One More Spoon of Cough Syrup for Young the Giant in Indianapolis

I have a lot of music nostalgia wrapped up in a radio station from my hometown of Novi, Michigan: 96.3 WDVD. Their morning radio show, which I would crank up with gusto everyday on the way to school, touted the catchphrase “Today’s best hits, without the rap.”  Unfortunately for the station, around 2011, a lot of the greatest hits were rap. I remember alternative and pop artists rising to the top of 96.3’s playlists; while other stations were spinning “Super Bass” by Nicki Minaj, 96.3 was playing “Cough Syrup” by Young the Giant. Since 2011, Young the Giant has become an alternative powerhouse, with four albums commenting on everything from relationships to politics.I was extremely excited to join the seasoned performers for their Mirror Masters Tour at the Egyptian Room in Indianapolis.

Young the Giant’s lead vocalist, Sameer Gadhia, is from Ann Arbor, Michigan; I would not be surprised if he also listened to 96.3 WDVD at some point in his childhood. From the moment Young the Giant took the stage, it was evident that Sameer brought incredible energy and passion to the performance. Even during relatively subdued songs for Young the Giant, like “Apartment”, Sameer’s powerful voice was spotlighted by lyrics like “Cause sooner or later this is bound to stop / Come on, let’s savor what we’re falling over”.  Sameer drew the audience into every performance, interacting with the fans and making every lyric feel personal. Even more striking was the crescendo of voices from the sold-out crowd at the Egyptian room, playing a supporting role during every song Young the Giant performed.

I started to take note of the rest of the band when Young the Giant transitioned to play “Titus Is Born”. This song really highlighted the versatility of each band member. With quiet classical guitar in the first verse, Young the Giant created a very cool twist on their usual high-energy pop tracks. Impressively, every band member can play multiple instruments or sing. Lead vocalist Sameer played tambourine and guitar, drummer Francois Comtois sang backup, guitarist Eric Cannata played keyboard, and guitarist Jacob Tilley and bassist Payam Doostzadeh played the synth. The musicality and talent of each band member continued to shine in the stripped down version of “Strings”. This arrangement was part of the band’s “In the Open” video series, where they performed versions of their songs in different outdoor locations; check out “Strings” below.

The back half of the show was hit after hit; the sultry beat of “Mind Over Matter” and fun dance interludes of “Nothing’s Over” followed the radio favorite “Cough Syrup”. By the end of the set, the audience was absolutely begging for more. Young the Giant returned to the stage for a marathon of an encore, playing “Superposition”, “Tightrope”, and “Silvertongue”. The show ended with the entire audience jumping up and down to “My Body”, screaming the lyrics “But I won’t quit / ‘Cuz I want more”. When the house lights came up, everyone was buzzing, probably realizing the truth of those words.

Young the Giant put on an absolutely incredible show, showcasing 10 years of touring experience and stellar discography. Luckily, Indianapolis was only the second stop of the tour – if you can get your hands on tickets, I would highly recommend it. In the meantime, I’ll be on the lookout for the Indianapolis equivalent to 96.3 WDVD; I would not want to miss out discovering on a band like Young the Giant.

by Katie Baird

kiel_hauckKatie Baird is a lover of music that firmly believes transitions between songs on playlists matter, albums are made to be listened to in order, and songs that don’t mention the title in the lyrics are just *better.” Her music obsession began with classic rock records and has evolved to include all genres, with a soft spot for alt pop. While she could talk about music all day, this is her first time writing about it.

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Holding It Down with Noah Kahan in Indianapolis

The first time I heard Noah Kahan, he was featured on a mixtape my boyfriend made for me in the early days of our relationship. “Hold It Down” has always held a special place in my personal music history; although it isn’t a love song, the beautiful, honest lyrics always elicit the nostalgia associated with building my relationship. Now, after almost two years of following Noah Kahan’s music (and dating the same boyfriend), I was so excited to attend this show at The Hi-Fi in Indianapolis.

Noah Kahan

Noah’s discography hosts a collection of singles, and his five-song EP, Hurt Somebody, released in January 2018. Although they all vary in theme and tempo, every recording speaks to Noah’s authenticity as a songwriter. Listening to all of his music in the lead up to the concert, I was looking forward to how that would translate in a live setting.

Noah Kahan took the stage and immediately set the tone, calling, “Are you ready to hear some sad songs tonight?” He certainly did not disappoint on that front, but his set was so much more interesting than just a loop of sad songs. The raspiness of Noah’s voice does not come through in his recordings, so I was pleasantly surprised to hear it when he sang “Hallelujah” and covered “Jolene” by Ray LaMontagne.

The audience was invested, too, bouncing along to the driving acoustic guitar and sing-along chorus of “Fine” and “False Confidence”, which was recently featured on Spotify’s Pop Rising playlist. Noah’s band added so much to the performance, too – everyone was obviously having a great time. The bassist held it down while drinking a few Indianapolis-native Sun King beers, and the guitarist had an awesome solo jam at the end of the main set. Noah mentioned he would be the “Jewish Ed Sheeran” without his band, which was a hilarious and probably very true statement.

Noah Kahan

Noah’s storytelling ability was highlighted in both his singing and set transitions. He told his backstory as an artist in small-town Vermont, posting under a pseudonym on SoundCloud so people wouldn’t make fun of him at school. Noah recounted meeting his future manager in a public place with this parents, “just in case he was a pedophile.” He talked about getting high in New York with someone he barely knew, then writing about it just because he “needed a new single” (“Come Down”). I walked away more invested in Noah’s music, especially due to the dry humor he uses to talk about it.

Noah finished the show with “Young Blood”, singing about the early days as a struggling artist: “four years of driving across the country / For empty seats at their shows”. But, in a true testament to his music, the room was full of fans singing along with him. I felt lucky to be a part of this show, in a small bar venue in Indianapolis, at what I believe is only start of an amazing career for Noah Kahan.

by Katie Baird

kiel_hauckKatie Baird is a lover of music that firmly believes transitions between songs on playlists matter, albums are made to be listened to in order, and songs that don’t mention the title in the lyrics are just *better.” Her music obsession began with classic rock records and has evolved to include all genres, with a soft spot for alt pop. While she could talk about music all day, this is her first time writing about it.

The Unmatched Urgency of Underoath on No Fix Tour

Before last week, I’d never set foot in Fort Wayne, Indiana, and although my sightseeing while inside city limits was minuscule, it did offer an opportunity to keep things fresh. My attendance at the No Fix Tour represented my 8th time seeing Underoath live, now in six different cities.

I say this as a biased fan, but also as someone who has now attended more concerts that I can easily recount: Underoath consistently puts on one of the best live performances on the planet. Their latest stop at Piere’s Entertainment Center, a relatively nondescript mid-sized venue in the middle of Indiana, was still cause for wonder and respect, even after all these years.

Underoath

Even aside from my own fan-boy outpouring, the spectacle of Underoath’s live performance is well documented. What often seems to go unspoken is their ability to stack the bill. Over the years, I’ve seen Underoath bring along bands like As Cities Burn, Every Time I Die, mewithoutYou, letlive., Saosin, The Devil Wears Prada, and the list goes on. The build-up to the main event is always worth watching.

The No Fix Tour once again provides a fresh group of faces for Underoath fans. Limbs, Veil of Maya, and Dance Gavin Dance all provide a worthy warm-up for heavy music fans with a diverse set of sounds. The early rounds are truly won by Dance Gavin Dance, a band in the midst of their own renaissance, ready to drop a new album this year as they roar into their second decade.

PODCAST: Listen to our interview with Chris Dudley of Underoath on the band’s No Fix Tour

Yet, once again, Underoath has a way of making the lead-up feel pedestrian as they take the stage to flashing lights, shadowy synthesizers, and scattered images flashing across the screen behind them. When Spencer Chamberlain takes the mic, unleashing the opening screams of “On My Teeth”, pandemonium ensues.

Underoath

What makes this latest trek for Underoath so exciting is the potential for exploration. The band’s Rebirth Tour focused on two albums from 2004 and 2006, while this current tour celebrates the release of Erase Me while still making room for tracks from other albums like Lost in the Sound of Separation and Ø (Disambiguation). The night is structured around new tracks, but is littered with fan favorites and unsung tracks from the past.

For a band so tied to the nostalgic memories of fans, it’s a treat to watch the crowd sing along to new songs like “Rapture”, “No Frame” and “Bloodlust”. Even unexpected performances of tracks like “A Moment Suspended in Time” and “Paper Lung” elicit delight from the crowd. For a band with such a deep well of diverse tracks to draw from, it makes every performance fresh and exciting, no matter how many shows you’ve attended.

While it’s true that golden oldies like “Writing on the Walls” and “Reinventing Your Exit” still steal the show, there’s no denying that this new incarnation of Underoath is moving forward. Their shows consist of polite nods to the past coupled with a renewed energy to expand their sound and their audience – all while playing with a sense of urgency that is unmatched by their peers. I don’t know about you, but I think it’s going to be a while before I tire of seeing Underoath live.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.

 

Watch live Paramore set from Celebrity Beach Bowl

paramore2

Paramore recently hit the stage for DirecTV’s 8th annual Celebrity Beach Bowl in New York City. You can watch the entire broadcast quality stream of the event below:

Set list:

1. Fast In My Car
2. That’s What You Get
3. Decode
4. Ignorance
5. Now
6. Daydreaming
7. Brick By Boring Brick
8. Ain’t It Fun
9. The Only Exception
10. Pressure
11. Misery Business
12. Part II
13. Still Into You

Paramore is gearing up to hit the road with Fall Out Boy this summer as part of the Monumentour. You can still grab tickets for the tour here. What songs are you excited to see the band play this summer? Let us know in the replies!

Posted by Kiel Hauck

The legend of Johnny Marr lives on

JohnnyMarr

There’s something eerie, surreal and unmistakable about being in the same room as a legend.

The cost of a ticket to see former-The Smiths guitarist Johnny Marr at his recent stop at the The Vogue in Indianapolis was relatively meager. Even so, the venue was not sold out. Those in attendance were treated to a performance from a man who is not just riding off of past legacy status, but has shown that he is a formidable stand-alone musician in his own right.

Marr released his debut solo album earlier this year, titled The Messenger. The album feels like a labor of love that has been formulating for years. Not only does the album feel like a homage to Brit-rock of past decades, but it’s a very relevant and outstanding indie rock record that stands up to any other release that’s come out this year.

The beauty of seeing Marr in person lies in the experience itself – the crowd is littered with fans in their 40s and 50s; onlookers who have followed Marr since his days in The Smiths and long for a chance to sing along once again. The atmosphere is one of welcoming and nostalgia, and not once does the room ever feel uncomfortable or impatient as Marr rips through the entirety of his new record.

Marr stops at one point to ask if anyone has heard the new record before cracking a joke at his own expense. He’ll later comment that he understands who is audience is. Indeed he does. Marr will play a total of six Smiths classics during the evening, each one greeted with open arms and raised voices. Even behind the mic, in place of Morrissey, these songs feel just as alive and meaningful as they always have.

This is not an accident. Johnny Marr is a seasoned professional who knows how to play his instrument and create on the fly – even if this involves recreating his past magical work in this new, solo setting. Instead of the ghostly repeated refrain of “There is a light that never goes out” at the end of the Smiths’ classic of the same name, Marr steps away from the mic and lets his guitar tell the story that we’ve all heard hundreds of times before. This display is both exciting and appropriate.

The fact that The Vogue is not sold out on this night might be enough to make many performers’ skin crawl. Not Johnny. Instead, Marr seizes the moment, as he surely is doing at every stop of this tour, to remind anyone who attends of his place in rock lore, his snarky personality and his unending ability to create music that moves people, even if many miss out on it.

Johnny Marr knows who his audience is. We’re glad to be present and tag along for the ride – wherever his guitar takes us.

by Kiel Hauck

kiel_hauckKiel Hauck is the editor in chief at It’s All Dead. Over the past decade, he has been a contributor for multiple online and print publications and was most recently an editor at PopMatters. Kiel currently resides in Indianapolis, IN with his wife and their imaginary pet, Hand Dog. You can follow him on Twitter.