Tag Archives: #music

Concert review: Holy crap, what was that?

All photos by David James Swanson 

Jack White, formerly of The White Stripes and founder of Third Man Records, performed live in Baltimore on August 24th, 2022. I sat happily in the 3rd row of the Pier Sixth Concert Pavilion in awe.

OK, I say “sat.”  I mean “stood.” 

OK, not just stood. A lot of jumping and clapping along with my hands in the air, and since the guy behind me was yelling so much, I didn’t feel any need to hold back when necessary. 

Well, holy crap, what was that? That, indeed, was a Jack White concert.

The use of technology. Or non-technology

I have been to loads of shows where people appear to be enjoying themselves, but during so much of the show, they are taking photos and recording parts of the show on their smartphones without actually engaging with what they should be. The show. The artist.

I’m guilty – I’ve previously taken photos, video clips, etc.

But some folks will record entire songs and post them on YouTube, and to be honest, very rarely is the quality not… ultimately… crap. As the artist, I’d be f*&ing irritated. And why bother buying a ticket to see the artist in the first place if you’re wasting your money hoping for more “likes” on social media?

So, along comes Yondr, which Jack White and other artists (most prominently Dave Chappelle) are pioneering. It is actually brilliant. 

How it works: you arrive at the venue, and if you have bought along your smartphone, you’ll get a pouch. Enter your smartphone, which is locked in the pouch, so you cannot use it.  You’ll get briefly scanned to ensure you’re not hiding some other smartphone (smarty-pants) and then let in.

At first, it feels weird. “Hey, there’s the stage! Let me take a photo to send to my buddies!”  Nope. I arrived a bit early, and after getting something to eat from one of the stalls, I went to my seat and sat. Waiting. Watching and listening to the DJ on the stage. 

I began people-watching. The couple sitting next to me arrived to check their seat position and said, “Hey man, how are you?” I thought we were about to break into some sort of conversation, but they left. The opening act came on, and they were great. Cautious Clay from New York.

I’d never usually (as in, really, really rarely) sit and watch the entirety of an opening band, but these guys were really, really good. I later looked them up on the internet, and yes, they are.

Jack White

So, the Yondr made me pay attention. And once Jack White and his band hit the stage, I was happy it did.

Jack absolutely killed it, which I mean in a good, “I love rock music” way.  He reminded me why I love rock music so much. The total energy.

He played songs from his solo albums (mostly from his latest two, Fear of The Dawn and Entering Heaven Alive) but also a number from his time with The White Stripes (I will admit, I went bat-shit crazy when he played “Hotel Yorba”), The Raconteurs and The Dead Weather (he finished the official set with “I Cut Like a Buffalo”).

During the encore, there was a brilliant mix towards the end of what began to sound like “Seven Nation Army,”… getting everyone excited, but which then turned into “Steady, As She Goes” (from his time with The Raconteurs), which then slowed down…stopped, and turned into “Seven Nation Army.” The audience went unsurprisingly nuts.

I wasn’t initially sure he would use older material or just stick with his solo stuff. Still, as soon as he ripped into “Dead Leaves and the Dirty Ground” earlier on, I thought, “Well, so he’s definitely going to end with Seven Nation Army,” then.

It didn’t matter anyway.  

The entire thing was brilliant from start to finish, and the lack of smartphones kept the audience enraptured (appropriately so). Jack slid across the stage everywhere, singing, playing, and jumping around. His opening songs from Fear of the Dawn justified how brilliant an artist he really is. His energy on the stage is practically atomic, and he is one of our best guitarists.

The songs are not only hooky and catchy, but they rocked the hell out of the place. Seeing Jack live singing them left my jaw open, but for the fact that I was singing along, clapping along, etc.  

He stopped at points to take breathers (him and the audience), dry off, trade guitars (I’m not sure I’ve ever seen an artist exchange so many guitars), and play a few slower songs from Entering Heaven Alive. He cheekily played “We’re Going to be Friends,” a White Stripes song where he managed to get the audience to sing practically half of it, as it is such an iconic song from The White Stripes.

I have a sort of funny list of “Bands and Artists I Want to See Before I’m Dead.”  Well, Jack White, you were on it, and thank you.  You did not disappoint. 

Chris Garrod, August 25, 2022

Review: Back stronger than a ’90s trend.

It feels like she cannot stop making music, and it’s outstanding.

Taylor Swift was born in just 1989. So she is only 31 years old.

It’s truly fantastic to see her progress. When I started to write this, I was going to detail that progress, all the way up to 2019’s Lover, which became one of my favorite albums of that year. But it just became too much.

I just want to look at the now.

Her last year, 2020.

folklore
evermore

Both released just out of the blue, folklore and evermore shocked me; the first in July and the next in December. Both albums were largely produced by The National’s Aaron Dessner and long-time collaborator Jack Antonoff, who produced a few tracks.

The best way I can describe these albums is – while Swift described them as sister albums – that they just… drift along together. Notwithstanding the various reviews regarding which one is better (Metacritic ranks folklore), I very much see these two albums as one. They’re not even sisters in my opinion. But for “Willow” being the outstanding opener of evermore, they really are hard to tear apart, running on a constant basis (NB: caveat… I’ve now listened so much to them both, I really can tell them apart, ahem).

evermore was really conceived during the Long Pond Studio Sessions documentary, recorded with Dessner and Antonoff. Indie band Haim, Bon Iver, and The National appear on three of the tracks of evermore. Bon Iver appears on folklore (more on that below.)

Although she has maintained her pop music core, these are really indie albums. They are both introspective. The lyrics are ‘in demand’ listening – you really, really have to appreciate what she is singing. Plus she swears!

Dessner stated after folklore was released:

Taylor has opened the door for artists to not feel pressure to have “the bop.” To make the record that she made, while running against what is programmed in radio at the highest levels of pop music — she has kind of made an anti-pop record.

I’m not sure I’d say either folklore or evermore are “anti-pop”. Make no mistake, for the most part, these are really still pop albums but dialed down a notch, certainly.

The one song I’d highlight, which I’d say is certainly not a pop song, from folklore, is Exile, with Bon Iver. This is a song which has been so beautifully written by Swift, William Bowery, and Justin Vernon, that on my first listen, completely brought tears to my eyes, something songs just really don’t do. I was initially taken aback by the opening: Vernon’s singing. That was followed by Swift’s. The two combined and split apart again and then hit an amazing, beautiful crescendo, which left me literally gobsmacked. Lyrically, it is incredible. The song is about a break-up between two lovers, which is irretrievable. The song is absolutely devastating.

Swift has always been a great songwriter. 1989 and Lover are examples. Her early country music output began when she was just sixteen, with Taylor Swift being released and becoming the longest-charting album of the 2000s decade on the Billboard 200. At just sixteen.

In my view, folklore and evermore have elevated her to a brand new level, and the two combined were my favorite albums of 2020.

I’m looking forward to hearing what she does next.

Chris Garrod, 10 February, 2021