Sufjan Stevens, intimacy for the masses

Sufjan Stevens (+ Austra), Auditori Fòrum, Barcelona, September 29th

Sufjan & Dawn Landes, folk of the heart. Photo: Bloodbuzzed

Despite not being the most fervent fan, or even a regular one, although I love 'Seven Swans' (a song about one of the best short stories of Flannery O'Connor, you have me) and I'm pretty sure 'Carrie & Lowell' is among the best releases of the year, I have to admit I was pretty excited with Sufjan Stevens' gig at Auditori, the first time I was going to see the Michigan artist live. Hipsterland, commonly known as Barcelona, seemed to be all gathered at the Fòrum. The date seemed an unmissable one.

Dark waves with Austra. Photo; Bloodbuzzed

The night didn't started in the most promising way, though. Not to say Austra's music is bad or that their performance was disappointing. Katie Stelmanis is an impressive singer and their songs, if you are into that dark-disco/new wave style, even darker live (her most famous songs, the stunning 'Lose you' sounded gloomy and intensely desperate) are going to appeal you for sure. No, the question mark here is what does she have to do with Sufjan's music? It simply didn't fit there...

No shade in the shadows of the band. Photo: Bloodbuzzed

Anyway, on time at 21:00 Sufjan and his troupe took the Auditori's stage and after opening with 'Redford (For Yia-Yia & Pappou)', they performed 'Carrie & Lowell' in its entirety and almost following the record's order. 'Death With Dignity' and the strikingly beautiful 'Should Have Known Better' were the first two gems to arrive, making the miracle of disarming 3.000 souls with an exercise of intimacy and naked vulnerability so rare to find in popular music (we were lucky to be seated on the first row and we could assure Sufjan looked affected with the performance of several songs). 'Drawn to the Blood', 'Eugene', 'John My Beloved', 'The Only Thing', a stunning collection of tunes performed brilliantly by an impeccable band, where Dawn Landes was beyond terrific on backing vocals and all sorts of duties all night. Even the fragile, somewhat broken voice of Sufjan, seemed to add another piece of wonder to the gig. Unique atmosphere, embellished by the stark but touching visuals that backed the band.

A man, his thoughts, his feelings, his songs . Photo: Bloodbuzzed

But then arrived 'Fourth of July', one of the masterpieces of his latest album, and doubts arised. With Sufjan on piano, the arresting, devastating tune, evolved into an epic monster that for sure left the audience dazed, but changed the vibe of the album and the gig completely. 'No Shade in the Shadow of the Cross' and 'Carrie & Lowell' seemed to return to the previous folkier path. A mirage. Then came 'All of Me Wants All of You', with its electronic R&B beats and Stevens dances. It was the beginning of a concert section where electronics leaded the way, with 'The Owl and the Tanager', 'Vesuvius', imo almost laughable, 'I Want to Be Well' and the visually gorgeous but neverending outro 'Blue Bucket of Gold'. Maybe Sufjan wanted to shift from indie-folk for a while, worried such a big audience was going to "disconnect" from the gig with too many slow, moody numbers. Understandable but, being diplomatic, not my cup of tea. Not a fan of 'Age of Adz'.

The return of the folk singer. Photo: Bloodbuzzed

The show couldn't end that way. And luckily, it didn't. As a matter of fact, the encore felt like a completely different gig, with Sufjan returning to stage dressed as the recognisable folk-singer with baseball cap and colourful shirt, and much more talkative with the audience, to offer a short set of "Sufjan classics", with 'Concerning the UFO Sighting Near Highland, Illinois', 'Heirloom', the goosebumps of 'For the Widows in Paradise, For the Fatherless in Ypsilanti' and the final trio of 'John Wayne Gacy, Jr.', the great 'Casimir Pulaski Day' and, of course, 'Chicago', which lacked its joyful fanfare in a somewhat lukewarm acoustic version. One can't argue: the performance was flawless, immaculate, definitely a thing to watch. It's easy to understand why the public was fascinated and stood up to applaud the band during minutes. Also the universal praise of critics on the following days. But for me, I can't say it was an unforgettable, life-changing gig, because some of the choices made by the artist during part of the gig didn't convince me. Just a matter of taste on an otherwise indispensable artist...

Festival Weekend. Defend Culture, Culture, Culture!

This country (I don't mind whether you are thinking on Spain or Catalonia, the result is the same) is a complete shame: corruption, lies, manipulation and an undisguised attempt to destroy the rights of the "regular citizen". Don't want to go "higher" and write about the European Union, not after seeing how are they reacting after the Lampedusa drama, because to me is just embarrassing to think I once was a serious supporter of the EU ideals, now an unmasked bunch of miserable people trying to design, rule our lives in their own benefit... I need a weekend to take shelter and hide, and to do that the best option, at least for me, has always been culture. Culture and education are the answer, and are bound together, against the bastards. Both needed to be defended (we do have a villain to fight against you know, it's called Wert, and looks like a vampire from a very dark age on Spanish history, not that long ago). Defended by you.

And in that sense this weekend is an ideal one. Two amazing festivals are taking place in Barcelona. Yesterday the 11th edition of the Beefeater In-Edit began (yes, music films are back in town!), and tomorrow the second BIS Festival (a fantastic idea where local labels gather to show the world what they do and why) will open its doors too. Music documentaries and local independent music, what a powerful and exciting combination. Would you like to defend culture? Here's a double option. You only need to get up and join what's going on in your city...      

   

The Indie Anthology 30: essential songs

I've been meaning to go back posting on the Indie Anthology series for ages, but September and October are being very stressful and frustrating months. Anyway, I guess I needed a reason to be cheerful & a little push to recover the "section", and today I found one, in the form of a gentle gesture from a wonderful friend.... who happens to be and indiepop wizard (yeah, this is going to get a bit emotional, too). Ladies and gentlemen, there's an indiepop classic below, so prepare you ears...

Song: Good Fight Fighting
Artist: The Very Most
Year: 2008

Is this my favourite tune from The Very Most? The most representative from their best release imo? The first one I heard perhaps? Or the most cheerful song of their immaculate career? The answer to all these questions is no. But "Good Fight Fighting" has a special meaning for me since summer. Hear how the mind blowing chorus flows into the second verse as if they were born together. How a toy piano can make your hair bristle. Or how voices can intertwine and become a shining harmony. Hear. Listen. Enjoy. The music of The Very Most stops time. But aside from being another perfect pop tune coming from Jeremy Jensen's mastermind, "Good Fight Fighting" to me also means a privileged moment. An instant of unexpected intimacy shared only with me and my girlfriend while TVM was rehearsing at Jeremy's home, and they came with a stunning rendition of this tune. One that made everyone on the room say: that was a good one, wasn't it? But it wasn't just that. It was a incredibly brilliant interpretation of a fantastic song from someone I'm so honoured, proud and lucky to call my friend. What an special moment.

Plus, the video is as charming as the song.

Triple Indie Session Tonight!

Great expectations tonight, with a promising triple live music session with Eleanor Friedberger, presenting her amazing "Personal Record" in Barcelona, in my opinion among the best albums of the year so far, plus Bill Ryder-Jones, and one of the most exciting recent signatures from our beloved El Genio Equivocado, Big Summer, at La [2] de Apolo. Of course, review coming very soon!

Introducing... the Bloodbuzzed's Fall 2013 Agenda!

Introducing the blog's music & related agenda! It's an ongoing calendar and easy to update, so proposals are welcomed!

A Weekend with The Very Most (part II)

As promised, here's the next chapter of our recount of the days spent in Boise, Idaho, visiting our friend and indiepop genius Jeremy Jensen, aka The Very Most. We ended part I of this special double post with the rehearsal at Jeremy's house. After it was over, we quickly moved to downtown Boise to carry the equipment to the gig's venue. My first experience as a roadie was quite curious, learning two lessons: 1) Backstages are not very glamorous (at least the indiepop ones); 2) The loneliness of the self-made man artist is blatantly evident (only indiepop artists?). Still, after a quick dinner and a very awkward act prior to TVM (the night's line-up had four bands/artists scheduled), and some tension because a couple of band members didn't show up until the very last minute, it was finally time for Jeremy and Co. to pack the stage (I mean it, six-seven musicians on such a tiny place). Aww! I've been waiting so long to write this!

The Very Most. The Crux, Boise, August 24th 

TVM's on stage. Photo: Bloodbuzzed

Yes, I know that Jeremy wasn't very happy about the gig, frustrated by how they sounded and some coordination issues. And yes, I'm the first to agree that seven tunes aren't enough to have even a little hint of such a wonderful career represented live. Not with the amount of songs "our man" can offer. At all. But how can one aspire to be really objective when a gig starts being publicly dedicated to you and your girlfriend?  

Man on duty. Photo: Bloodbuzzed

No let's get back to the "serious stuff" here. What can you say if the opening trio of tunes are "Today It Is Even Better", "We Don't Have Any Cuts to Waste" and "Good Fight Fighting"? Blink and you missed it. Hard to find a better start, with "Cuts to Waste" in particular revealing itself as a tremendous song live with this fierce and upfront version. While it might be truth the pace was speed-up a bit during the whole set, I don't think that until the final number, the joyful "Congrizzle 4evzz", presented by Jeremy as "their danceable hit", that meant a sounding issue.   

Two more rescues from the unmissable "A Year With The Very Most" (one of these records that should be in every indiepop collector shelf), "The Motor-Vu Lights" and "When Summer Finally Dies" where followed by another favourite, "Changed Me", from the magnificent "Ununiversalizable Us" EP, allowing the female-male voices shine live, before the rousing finale with "Congrizzle 4evzz". Too short, sure (not even 40 minutes), but as intense and lovable as expected. Which made the last band of the night pale by comparison. Hearing them after TVM didn't make sense to any of us (think on The Fray meeting The Lumineers, or on every chapter's "Grey's Anatomy" epic song and you'll understand why we ran from the place). Another day was expecting us. 

Bloodbuzzed & TVM in McCall.
Photo: Bloodbuzzed

Sunday was reserved to visit the touristic and picturesque town of McCall, a two hour drive from Boise, which allowed us to "fill" the trip with endless talks about politics and oh surprise!, music. If you allow me to make a quick digression on the first issue, one of the worst things we, citizens (doesn't mind if you are from Spain or the United States) have done, is to forget WHY do we want/need politicians for, what are the reasons of giving them the power to take decisions for us. It's so gratifying to see Jeremy is an exception: he does remember perfectly. Anyway, between giant ice-creams, a soundtrack composed of Luna, McCarthy, The Go-Betweens, Aztec Camera or The Soft City among others, pleasant views of the Payette Lake even despite the smoky day (caused by the terrible fires devastating Yosemite National Park) and the unbeatable company, the journey was just lovely. Back home, and after discovering I have been missing Arrested Development for many years (something that must be solved as soon as I get back to Barcelona) it was time to close the day and, after saying 'til soon, early next morning (Jeremy back to work, us ready for several hours on the road again, towards Salt Lake City), also put the end of a great weekend, that I do hope is only an unforgettable chapter of a friendship that will provide many more stories to tell.

I do have one final question, though. Does anybody know why everywhere Jeremy goes The Beach Boys' music start playing?

A glorious picnic with The National

The National (+ Daughter). Hollywood Forever Cemetery, Los Angeles, August 11th 

The National live. Photo: Bloodbuzzed

... At a cemetery. Doesn't sound incredibly strange to you?  And what does it have to do with music, and with The National in particular? I completely shared your feelings before the concert, but it does have an explanation...

The image of a gig queue transformed into a picnic is so shocking for a Spaniard concertgoer like me. People armed with glasses, blankets, towels, chairs, bottles and of course all sort of drinks and food... what is this all about? Aren't we going to a gig? Plus, the concert was at the Hollywood Forever Cemetery, as the name suggests... a cemetery where some entertainment celebrities rest, including Johnny Ramone. A thousand questions about the audience behavior and the development of the concert itself were raised, but they all got solved quickly.

Picnic time! Photo: Bloodbuzzed

First, the "picnic issue" turned out to be a fantastic solution: the ones looking forward for the gig (the core, die-hard fans, I guess) in the forefront as usual, while the rest enjoyed their meals & drinks in a more chilled way, just a few meters behind the standing crowd. As a result, the mood of the night was relaxed and pleasant, the only focus being what it should be: the music. And second, the "cemetery issue". The audience was respectful and careful, and the sound of both bands was fantastic all night. Our concerns regarding the place vanished, replaced with a very special sensation. The vibes of an unforgettable night.

Daughter. Photo: Bloodbuzzed

Support act Daughter opened the event with the sun coming down the Hollywood Cemetery. Among the new best discoveries and records of the year so far to me, I was really looking forward to watch them live, as my first experience with them at Primavera Sound 2013 was quite frustrating. Not this time. The British trio proved that tunes from their debut album "If You Leave" are haunting, a crossover between intimate folk-rock and the stark minimalistic beauty of The XX. If only, a minor complaint would be the sometimes repetitive percussive sounds, no doubt a powerful rhythm section fire-powering Elena's delicate voice, but perhaps swallowing her just for the sake of putting more muscle to their music live.

A real "Big Three". Photo: Bloodbuzzed

And then came the hour of The National, after a trailer presenting the "Mistaken for Strangers" documentary (this is Hollywood, after all) and the mesmerizing "Magic Chords" from SharonVan Etten giving the entrance to the band members. Since the opening couplet, "I Should Live in Salt" and "Don’t Swallow the Cap", the bar was set really high, the first one gaining weight and punch live, while the second highlighting the multiple talents of the Dessner brothers (their backing voices ever-present all night).

I won’t continue this chronicle with a song-by-song analysis, it would become overlong. Besides, I don’t know that many superlative adjectives in English to go on without repeating myself for 25 fantastic tunes on a concert that went beyond the two hours. This was my fifth time at a National's gig, and in the last three times I have attended them with different people with very different music tastes and levels of knowledge about the band, but the reaction has been always the same, summarized in the recurrent comment: wow, how good they are!

Screaming dandy. Photo: Bloodbuzzed

Indeed they are. I don’t know if it’s their sophisticated, serious image, but my guess is that people consider The National a “studio band”, that has to be a bit boring or too ecstatic live. So, when infallible tunes like “Mistaken for Strangers” or “Squalor Victoria” (the crowd went wild), newbies do not only watch how stunning songs are played, but also a band that really knocks you out. This is particularly the case with Matt’s performance. The elegant gentleman, dressed & singing like a dandy, erupting like a roaring beast when the song requires it. Sorry punks and metal-heads, but it is not about how much you scream, but that when you do it does “mean” something. Whether is their fierce, straightforward side, like top-notch "Sea of Love" (expected greatness and that’s exactly what I found), or is refined, subtler version, like "Demons", there's always plenty to get attracted to, and a pulsating beat (National fans know how important is the unique drumming from Bryan Devendorf) a tension that propels the tunes to another dimension.

As expected, "Trouble Will Find Me" got the major focus, with 10 tunes overall on the gig’s setlist, which is a clear sign of the group’s confidence in the new material. The intensity of “Pink Rabbits” and “I Need My Girl” (that Matt announced saying he could also sing about less miserable/ darker issues) were among the best moments of the show, while “Humiliation”, with a mind-blowing finale, or the superb “This Is the Last Time” and “Graceless” just confirmed the masterful pieces they are. Even "Heavenfaced", for me one of the less inspired new songs, chosen especially for such a “special venue”, improved dramatically live.

Band on fire. Photo: Bloodbuzzed

But The National was also generous on "High Violet", performing many of its winning cards, like “Anyone’s Ghost”, "Afraid of Everyone", "Conversation 16", “Bloodbuzz Ohio” and “England”, received with an overwhelming response of the public (very good taste you have fellow Americans). A couple of incursions into “Alligator” with killer “Abel” (another tune reinforcing the idea of a shocking band for newcomers) and “All the Wine” (that “like every Californian” line), plus some of “Boxer” masterpieces, like “Slow Show”, that allowed a cheerful Matt to show his range as a showman (they were in a relaxed mood and funny remarks, fuelled also by the place, abounded) commenting how surprised he was this song was being used for weddings despite the references to “his penis” in the lyrics, or personal favorite “Fake Empire”, one of THE SONGS, that closed the gig before the encore…

Acoustic National. Photo: Bloodbuzzed

Ah, the encore. As someone already “initiated” on The National live, I knew this is usually reserved to the “Matt’s goes crazy” territory. And it was, of course, with the explosions of “Mr. November” and “Terrible Love”. But what I didn’t expect was “About Today” to start the last batch of songs, and the end with a choral (Daughter members included) rendition of “Vanderlyle Crybaby Geeks”. Absolutely devastating* for this humble writer.

An afternoon that started with doubts ended being a glorious picnic. Simply one of the best gigs of my life, thanks to the greatest band (in my opinion) of the planet today.

*Yes, that means tears…

The final countdown begins!

June has begun, big changes just around the corner. This is going to be a very very special month!!!

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Primavera als Bars 2013: Big Summer + Les Sueques

As it happened last year, the Primavera Sound Festival warms-up the city with a series of local concerts in pubs and unusual places before the big event takes place. Here's a very quick chronicle of yesterday's double gig, courtesy of our beloved friends from El Genio Equivocado, with two exciting bands from their roster!

Big Summer. Photo: Bloodbuzzed

Big Summer. C3Bar, Barcelona, May 3rd
El Genio Equivocado latest signing is by far their most international combo, sounding intensely contemporary and full of promise. With their debut EP "Bone and Arrow" just out now, the young trio (a quartet on stage) presented live a noteworthy set of songs that, unfortunately, muted into something much more rockier and noisier than what they have recorded on CD. It's understandable they wanted to sound heavier on a venue that was quickly packed and chatting was constant (for once, I can understand). But their indie-rock charms, at least to me, are in the great melody lines that tunes like "Real Thing" or the mind-blowing "Morning Sun" have, a sun-soaked affair that immediately recalls to the great Real Estate. In that sense, an excess of volume like what they choose Friday reduces the impact of their music, kills a bit the magic of their graceful tunes. Nevertheless, Big Summer is a band to follow closely.

Les Sueques. Photo: Bloodbuzzed

Les Sueques. C3Bar, Barcelona, May 3rd 
And the second gig was also my second time watching Les Sueques in two weeks, when they were the support band for Allo Darlin' at the 24th Barcelona Guitar Festival. With the venue completely full, at least at the front rows, the quartet quite an exciting show. Without the sound issues they had at the BARTS Espai Club their pop-punk sounded filthier, messy, carefree and playful. Guitars, screams, occasional and intriguing odd sounds coming from theremins and other toys, and the magnetic stage presence of lead singer and bassist's Blanca, the band had fun, and so did the public. Riot girls with a bunch of addictive tunes -"Ningú" sticks in your head like a hammer, "Beix" makes you shake you head mercilessly, "S.F." knocks you out-, and a healthy dose of humour.

Guitar lessons with Lee Ranaldo

Lee Ranaldo (+ Murnau B).  La [2] de Apolo, Barcelona, April 24th.

Ranaldo in BCN. Photo: Bloobuzzed

Spring is always the best time for live music. April its been a month  pretty full of gigs and May looks, happily, even busier in that sense (Primavera Sound is just around the corner, folks). Past Wednesday it was my second chance watching live a veteran stage legend, that to me is a recent discovery. I'm referring to Lee Ranaldo, Sonic Youth's guitarist, responsible of one of my favourite records from last year, "Between the Times and the Tides".

Murnau B. Photo: Bloodbuzzed

Ranaldo's gig was supported by local band Murnau B, an instrumental trio aiming to create dense, cinematic and dark no-wave tunes. They sounded solid and fierce, but this is just a matter of taste I guess. To me every tune was too similar to the previous one (only exceptions the couple helped by keyboards), a bit grunge, and sorry to say, pretty boring. In my opinion.

But then Lee Ranaldo took the stage. It wasn't going to be a surprising gig, and we quickly realise that, once again La [2] de Apolo was going to frustrate our aspirations of enjoying a great sounding performance. Instruments were crystal clear, but Ranaldo's vocals were pretty average. I can't really understand why there's such a huge difference in what regards to sound quality between the two Apolo rooms.

Steve Shelley. Photo: Bloodbuzzed

Guitar heroes. Photo: Bloodbuzzed

Having complained about that, the gig was almost flawless. Ranaldo and his band were amazing, and the whole place vibed with the heavily-charged electric tension propelled by guitars (Ranaldo was backed by Alan Licht and Tim Luntzel) and Sonic Youth Steve Shelley's relentless drumming. Songs like the shiny "Off the Wall" or "Lost" are priceless, and played with that level of intensity live, they inoculated euphoria on the listener. The veteran musician combined this more straightforward pieces with angular, longer and more oblique rock pieces, like "Xtina As I Knew Her" or "Shout". Ranaldo makes me think about R.E.M.'s "Document" era or their most abrasive, rockier tunes. I even hear traces of Stipe vocals on Ranaldo's way of singing. That, combined with his skills, a gentle little chat there, and a a bit of show with his guitars (that couple of moments destroying the strings playing the instrument as if it was a violin) made the night absolutely remarkable. Guitar lessons with a maestro.

Up & close. Photo: Bloodbuzzed

Ranaldo and his band weren't shy to offer new tunes (a couple of them sounded really exciting) plus a cover of The Byrds "Everybody's Been Burned", written by David Crosby, and when the time came for the end, with the majestic finale of "Waiting On a Dream", after a generous hour and half gig, the overall feeling was easy to define: total satisfaction. Even despite not having the best sounding.    

A weekend full of music (part I)!

Just woke up on what it has to be a lazy Sunday after two days full of music. Here's a summary, divided on two posts, of what we have seen and done the last 48 hours.

24th Barcelona Guitar Festival
As a coincidence, we had a double date on Friday 19th and Saturday 20th with this Festival that during several weeks offers all kind of concerts. Friday was supposed to be a very special gig for me, the first chance to see personal favourites Allo Darlin' live. But unfortunately the night turned out a bit disappointing.

Les Sueques. Photo: Bloodbuzzed

The night at BARTS Espai Club, a small but quite pretty venue counted started so promisingly thanks to the good vibes transmitted by the support band Les Sueques, another emerging act of the great label El Genio Equivocado (look for them at the Spanish Indie section of this blog very soon). Songs a bit chaotic, a bit undefined, but full of intrigue, potential and challenge. Pop-punk with a dark, sardonic side (somewhat sad that half of the audience only seemed to be there for the jokes), sharp guitar lines and a quartet with a lot of promise.

Allo Darlin' at BARTS. Photo: Bloodbuzzed

With a venue so packed the space was became a bit uncomfortable, Allo Darlin' started their gig and quickly exposed the contradictions of the night. So many irresistible indiepop songs in their short career, a natural charm and the feeling they were having a good time cannot hide the fact sound was pretty average (only exception of Paul Rains' guitar lines) in particular with thevocals. But that wouldn't have been such an important factor. The problem was, that at least to me, this was one of the best examples I ever suffered of how live music is being ruined by postureo: irritating people that is just there because they think "being indie is in/cool", posers, fakers that just have the feeling they have to be there although they don't really care. I'll post on that soon.

Jane Joyd at Music Hall. Photo: Bloodbuzzed

It was a very different thing the next day at Music Hall. Jane Joyd arrived to Barcelona, amazed us, and confirmed what a great artist she is. Surrounded by a fantastic band (kudos to the drummer, a real beast, the keyboardist and the powerful trumpet) and ignited by her disarming voice, the songs were a real impact. Sure, the music proposal can be "too much", and that intensity could be a bit extreme for a full album. This is not the sort of music you are looking to listen each day, it requires some will from the listener. But if you do, you'll be greatly rewarded. Don't miss the chance to see Jane Joyd live.

You can read the second part of this post, on the Record Store Day held yesterday, coming right now here!

You Are the Everything

OMG! What and incredible music moment. One of my all-time favourite songs, unexpectedly performed by The Decemberists' Colin Meloy, Death Cab for Cutie's Ben Gibbard and on the mandolin... the man itself, R.E.M.'s Peter Buck. What a performance! I just had to share the video with you. Goosebumps, on emotional mode since I watched it....


You Are the Everything

The Indie Anthology 21: essential songs

The next chapter in our Anthology is reserved to a very special artist, very dear to me, who I'll be seeing live, for the third time (first in the best of possible companies), next Friday. A great singer, clever lyricist, smart observer of personal relations and social behaviours, capable of making you laugh or wallow on your own pain when you feel miserable (oops maybe I have said too much here). A composer and creator of wonderful pop songs.

Ladies and gentlemen, the indie-pop genius of Mr. Neil Hannon, The Divine Comedy.

Song: Absent Friends
Artist: The Divine Comedy
Year: 2004

"A Lady of Certain Age", "Our Mutual Friend", "Tonight We Fly", "Songs Of Love"... I could be arguing with myself for decades. I can't decide which is my favourite song of The Divine Comedy. So why I choose "Absent Friends"? It's not the first that brought me to his music either (the amusing "Alfie" or "Everybody Knows that I Love You" are the ones). But "Absent Friends" was the one that made "click" on me, the one that made me move from an occasional listener, waiting for a greatest hits compilation, to a devoted fan. There's something on his voice, always delicate but never more powerful than here, brilliantly accompanied by the orchestration (the chamber pop master at his finest hour?). There's something on the orchestration, upbeat, epic, and martial, but allowing every word to be heard. There's something on the words, heartfelt and honest. A song about long-gone, missing, somehow fallen heroes have never sounded so touching and uplifting.

See you in a week dear Neil!!   

Fanfarlo fills Barcelona with light & great music

Fanfarlo. Sala Apolo, October 14th, Barcelona

Simon and Amos in Barcelona.
Photo: Bloodbuzzed

I was dying to see Fanfarlo live, probably since I heard "Reservoir", their debut album, for the first time. And despite "Rooms Filled With Light", also a good record, still has to grow to have the impact their first one had on me, attending the gig was mandatory.

"Lenslife", "Tightrope" and "Feathers" opened the gig in Barcelona at a happily (didn't expect that, being a Sunday night) full Sala Apolo. It was a wonderful way to start. Three good songs that blossomed live, into a more vibrant, dreamy tunes, instantly catchy yet elaborated. More passion and less brain.

Cathy Lucas, violins & keys.
Photo: Bloodbuzzed

Quickly arrived the first highlight with "I'm A Pilot" a soaring indiepop gem. First goosebumps of the night while trying to reach the glorious chorus along with (the always-in-movement) singer Simon Balthazar. If the concert had ended there, it would have been worth it already.

Luckily there was a lot more to come. "Grey & Gold" followed, being one of the several new tunes presented in Barcelona, announcing the arrival of a new album in 2013 (terrific!!), which sounded promising. Then came "Bones" and "Tunguska". Trumpets, saxophone, violins, guitars, keyboards, rhythm, double and triple vocals. Overall, quite a lot to look and listen at, and a lot of joy (without hiding melancholy) is what their songs offer. "The Walls Are Coming Down", a explosion of indiepop perfection. If you have blood in your veins, you'll end singing its chorus.

Simon tuning his guitar.
Photo: Bloodbuzzed

On the equator of the gig, we heard another new (and excellent) number, "Cell Song",  followed by another unmissable track from "Reservoir", "Comets". Sorry if I begin to repeat myself, but that album is a modern classic, so full of splendid tunes, as the superb "Finish Line", coming after "Deconstruction", with its epic crescendo, proved again.

The last section of the concert opened with "Dig" followed by the great "Luna" and a super-upbeat "Landlocked", another new one that has "single potential" written all over. The happy band seemed to put an end to the gig with the lovely "Shiny Things".

Trumpet solo in BCN.
Photo: Bloodbuzzed

But very soon they returned with a short of encore with "The Sea", announced as a genuine première for Barcelona but maybe the less inspired of the new songs presented (or maybe it was just misplaced on the setlist, being that close to end of the gig), followed by the unbeatable "Harold T. Wilkins". Oh! How many years waiting to hear (and sing, and dance to) that song live! As expected (dreamed) it sounded lush, fierce, pure melody and vitality. The perfect closure for a great gig.

Setlist of the gig.
Photo: Bloodbuzzed

Fanfarlo played with enthusiasm and energy. Don't believe Simon drank enough whisky to consider that was the reason. Don't believe it had something to do with the incense either. They just seem to be that passionate with their music. So that's what their music transmits to the listener. Using the title of their last record, they brought light, they filled Apolo with their light on Sunday.

Finally saw them live. I guarantee you, it won't be the last time.

Sharon Van Etten, the woman that rains

Sharon Van Etten. La [2] de Apolo, Barcelona, September 29th

A lightning voice in full.
Photo: Bloodbuzzed

It was raining all day, something unusual in Barcelona, and a very inviting occasion for introspective and moving, great music. Adjectives that are the perfect definition of Sharon Van Etten's songs. Haunted by "Tramp", among the best records of the year, her mesmerizing voice and the terrific gig she gave at Primavera Sound 2012, there was no option: I had to be there, on the front row.

A change from the biggest stage of the Festival to a small venue was a significant one. Would that affect the sound? Some concerns were also on the place itself: I have had wonderful but also absolutely forgettable experiences at La [2] de Apolo, so when I saw the stage was set for a full-band show my doubts were increasing. How would it sound?

Sharon at La [2] de Apolo.
Photo: Bloodbuzzed

The epic and heart-drenching "All I Can" opened the gig on a heavily-charged way. With "Warsaw" following immediately, gone away were the sound concerns. And after the country-tinged "Save Yourself", the first highlight of the night arrived: "Leonard". Goosebumps. And let's admit it, a couple of tears. Hearing that tune in front of Sharon is devastating, something only the best musicians can achieve with their work. The spark was lighted.

"Ask" was another jaw-dropping ("trying to get the balls/but it hurts too much to ask", what a line), seconded by the marvellous "Magic Chords" where Sharon's voice gets moody, nocturne, ready to kill and be killed. It was raining outside, but nothing compared with the torrent of emotions pouring inside Apolo.

Kneeling at the end of "I'm Wrong".
Photo: Bloodbuzzed

Next came the almost solo moment (just helped on backing vocals and a second acoustic guitar), that being honest was the most forgettable number of the night, quickly eclipsed by more stand-outs from her still short but already impressive career. "Don't Do It" from "Epic", with its never-ending (thankfully) chorus and "Give Out", another stand-out from "Tramp", as desperate as mind-blowing. In between, Sharon and Co, played "Kevin's", with a previous attempt of chatting with the audience while she tried to explain what was the origin of the tune. Needless to say, she couldn't. But we all understood.

The setlist.
Photo: Bloodbuzzed

The intensity, machine-gun calibre of "Serpents" was a bursting and bitter counterpoint to the previous song, serving also as a perfect propeller to the ethereal "I'm Wrong" with a near psychedelic end that seemed to close the show. By that time Sharon had also achieved a sort of communion with the audience, she looked bright and cheerful (which is remarkable considering her lyrics) so we didn't wait much for an encore. "One Day" and "Love More", both from "Epic" showed her folkiest side. Compared with the level of intensity showed before, it wasn't the best of the endings possible... but that's not a complaint. Just a reminder of how spectacular and touching Sharon's music can be. As Ryan Adams' song says "damn Sam I love a woman that rains".

Pegasvs, machines going pop in Barcelona

Pegasvs (+ Y). Music Hall, Barcelona, April 12th

Pegasvs in action. Photo: Bloodbuzzed

This concert review is going to be quite biased, as electronic and krautrock music are not my field of (modest) expertise. So me being part of the audience can only be explained by three factors: someone "pushing" me to go, a ridiculously cheap price (reasonable prices, more tickets sold, see?), and of course, the highly addictive Pegasvs homonym debut album. 

Y, support act of the night.
Photo: Bloodbuzzed

On a quite full Music Hall (is a very small venue, but still quite remarkable considering there were many concerts going on in Barcelona), showing the considerable buzz Pegasvs are making with their record, the night started with the (gig, performance, session?, sorry for my lack of knowledge) of the support act Y (seems it was their debut live). During a set that lasted more than 30 minutes, this local duo sounded like a mixture between Kraftwerk and the annoyingly ubiquitous Chromatics, thanks to the also annoying "Drive", to me. But again, electronic is not an area where I can make a lot of comparisons.

Luciana della Villa
Photo: Bloodbuzzed

After Y, the turn arrived for Pegasvs, officially presenting their LP live. But for a show advertised as an special occasion, Sergio Pérez and Luciana della Villa their performance wasn't that special. Songs were executed with precision, sounding very close to the album versions. For a non-electronic music fan, that was great, because what makes "Pegasvs" a fantastic album is that behind the Motorik rhythms and machines, the tunes sound pop, with explosive and fascinating melodies like "La Melodía del Afilador" (amazing), "Sobre las Olas" or "Atlántico". But it was also a bit disappointing, as their technically irreproachable performance was quite flat in terms of connection with the audience, giving credit to the ones saying electronic is cold. But that's something that can be corrected, experience will solve it. And it's way more easier when, like Pegasvs, you have the songs. See you again pretty soon!

Dum Dum Girls in Barcelona: sound matters

Dum Dum Girls (+ Arponera). La [2] de Apolo, Barcelona, April 5th
 

Dum Dum's style. Photo: Bloodbuzzed

I was really looking forward to see the Dum Dum Girls for the first time live. Their music is highly addictive and the chance of seeing them very close, as La [2] de Apolo is a small place, was also appealing. Pretty soon the venue revealed their pros and cons.

Before Dum Dum Girls took the stage, the support act Arponera tried to warm up the (pretty cold) night. But they couldn't. I'm pretty sorry to say it, but what was that? Someone should change that tendency of Spanish indie of lyrics that for the sake of being supposedly funny or odd makes the group relevant. There's only one Manos de Topo, and besides unusual lyrics and an eccentric lead singer, they have some (quite a lot, as a matter of fact) talent and tunes. Arponera doesn't have any of these two qualities yet, so their set was quite annoying.

Dee Dee in action
Photo: Bloodbuzzed

Time for the Dum Dum Girls, finally. Yes, the first impression can't be better. Four attractive women playing guitars (and drums), all dressed for the occasion, with drinks and bottles strategically located. Pure rock'n'roll style, despite the bassist looking a bit lost (something that would continue during the whole gig). Guitars kicked in... but not the voice. Again, the "curse" of La [2] de Apolo, swallowing Dee Dee's voice. Once more on the first row. Once more incapable of hearing the lead singer. The first part of the gig, with "He Gets Me High", "Catholicked", "I Will Be", "Wasting Away" ruined by the sound. I don't know if this fact is the decision of the bands that play here or just a matter of a bad performance from sound engineers, but I have been at this venue dozens of times, have enjoyed fantastic concerts, but suffered as well some disappointing ones. 

More Dee Dee in BCN
Photo: Bloodbuzzed

With that femme fatale attitude there was little interaction with the audience, so the fear of being a wasted occasion was present. Luckily, things started to improve, after "Rest of Our Lives" and the lovely "Bedroom Eyes". Dee Dee, who turned to be a relentless frontwoman, battling against the (excessive) noise, was able to show, slowly, her vocal range. Hits "Bhang Bhang, I'm a Burnout" and "Jail La La" preceded the super-catchy "Always Looking". And the best was yet to come.

Gig's setlist.
Photo: Bloodbuzzed

Because finally, sound "became" decent. It was Dee who asked the engineers to low down her guitar before starting a couple of songs, but the final tunes of the setlist sounded superb, showing the amazing mixture of these sharp guitars and noise backgrounds with their trademark effervescent pop melodies. "Heartbeat", "Hold Your Hand", before newbies "I Got Nothing" and "Lavender Haze", both excellent (next release sounds really promising with tunes like that), raised the level of the gig. "Sight of You", their Pale Saints' cover followed in a stunning performance. Afterwards, they left the stage for a very short while, returning with "Coming Down", Mazzy Star's close sister, and one of their best songs to date.

With that fantastic end, I left the venue with mixed emotions, half-frustrated, half-satisfied. This band rocks, we were able to hear it for a while, so this concert could (should) have been spectacular.