Guest Post By: Jen “Coble” Hopper
Coble’s Top Tracks of 2013:
Kodaline – “All I want”
The Neighbourhood – “Sweater Weather”
Atlas Genius – “Trojans”
Muruch’s Mid-West reviewer/photographer Jen “Coble” Hopper caught The Joy Formidable’s concert at Notre Dame’s Legends Nightclub last Thursday, April 11th. You can read her thoughts about and see her photographs of the show below…
The Joy Formidable played Legends of Notre Dame (Notre Dame, IN) on Thursday, April 11th. Their original set date a couple of days earlier was cancelled due to illness, but when the threesome took the stage, they started off playing like champions.
Ritzy took the stage with bright smiles, bouncing around and engaging the crowd as they were treated to songs off of their latest record, Wolf’s Law.
“This Ladder is Ours” looked and sounded amazing as Ritzy and Rhydian donned rockstar poses all over the stage. Don’t be mislead by the sweet vocals and tiny, petite frame: Ritzy dons a guitar like any guitar god, just one of her many talents as the band’s front woman.
Sadly, the magic ended mid-set as Ritzy began to feel faint. The band cancelled the rest of the set so they could get Ritzy to a medic.
The Joy Formidable have a full summer of touring ahead of them, so there are plenty of opportunities to catch them for a full set in their (hopefully healthier) future.
Guest Post By: Jen “Coble” Hopper
Fall Out Boy recently announced an end to their “haitus” and their new album, Save Rock N Roll, comes out April 16th. For those who can’t wait until release day, the band has made a free, legal stream of the album available on Soundcloud. It’s pretty great, not even gonna lie about it. Check out the album stream and tour dates below…
Fall Out Boy 2013 Tour Dates
9/5 – Uncasville, CT @ Mohegan Sun
9/6 – Lowell, MA @ Tsongas Arena
9/7 – Brooklyn, NY @ Barclays Center
9/8 – Philadelphia, PA @ Liacouras Center
9/10 – Fairfax, VA @ Patriot Center
9/11 – Cleveland, OH @ Wolstein Center
9/14 – Auburn Hills, MI @ Palace of Auburn Hills
9/15 – Toronto, ON @ Echo Beach at Molson Canadian Amphitheatre
9/18 – Broomfield, CO @ First Bank Center
9/20 – Anaheim, CA @ Honda Center
9/21 – San Francisco, CA @ America’s Cup Pavilion
9/22 – San Diego, CA @ Valley View Casino Center
9/25 – The Woodlands, TX @ Cynthia Woods Mitchell Pavilion
9/26 – Grand Prairie, TX @ Verizon Theatre at Grand Prarie
9/28 – Alpharetta, GA @ Verizon Wireless Amphitheatre at Encore
9/29 – Tampa, FL @ USF Sun Dome
I think it safe to say that the extraordinary Fiona Apple is one of the all-time favorite artists of every single writer on the Muruch staff. This is particularly true of our Mid-West reviewer/photographer Jen “Coble” Hopper, who was fortunate enough to attend Fiona Apple’s live performance on March 19th at Chicago’s Lincoln Hall. You can read Coble’s review and view her photographs from the concert below…
The stage at Lincoln Hall was tiny and intimate, crowded with a baby grand piano, a drum kit and a full accompanying band. The piano was lovingly draped with gorgeous, fringed fabric and several candles. To the right, Fiona greeted the crowd with only a warm smile before beginning her performance. There was just enough floor space to allow her signature expressive physical performance, her body rolling and convulsing through “Fast As You Can.”
The 21+ crowd was elated, cheering Fiona loudly between the first few songs with occasional shouts of “Welcome back!” and “We missed you!” All the while, they collectively sang along with well-loved songs from her first three albums. She spent time at the piano as well as standing at the mic, her eyes closed as she passionately belted out every word. She only opening them when the lights were dim, her shyness still evident. Any stage banter was unnecessary.
The crowd settled after the first few songs of the set, the packed room going completely silent to allow each of the lyrics to be heard. To accompany the new tune, “Anything We Want,” Fiona played a piece of old rebar or scrap metal with what appeared to be a long nail to create a sound like a kitchen sink. A few of the more charming lyrics from the song include this verse:
These written lyrics really do not do justice to the whimsy of the upbeat tune or the joy she obviously felt performing it.
Another new song, “Valentine,” started with minimal instrumentals, letting her voice and the lyrics stand alone until after the second verse:
The resonating chorus, “I root for you, I love you, you you you” is followed with the familiar, haunting chord progressions that have grown to be characteristic of her work.
The other new song, “Every Single Night,” is another lighter melody paired with relatable, anxious thoughts:
The now peaceful audience marveled between songs, and evoked a flattered smile from Fiona with singular calls of “I love you!” and “How are you real?”
Fiona still wears each song like a second skin, letting her emotions be completely exposed; slipping easily between the youthful angst and anger of betrayal to lighter or more mature selections. She growled and gritted out “Sleep to Dream” in one of her most impassioned performances, reliving the anger and the frustration with every inch of her petite form. Later in the song, she disappeared behind the piano, bent over at the middle, seemingly hiding through the instrumental portion. On the contrary, “Extraordinary Machine” elicited a practically bubbly performance with playful twists of waist and shoulders and a swinging foot. She bleated and howled older songs like “Carrion” with such volume and raw emotion, they became fresh and new.
She struggled just slightly in her higher range, and her voice was more rough in parts as she finished with “Criminal.” She slowly, gently removed her monitor and sat it on the piano. It’s possible that the only words spoken to the crowd were those to genuinely thank them for a wonderful evening before she walked off stage, not to return. The common wish among the crowd was for a longer set, but it’s evident that Fiona’s performances are on her terms. She spoke only when necessary, and, once she felt her voice start to strain, ended the set without the exercise of an encore.
Her return to the stage was anything but disappointing. Fiona Apple delivered a recharged, inspiring and musically enticing performance. Her next characteristically long-titled release cannot come soon enough, but The Idler Wheel is Wiser Than the Driver of the Screw, and Whipping Cords Will Serve You More Than Ropes Will Ever Do is tentatively scheduled to hit stores sometime in June.
Muruch’s Mid-West reviewer/photographer Jen “Coble” Hopper joined the crowd at Chicago’s Metro theater on November 11th for a solo set by Fall Out Boy singer, Patrick Stump. You can see Coble’s photographs and read her take on the concert below…
What do you get when you combine punk attitude, soul stylings, pop hooks, a can of redbull and a band of super-talented, crazy-faced musicians? Patrick Stump’s solo project on tour.
Patrick Stump released his aptly-named solo debut, Soul Punk, just a month ago and has been touring with Panic! at the Disco over the fall. He plays every instrument on the self-financed album, and he’s put together an excellent live band that share his spirit: guitarist Michael Day, keyboardist/saxophonist Casey Benjamin (who has performed with Mos Def and Q-Tip), drummer Skoota Warner (formerly of Ra), and Taking Back Sunday bassist Matt Rubano.
Though he’s played Chicago’s Metro a number of times as part of Fall Out Boy, Patrick thanked the audience: Performing a solo show at Chicago’s legendary venue The Metro has been a dream for him. He and the rest of his band looked quite dapper in their mix of suits (turquoise, plaid and otherwise) to celebrate the occasion and his appreciation was evident in his high-energy prance, bright smile and occasional glance into the packed-to-the-gills VIP area.
Patrick covered Bowie, performed a medley, belted out a ballad, picked up the drumsticks to accompany his band on the snare drum, played a tiny trumpet… All within the first three songs. And he really never stopped moving, prancing, spinning and gesturing passionately throughout the sadly brief sixty-minute set.
In interviews, Stump has spoken fondly about learning music with his father when he was growing up. Friday, he shared with the crowd that he knows “The ‘I’ in Lie” might sound a lot like Prince, but it’s actually the kind of song his dad would write. Before disappearing for the encore, Patrick covered Phil Collins “In The Air Tonight” and went so far as to sing it from the drum kit while he played. Other highlights of the well-attended set included “Run Dry” and “Bad Side of 25,” which most the audience sang back with great enthusiasm.
For any who were unsure how he would fair in the transition from Fall Out Boy, rest assured that Patrick Stump shines as a solo artist. He’s a flurry of energy and his vocal delivery is as flawless live as on the record. Stump’s musicianship was evident throughout the night and the closing singles, “Explode” and “This City,” left the crowd aching for more.