skynyrd, Bob Marley and the Wailers and a very lengthy list of others.

Because of pandemic-related shutdowns, Carbone and her band came up with an interesting idea: “What if Rockpalast would let us release that show as a live album?” Released last fall across Europe and today across North America,  Laura Carbone — Live at Rockpalast is just that. Taken from her October 2019 Rockpalast set at Harmonie Bonn, the live album is a centered around a career-spanning set featuring material from her first two albums and a rather unexpected cover. Hewing as closely as humanly possible to their live sound, the album was mixed by  in Los Angeles by The Jesus and Mary Chain‘s Scott Van Ryper and mastered by Philipp Welsing at Hamburg‘s Original Mastering with no overdubs.

Because of pandemic-related shutdowns, Carbone and her band came up with an interesting idea: “What if Rockpalast would let us release that show as a live album?” Released last fall across Europe and today across North America,  Laura Carbone — Live at Rockpalast is just that. Taken from her October 2019 Rockpalast set at Harmonie Bonn, the live album is a centered around a career-spanning set featuring material from her first two albums and a rather unexpected cover. Hewing as closely as humanly possible to their live sound, the album was mixed by  in Los Angeles by The Jesus and Mary Chain‘s Scott Van Ryper and mastered by Philipp Welsing at Hamburg‘s Original Mastering with no overdubs.

So far I’ve written about two of Laura Carbone — Live at Rockpalast’s singles:

“Who’s Gonna Save You,” which captures Catrbone and her band’s forceful live sound and the Berlin-based artist’s irresistible stage presence. And while the song finds the band deftly balancing menace and sultriness, the song should serve as an introduction to an artist, who has quickly added her name to a growing list of rock goddesses.
“Cellophane Skin:” Performed as the first song of the set’s encore, the live rendition finds Carbone and company taking the tension of the original and informing with a feral intensity developed while touring. And as a result, the song finds its narrator — and perhaps, even the artist herself — turning into a seductive, yet vengeful force of nature tearing down the bonds of poisonous social norms that have imprisoned her, while demanding that we — men particularly so — examine and check ourselves.

Laura Carbone — Live at Rockpalast’s third and latest single “Nightride” is a slow-burning and brooding bit of psychedelia-tinged post punk that sonically and lyrically nods at The Doors “The End” as though covered by PJ Harvey. Full of dark and uneasy imagery including a full moon on a clear night, a dark yet irresistible stranger, a road trip through the forest, sporadically lit by the moonlight and headlights, the song thematically is an existential journey — to the dark and murky depths of a human soul, to something and/or someone.

Live Footage: Rising Paris-based act BLOW Performs Languorous and Woozy “Shake The Disease” on A COLORS SHOW

BLOW, a rising Paris-based indie pop act featuring Quentin Gugliemi (vocals), Thomas Clarice (bass), Jean-Etienne Maillard (guitar) can trace their origins back to Nancy, France’s Music Academy International, where Claire and Maillard first met — as roommates. With the release of their earliest material — 2017’s Fall in Deep EP and 2018’s full-length debut Vertigo — the French indie pop trio quickly established a a sleek, modern pop sound inspired by acts like Moderat, Jungle, The xx and others, paired with lyrics written and sung in English.

The Disease is slated for release this fall. Much like their previously released work, Shake The Disease’s material is written and sung completely in English; but unlike its predecessors, the album sonically and aesthetically is a creative left turn for the members of BLOW: While largely inspired by a collective love of hip-hop, particularly for obsessive hip-hop fans Crayon and Clarice, Shake The Disease finds the members of BLOW driven by the collective instinct to leaven the electronic textures of their previously released work with more organic sounds.

Written both prior to and amidst France’s pandemic-related lockdowns over the past 18 months, Shake The Disease reportedly is deeply inspired by the immediate circumstances of its creators, and as as a result, the album’s material reportedly throbs with the anxiety and unease of living in an increasingly unsettled world on the verge of collapse. Lyrically and thematically, the album’s material often seems to hold a mirror up to a generation — or two — that finds themselves forced to increasing question everything they’ve done and been told.

Shake The Disease’s latest single, album title track “Shake The Disease” is a languorous and woozy track featuring an elastic groove, tweeter and roofer rattling beats, swelling atmospheric synths, twinkling keys, bursts of strummed guitar and a scuzzy yet soulful guitar solo reminiscent of Steely Dan’s “Peg.” Crayon’s Yacht Rock meets Quiet Storm-like production serves as a lush and sultry bed for achingly vulnerable vocal performances from BLOW’s Gugliemi and HAUTE’s Anna Madison that express longing, confusion, a desperate desire for connection with someone in a complicated, mad world.

“This is not a love song,” the members of BLOW explain. “It’s a call for help written during a complicated time where we were losing our marks. We naturally thought of Anna to perform and embody one of the two characters in the track’s narrative. We love her voice which was perfect to bring warmth and sensuality to the track, which she effortlessly did. We’re very proud and happy to have her on the album. 

Gugliemi and HAUTE’s Majidson recently performed “Shake The Disease” on A COLORS SHOW, an ongoing live series by ColorsxStudios that features emerging artists performing material in an extremely minimalist fashion: in a room with floors and walls in a single color and a microphone.