Wednesday, September 25, 2013

Show Preview - San Fermin - 10.3.13 - Brillobox - Concert Preview

The trio San Fermin will be appearing next Thursday, 10.3 at the Brillobox in Bloomfield. The group was started by Brooklyn based chamber pop project musician Ellis Ludwig-Leone. The band just released their debut LP this past week entitled The Sun Also Rises. Inspired by Ernest Hemingway's The Sun Also Rises, Ludwig-Leone crafted the record as if it were a dialogue between a man and a woman; and now you can watch the simple black and white clip for the gorgeous "Oh Darling," which Ludwig-Leone says takes place as the two characters realize they won't find any common ground.



From their press:

A pastiche of post-rock, chamber-pop and contemporary classical composition, San Fermin is the work of Brooklyn composer and songwriter Ellis Ludwig-Leone. His self-titled debut album is strongly influenced by his unique background in classical music, which includes a job assisting composer/arranger Nico Muhly. After finishing his musical studies at Yale, Ludwig-Leone wrote the album in six weeks while holed up in a studio on the mountainous border between Alberta and British Columbia. He focused on lifeʼs top-shelf issues – youth, nostalgia, anxiety, unrequited love – and tied these vast themes to different characters through vocal contributions from longtime friend Allen Tate, as well as Jess Wolfe and Holly Laessig of Lucius.



San Fermin is not an album of singles but rather a sweeping, full-bodied listen with multiple distinct peaks and ambitious thematic connections. Ludwig-Leone composed all of the album’s arrangements and lyrics in full prior to collaborating and recording, noting that “writing for a large group of unknown musicians infused the writing process with a kind of operatic scope.” The first track released from the album, “Sonsick,” tackles many of these larger themes head-on. ”It’s like a panic attack disguised as a birthday party,” Ludwig-Leone says. ”I realized that the most intense moments are the ones in which conflicting emotional worlds exist inside you, equally, at once.”

Show begins at 9:30p with doors at 9p. Tickets are only $8 and can be found here

Show Preview - Daughter - Mr Smalls - 10.2.13 - Concert Preview

Daughter will be appearing at Mr Smalls next Wednesday, 10.2 in Millvale. The London trio is fronted by lead singer Elena Tonra, a breakout from her solo material. The band just recently released their debut album on 4AD Records entitled If You Leave earliest this year. It's one of the better indie pop albums you will hear this year. Or folk for that matter. Tonra’s powerhouse vocals and play between quiet jangling guitar and booming drums. A few songs also offer acoustic guitar adding air of lightness and distinct sound.




From their press:

Daughter is the London-based trio of Elena Tonra (vocals, guitar), Igor Haefeli (guitar) and Remi Aguilella (drums). Starting life in 2010 as an outlet for the musings of Elena and Igor, then fellow class-mates studying music in college, they soon gained attention with their self-released four-track EP, His Young Heart, in April 2011, and the Communion Records sanctioned The Wild Youth EP, which followed that October (around the same time as Remi joined the band). On the strength of those two releases alone and impressive early live shows, the now trio quickly gained a loyal fan base, one which continues to grow daily, and record deals with both 4AD and Glassnote (for North America). Their gestation was completed with a stunning performance of their now anthem 'Youth' on the prestigious The Late Show with David Letterman, a rare feat for a young, European band.



2013 marked the release of their debut album, the much anticipated If You Leave, a record that left many a fan and critic spellbound; "Word-in-the-ear intimate and mountain-range massive" The Fly, "Staggeringly beautiful from beginning to close, a catharsis that’s both bracing and woozily amniotic" The Line of Best Fit, "An album as beautifully conceived as (this) you follow from start to finish, riveted by the story it weaves and the emotion it bleeds" Drowned In Sound.

Entering the UK album charts in the Top 20, If You Leave continues to spread it's magic via word of mouth with both the band touring extensively and radio stations playing them with abandon. By the time 2013 is out, the band will have performed in excess of 130 shows across four continents in the calendar year, playing pretty much every major festival too. As well as playing shows with Sigur Rós and The National, one of their year's highlights will undoubtedly be their two packed shows at Glastonbury Festival, a real moment for the band and also when they finally make their UK TV debut, performing a stripped back version of 'Youth' for the BBC's Treehouse Sessions.

Show begins at 8p with doors at 7p. Bear Den's will be opening. Tickets are $15 and can be found here

Friday, September 20, 2013

Ticket Giveaway - Deap Vally w/ Black Rebel Motorcycle Club - 9.29.13 - Mr Smalls - Show Preview - Concert Preview


Deap Vally will be opening for the Black Rebel Motorcycle Club next Sunday, 9.29 at Mr Smalls in Millvale. The female rock duo from Los Angeles are touring behind their debut LP Sistrionix released this past June on Island Records. The young duet teamed up after meeting each other at a crochet class back in 2011 and sharing their love of blues rock. Buzz struck the band with their 2012 single release "Gonna Make My Own Money" which soon brought on a record contract. We are happy to be giving away a pair of tickets to the show. As usual just email us with your name at pghmusicreport@gmail.com to enter.



Edwards met her bandmate and co-conspirator Lindsey Troy in the unlikely environs of a crochet class in Los Angeles's Atwater Village. Edwards was teaching; Troy her new student. "Lindsey learned crochet really fast," Edwards recalls, "she had good eye-hand co-ordination which was a good sign. But while we crocheted we bonded, and talked about our struggles as artists - how frustrated we were." At the time, Edwards was in another duo, the Pity Party, while Troy was performing solo, each somehow orbiting one another as they played different circuits in LA. Both felt unsatisfied - Troy quietly plotting her solo world domination, while Edwards, feeling burnt-out, was contemplating a return to college to study psychology. But following that first fateful meeting their plans began to shift.

We kind of stalked each other online after that a little bit," is how Edwards explains it. "I was really impressed by her," adds Troy. "I thought she was really cool. You know, like Cool with a capital C." By their nature, they say, what they do is political - "In that we're women," Troy says, "and we play this type of heavy rock music, not afraid to let it all hang out," she says proudly. Edwards adds, "So many women masculinise themselves and play their femininity down, and something Lindsey and I felt is that we have never wanted to do that. I've been playing drums in tiny shorts for as long as I've been playing drums."
Certainly, short shorts and their breed of visceral, heart-churning rock 'n' roll is quite an arresting combination. "I don't know what image of femininity we're trying to fulfill," Edwards says, "and maybe we're creating a new one: we're badass but we're not mean-spirited and angry. We just really, really love heavy music. 


"We believe," says Troy, "in bringing truly live music back." Edwards nods. "And we believe in the rock 'n' roll revolution, bringing guitar-based rock 'n' roll back to the mainstream. We love Led Zeppelin -they're our heroes. Because that's a band that played stadiums, didn't have a safety net of a pre-recorded back-up tape, they didn't record to a click, and they were really, really sexy and really commanding. And why can't that happen again? "

Show begins at 8p with doors at 7p. Tickets are $25 and can be found here

Show Review - Sigur Ros - 9.19.13 - Stage AE - Concert Review


This one will be short. I didn't understand a single word that Jónsi sang Thursday night. I didn't know when he was singing in his native Icelandic versus that imaginary Hopelandic; it may have been Elvish, for all I know. All that matters is that Sigur Rós, backed by strings and brass, and some extraordinary visuals, transformed Stage AE into a near-magical fantasia.

I'm not sure what song the band opened with, though I'm certain it was off of their latest album, Kveikur, like the majority of the songs they performed. The title translates to “fuse,” as in dynamite, and that is a good metaphor for the band's sound on this tour. Sigur Rós is a rock band at heart, and time and time again they unleashed swells of guitar and pummeling bass kicks you could feel in your chest. But they do not rely on the conventional soft-heavy-soft formula utilized by most post-rock bands, such as Explosions in the Sky and Mono; Sigur Rós manages different suites of varying moods to compose an entire symphony of music.

Epic is a word most overused, but it is appropriate when describing the grandness of this band's presentation. They performed in front of an enormous screen that displayed images of universal significance: sky, sea, forest, the cosmos. Some two dozen light-bulbs atop mic stands were sprinkled around the stage, helping with the band's mythic image; at times, when the light dimmed, they appeared woodland sprites in a field of fireflies. Absent intelligible lyrics to follow, Jonsi's otherworldly falsetto became a fervent cry of beauty, awash in the plaintive bellow of French horn and the clang and clatter of glockenspiel and symbols.

The night was a testament to the transcendence of music as art, and its ability to elevate and uplift the soul. It seems impossible that someone, regardless of race, creed, or 21st century cynicism, could not be aroused with emotion during a heavenly version of “Olsen Olsen” - the only song performed off of their seminal Ágætis Byrjun – or the furious closer, “Untitled 8.” At the end, the band and their mini-orchestra came out together, and in a very cordial, heartfelt way took a bow together, to thank the audience and placate the unfulfilled cries for an encore. It was a traditional end from a trio of men still at music's vanguard.

The crowd was a generally polite lot, with all age brackets well-represented. I say polite especially after they gave opener Julianna Barwick a healthy applause, even though as far as I could tell the set involved her and a bored-looking guitarist noodling around with ambient loops, in front of a screen displaying slow-motion close-ups of women in sweaters underwater. Beauty may be universal, but it is certainly not ubiquitous.

--Brian Conway

Thursday, September 19, 2013

Show Preview - Sigur Ros - 9.19.13 - Stage AE - Concert Preview


As the legend would have it, Thom Yorke, after a grueling international tour in support of OK Computer, was nearing nervous breakdown, his faith in music practically bankrupt. That is until he chanced upon an album unlike anything he had ever heard before, by an unknown band from Iceland, of all places. Reinvigorated, and with a grander conception of the heights to which music can ascend, the Radiohead frontman went on to oversee the composition of one of the greatest, most original albums of the 2000s, Kid A. Naturally, Yorke invited his new muse to open for them on tour. That band, Sigur Rós, will be in PittsburghThursday at Stage AE.

Any discussion of Sigur Rós must begin with Ágætis Byrjun, that sensational album that snuck up on Thom Yorke and the rest of world like a dormant volcano erupting to life. At the time of its domestic release, in 1999, practically no one outside of tiny Iceland had heard of Sigur Rós. (They had released one previous album, Von, in 1997) The buzz increased, slowly, peaking in 2000 when the album was released in Britain, followed by the States one year later.

Just how magnificent is Ágætis Byrjun? Stylus magazine said “...a hundred years from now we'll still be singing the praises of this album,” while Pitchfork tossed around phrases like “soul-crushingly beautiful.” Orchestral strings quavering with emotion, exploding fireworks, Jónsi's angelic falsetto... it is life, in all its agony and ecstasy, condensed and distilled into auditory rapture.


Suddenly renowned, Sigur Rós followed up with more albums. 2002 saw (), an eight song suite that starts at a whisper and ends in a roar, and in 2005, Takk, a sort of Ágætis Byrjun 2.0The next record, 2008's Með suð í eyrum við spilum endalausti, saw a shift toward pop sensibilities, with the release of a three minute single and a song in English. (Until then all songs were in either Icelandic or Vonlenska, a made-up language that sounds like Icelandic, for those who can tell the difference.)

Today the band is down to three members: Georg Hólm, bassist; Orri Páll Dýrason, drummer; and frontman/vocalist/guitarist Jón Þór Birgisson, better known as Jónsi. Keyboardist Kjartan Sveinsson left the group last year, and while no one will confuse them with Rush or Cream, Sigur Rós does the “power trio” label well in their new album, Kveikur, which is heavier and more aggressive than anything they've put out before. (You'd never guess that just two years earlier the same Jimmy Page-guitar bow playing Jónsi composed the lovable score to We Bought a Zoo.)

The official Sigur Rós website promises an 11-piece live band. Music of such grandeur translates extremely well to stage, so prepare to be uplifted. There is a reason directors like Wes Anderson, Cameron Crowe, and Danny Boyle have continually chosen music by Sigur Rós to play during the climactic denouements to their movies: this is life-affirming stuff.

Tickets cost $42.60 and can be purchased here. Julianna Barwick opens.

--Brian Conway

Tuesday, September 17, 2013

Ticket Giveaway - Stars - 9.27.13 - Mr Smalls - Show Preview - Concert Preview

The Five Ghosts Band Photos

Stars will be appearing next Friday, 9.27 at Mr Smalls Theater in Millvale. The quintet is touring behind their latest LP The North released last September 2012. The Montreal based band sixth full length album is one of their best to date. Even though they play low fi indie pop, they put on a spectacular show. Trust me, I have seen them quite a few times and they have yet to disappoint. We are happy to be giving away a pair of tickets to the show. As usual just email us at pghmusicreport@gmail.com to enter. 


Canadian band is back with their sixth LP of beat-ific indie rock re-imagined as synthy, effervescent alt-pop...the successor to 2010's fine The Five Ghosts was produced by Graham Lessard and Marcus Paquin (Arcade Fire) along with the band...DC fave Amy Millan and Torquil Campbell share the vocal spotlight...Says Campbell: "The overarching idea was let’s make some really great songs, and let them stand on their own, and they’ll have a common vibe." // Release: The North (September 4, ATO) // Sounds like: like their fellow Canadians Metric, Stars don't shy away from big, proudly un-ironic melodic dance floor anthems, 80's dance beats melded with hook-heavy synth-pop and the random jangling guitar riff...the key is Stars' refusal to be pigeon-holed into one simple stylistic box: this is grandly imagined pop the veers nimbly from sweeping balladry to dynamic 80's-influenced "new wave" pop to radio-friendly booty beats...



Quote: "I think this is kinda an attempt—a successful one—to just make a pure Stars record, to take all the themes that we’ve dealt with over the years, and all the sonic ideas, and express exactly who we are as a band and what we’ve arrived at as our sound and our story. For me, the record is less on the nose than the other ones are. And that’s why it’s better, really." - Torquil Campbell to Under The Radar // What We Like: As we've said earlier, not many indie-hipster outfits can reveal the sweetly romantic, soul-baring emotionalism that Stars make an integral part of their music...and maybe that's what makes their songs so appealingly different..."Hold On When You Get Love" is a good indication that the band hasn't lost the ability to craft a near-perfect radio song (assuming, of course, that you're radio is circa 1982)..."Backlines" sizzles, pops and fades out quickly like a summertime sparkler," says NPR. "With a running time that barely exceeds two minutes, it hardly bothers to clear its throat before bursting to alternately woozy and spiky life."

Show begins at 9p with doors at 8p. Tickets are $25 and can be found here

Concert Review - Queens of the Stone Age - 9.14.13 - Stage AE - Show Review


The Halloween-chill of late October took over an already brisk September night once Josh Homme and the Queens of the Stone Age took to Stage AE Saturday. With a flick of the maraca they launched into new lead single, “My God is the Sun,” in front of an animated backdrop of destruction and violence. The band matched the imagery with intensity, coursing through three straight tracks off their excellent Songs for the Deaf, including longtime favorite “No One Knows.”

By this point the crowd was whipped into a headbanging, crowd surfing frenzy. Guitarist Troy Van Leeuwen, looking diabolical in an all-black suit and red tie, deserves special acclaim for his gnarly sonic flourishes. But it was Homme's crooning, as sinister as it is smooth, that elevated every moment.
His voice took greater prominence over the next few songs, including an honest-to-go, lighters-out piano ballad, “Like Clockwork,” and slow-burner “In the Fade,” from their breakthrough album, 2000's Rated R. This interlude continued until the band unleashed a brutal three axe attack during “If I Had a Tail,” and a frenetic “Little Sister.” “We're here to get drunk and get laid and get happy,” said Homme, and that pretty much summed up the evening's mood.

Unbridled release, hinted at in moments during the last few numbers, finally took place during “Better Living Through Chemistry.” Queens, appearing mirages on the hazy, orange-lit stage, circled around drummer Jon Theodore like some pagan totem as he led the band in unleashing furious torrents of psychedelic bedlam. How to follow up such an unhinged display of musical prowess? By tearing through what may be their two biggest hits, the industrial “Sick Sick Sick” and a pummeling version of “Go with the Flow.” The encore, highlighted by the DARE-unfriendly “Feel Good Hit of the Summer,” and the pummeling guitar freak-outs of “Song for the Dead,” was just extra bounty for the thousands in attendance.

Guards opened for Queens, and although this writer missed most of their set while sitting on a broken down T train in Dormont, the crowd seemed impressed. The band ended with a protracted guitar freak-out of their own and the vocalist's declaration that he wanted to be like Josh Homme when he grew up. Those of us who were there couldn't agree more.  

Setlist:

My God Is the Sun (...Like Clockwork)
You Think I Ain't Worth a Dollar, but I Feel Like a Millionaire (Songs for the Deaf)
No One Knows (Songs for the Deaf)
Hangin' Tree (Songs for the Deaf)
Burn the Witch (Lullabies to Paralyze)
The Sky Is Fallin' (Songs for the Deaf)
…Like Clockwork (...Like Clockwork)
In the Fade (Rated R)
Kalopsia (...Like Clockwork)
If I Had a Tail (...Like Clockwork)
Little Sister (Lullabies to Paralyze)
Make It Wit' Chu (Era Vulgaris)
Smooth Sailing (...Like Clockwork)
Better Living Through Chemistry (Rated R)
Sick, Sick, Sick (Era Vulgaris)
Go With the Flow (Songs for the Deaf)

Encore:
The Vampyre of Time and Memory (...Like Clockwork)
Feel Good Hit of the Summer (Rated R)
A Song for the Dead (Songs for the Deaf)

--Brian Conway

Thursday, September 12, 2013

Ticket Giveaway - Youth Lagoon - 9.20.13 - Mr Smalls - Show Preview - Concert Preview

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Youth Lagoon will be making an appearance next Friday night at Mr Smalls in Millvale. The solo artist Trevor Powers comes by way of Boise and is touring behind his second LP Wondrous Bughouse out on Fat Possum Records. The LP was released this past March to glowing reviews from the mainstream press. Wondourous is more exotic than it's predecessor The Year of Hibernation stretching an more existential tone. The album questions morality, state of mind and the spiritual world which we reside. A bit more heavy, but more poignant. We are happy to be giving away a pair of tickets to the show. As usual just email us your name at pghmusicreport@gmail.com to enter.
 

 
From his press:
 
Trevor Powers, whose stage name is Youth Lagoon, began writing his debut album The Year of Hibernation in 2010.  Based around the idea of psychological dysphoria, Powers tried to document the trailsof his mind through songs of minimalism and hypnotic ambiance.  Powers later described his writing process as "my mind communicating with me, not the other way around...it can take me to scary places but I've realized those bizarre thoughts I have don't define me."  After signing with Mississippi-based label Fat Possum Records in 2011, he toued much of the following year before going back into solitude to write.

Wondrous Bughouse, Powers' sophomore album (due March 5 worldwide via Fat Possum), was spawned from what he describes as "becoming more fascinated with the human psyche and where the spiritual meets the physical world."  During the time he wrote, Powers became intrigued with the metaphysical universe and blending those ideas with pop music.
"Youth Lagoon is something so personal to me because writing music is how I sort my thoughts, as well as where I transfer my fears," explains Powers.



"My mental state is usually pretty sporadic...a lot of this record was influenced by a fear of mortality but embracing it at the same time.  Realizing that human life is only great because it is temporary.  Experimenting with ideas about dimensions.  I'm not a gifted speaker, so explaining things is difficult for me.  But music always makes sense."

Tickets are $14 and can be found here. 

Show Review - The Rides - 9.10.13 - Carnegie Library of Homestead - Concert Review

 
A muggy night in Munhall gave way to a multigenerational masterclass in blues guitar when Stephen Stills and Kenny Wayne Shepherd's new band The Rides took the stage at the Carnegie Library Music Hall. And with the mean age slanted closer toward 50 than 40, it was the self-described “elderly person” Stills that made the concert something to behold.
 
Supergroups have changed a lot since Stills' “Super Sessions” of 1968, which served as inspiration for the current group's formation. Sometimes they work (look at the recent success of Them Crooked Vultures), but often they don't (Chickenfoot, et al.) From their first call and response, during a sizzling version of the opener, “Born in Chicago,” concertgoers may have wondered if it was a bad idea to pair the legend with the prodigy. Stills must have borrowed his amp from old pal Neil Young because his sound was awash in fuzz and grunge. Kenny Wayne, meanwhile, tore up the frets with frenetic precision, breezing through solo after solo with astonishing virtuosity. (It didn't help Stills that he looked sloppily dressed in the same all-black outfit as Shepherd, he of the fitted-T and unflinching mohawk.)
 
Whereas Shepherd may have distinguished with his guitar playing, Stills won the audience early with his vocals. On the Rides original “Roadhouse,” Stills's voice, weathered by years of touring, and yelling at David Crosby, contained a grit that sounded Delta authentic, and he proved he could still hit the high notes on “Don't Want Lies.” (It is a testament to the songwriting ability of these gentlemen that their originals sounded right at home with so many blues standards.)
But this was a gig, not a competition. The two traded off on vocals as much as they traded licks. Keyboardist Barry Goldberg, veteran of the original Super Sessions, provided a mid-60s Doors and Animals flare with the occasional keyboard solo.
 
These were infrequent, however, as the night was all about the guitar. Halfway through the set, during a cover of Muddy Waters' “Honey Bee,” the two rock gods stood inches apart, faced the audience and merged their individual sounds into the sickest guitar solo the century-old Library Music Hall had ever witnessed. The two then shared a double fist bump, acknowledging the awesomeness of such a vulgar display of musical prowess.
 
The rest of the night was primarily devoted to deep cuts, Stills reaching so far back into his catalog, for songs like “Treetop Flyer,” he claimed to be “covering himself.” The two played their signature songs back to back, a kicked-up “Love the One You're With” - an odd choice since it is essentially the anti-blues song - followed by a fiery “Blue on Black.”
 
By then the crowd was standing and applauding after each song. And while the audience may have viewed The Rides as Stills's band, the encore, “Keep on Rockin' in the Free World,” a rock classic performed by supremely talented musicians, proved anthemic for all ages.

Beth Hart opened for The Rides. Pity those stuck in the will-call line, or outside downing one last sippy cup full of wine, who missed her. The band came out on fire, with scorching guitar licks all their own. But it was Ms. Hart, the self-described bad girl, whose powerful voice threatened to bring down the chandelier. When, toward the end of her set, she took off her jacket and revealed a tattooed shoulder, one could be forgiven for thinking this is what an Amy Winehouse set could have been like had she lived another twenty years; Hart's performance moved the girl sitting behind me to tears.
 
--Brian Conway

Show Preview - Queens of Stone Age w/Guards - 9.14.13 - Stage AE - Concert Preview

Queens of the Stone Age played new material — at last — in Toronto.
 
“It almost came back to where Kyuss was found, like, music was my religion, and it had always been that thing that saved me and showed me the right way to go. And when you feel completely lost it's like you almost have to turn yourself over to it, and have enough blind faith to just leap and let it go.”
- Josh Homme, Queens of the Stone Age frontman, interview with Sound Opinions, 8/15/13, discussing his band's new record, ...Like Clockwork
 
Queens of the Stone Age rumble into Stage AE Saturday. While most of today's “rock” bands are more Daft Punk than Danzig, Queens is the rare outfit whose sound is consistently full, propulsive, and largely unadorned ; crunching guitars, pounding drums, and Homme's surprisingly smooth crooning are the musical mirepoix that have anchored each of their albums since the band's debut LP, in 1998.
 
The group is touring in support of “...Like Clockwork”, their first album since 2007's Era Vulgaris. After Vulgaris frontman Josh Homme took time off to perform in side-project supergroup Them Crooked Vultures with longtime collaborator Dave Grohl and rock god emeritus John Paul Jones (the trio won a “Best Hard Rock” Grammy for their efforts.) And while Homme has been the band's only consistent figure, the group underwent more change than usual during the album's recording. Drummer Joey Castillo, who started with the band on their Songs for the Deaf tour, was fired in the early stages of recording, only to be replaced by Grohl. (Former Mars Volta drummer Jon Theodore is accompanying the band on their current tour.)
 
While ultimately a Queens album at heart, the songs on ...Like Clockwork possess a more baleful edge than anything they've put out before. If past singles like “Go with the Flow” and “Little Sister” were drenched in the sun of Homme's Palm Desert home, then tracks like “Fairweather Friends” and “Keep Your Eyes Peeled” are set in the chill desert night, where moonlight turns the dunes a sinister silver. “There's just something different about this record because it starts from a very desperate spot,” Homme told Sound Opinions, “and...there's no guarantee for a happy ending.”

 
What does this mean for their live show? Their latest album is the work of a mature band with nothing left to prove. Yet, if any of the full concerts recently thrown up on Youtube are an indication, the group is tighter than ever, with an extensive back catalog of hits and deep cuts from which to choose when filling the setlist. Not many bands are worth $50 to see live. There's a very good chance this show will be worth every penny.
 
New York three-piece act Guards open. There are two guys and one girl, and all three have long hair. They have one album to their name, In Guards We Trust. In their review, Pitchfork lightly chided them for producing “unabashedly anthemic rock music.” Frankly, the world could always use more of this.
 
Show begins at 6:30, rain or shine. Tickets cost $48 and can be found here.
 
--Brian Conway