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Tag: About Last Night (61-70 of 205)

On the scene: U.K. breakout Ed Sheeran and Anna Krantz play Brooklyn

Last night Brit rocker Ed Sheeran took to the Music Hall of Williamsburg to celebrate the release of his album, +, and it’s No. 1 spot on the iTunes chart. (At the time of this post Usher’s Looking 4 Myself had bumped him to No. 2.) I was on there last night, and my ears are still ringing from the hundreds of screaming girls swooning over Sheeran’s stellar performance. (Okay, I was swooning too.)

Sheeran’s opening act, Anna Krantz, quickly won over the crowd—myself included—with her piano-driven ballads. The highlight was her performance of her latest single, “Rubble and the Dust.” (Coincidentally, Ed Sheeran pops up in the video for the song.) But the real high note for Krantz was concluding her set with a cover of fun.’s “We Are Young” — that’s one way to ensure every person in the Music Hall will sing along. The London-born Krantz doesn’t yet have her own album, but announced plans to release an EP by summer’s end. After the show, she garnered more fans and Twitter followers as she passed out free downloads of “Rubble and the Dust,” signed autographs, and took pictures with the crowd.


Nicki Minaj cancels Hot 97 Summer Jam headlining gig after radio DJ insults her song 'Starships'

Yesterday, Lil Wayne put everybody on notice: He is a very protective label boss, and he won’t hesitate to ruin your party if you cross one of his charges.

The 50,000 or so people who packed into MetLife Stadium in East Rutherford, New Jersey yesterday for New York City radio station Hot 97′s Summer Jam festival got a rude awakening when headliner Nicki Minaj had pulled out of the show — one of the biggest annual events on the hip-hop calendar.

It all started when Hot 97 DJ and Hip-Hop Squares host Peter Rosenberg threw down “Starships,” on the current single from Minaj’s Pink Friday: Roman Reloaded, while introducing rapper Kendrick Lamar. “We’re all about that real hip-hop,” he told the crowd. “I know there are some chicks in here waiting to sing along with ‘Starships’ later. I’m not talking to y’all right now. F— that bulls—.”

Lil Wayne, who heads up Minaj’s Young Money label, jumped on Twitter to announce “Young Money ain’t doing summer jam.” READ FULL STORY

Afghan Whigs live in New York City -- still dark and dangerous at their first show in 13 years

When I first joined Entertainment Weekly a little over a year ago, the deputy managing editor asked me who my favorite songwriter was. I answered unequivocally: Greg Dulli, the seedy mastermind behind great 21st-century soul-scuzz combos Twilight Singers and the Gutter Twins. While Dulli has rarely put out anything I didn’t like, my adoration for him begins with the Afghan Whigs, the Cincinnati-bred combo who released a half dozen albums’ worth of cocksure R&B for the alt-rock era.

The band parted ways in 1999, but last night at New York’s Bowery Ballroom, they returned. (The Whigs were supposed to make their grand reunion at the Dulli-curated All Tomorrow’s Parties festival in New Jersey this September, but considering the band’s last show was at the now-defunct New York club Hush, Dulli wanted to start the band right where they left off over a decade ago.) READ FULL STORY

Jack White makes joyful noise in New York: Live from the Roseland Ballroom

During the only extended pause during Jack White’s breathless, sweaty parade of garage-scuzz blues at New York’s Roseland Ballroom on Monday night, the rock formalist paused to tell a joke. He described a scene outside a local smoke shop, where two kids were lying on top of newspapers and furiously kissing. “See,” he told the crowd, “it’s not hard to make it on the cover of The New York Times.”

That’s an old gag, but it’s the sort of good-old-boy humor that runs consistent with White’s take on the old bits of Americana that have informed his entire musical career—especially his just-released solo album Blunderbuss. His current tour is full of those kinds of nods: White’s stage is backlit for extra ambiance, while members of his crew all wear three-piece suits for effect.

And while much of White’s aesthetic comes from pre-War ideologies, his musical delivery is pure ’70s. The thunderous hammer of Zeppelin pounded all over riffs from various stages of White’s career. READ FULL STORY

Odd Future show shut down by cops in Boston (again)

Sucks to be an Odd Future fan in Boston.

Nearly a year after the Los Angeles rap collective had their Newbury Comics show shut down by police, the Tyler, the Creator-led group has once again seen their show cut short by Boston’s finest.

According to a fan-made video, Odd Future were performing last night at the city’s House of Blues when the lights were turned on by the venue, apparently at the instruction of cops.

“Just so you guys don’t think we’re d—s, I was going to finish the song, because you guys paid money,” Tyler tells the booing crowd. “But the promoter cut us off.” Word has it, one of OFWGKTA’s crew members was arrested outside the venue.

“We wanted to finish,” he continues, “but the owner of the club made us turn it off and the police are right there.” He had more to say, but his mic was quickly cut off. See it go down in the video below:


Nas brings 'Illmatic,' New York City trash cans to SXSW

In her book Is Everyone Hanging Out Without Me? (And Other Concerns), Mindy Kaling of the American Office argues that “with the [British Office] character David Brent, Ricky Gervais guaranteed that he would live in the pantheon forever, even if he did years of terrible, mediocre stuff.”

Gervais should get a beer with Nas. While he hasn’t produced anything truly terrible yet, the 38-old rapper will likely never outdo his 1994 debut, Illmatic. He’s had some good albums (and some just-okay ones) since then, but that record — one of hip-hop’s finest, period — will always define him.

As such, the classic East Coast album was on everyone’s mind at the Queensbridge rapper’s SXSW show at ACL’s Moody Theater. The stage was expertly dressed to resemble a New York street corner, complete with graffiti, a subway entrance, and an authentic-looking NYC trash can. For the many traveling New Yorkers weary on the last night of the festival, it was a little tempting to pull out a Metrocard and ride the imaginary train all the way back home.

Nas was also looking to take a trip to another time and place. Much like Jay-Z’s recent Carnegie Hall debut (which featured a Nas cameo), this NYCentric show splashed the wall with large, postcard-ready images of Big Apple icons like the Empire State Building and the Brooklyn Bridge. The decor cemented what many had hoped: Nas would be serving up llmatic, the album that helped shape the New York sound.


SXSW: Dinosaur Jr. start a mosh pit, ask why we're not watching Jack White

Full disclosure: I’m one of those people who, if told Dinosaur Jr. is playing somewhere, will immediately run to the show. I don’t even wait for the person to tell me where, I just leave and trust that I’ll find it.

Friday night, I found them at a small, off-the-beaten-path drinking hole called Bar 96 for a Filter showcase. The place was small, barely able to contain J. Mascis’ flowing white hair, let alone the hordes of drunk dudes looking to mosh the night away.

And oh, how they moshed. One of the best things about Dinosaur Jr. is that they can get gloriously loud, and a tiny stage outside a bar makes their big-and-noisy guitars bigger and noisier.

No complaints here. Somehow, the band that more-or-less began in 1982 (in the form of Deep Wound) never sound not-good. They’re not one of those reunion bands that rely on the past (*cough* The Cult *cough*). Since they got back together in 2005 (when Mascis and Lou Barlow were finally able to settle their differences), they’ve released two albums that rival their late-’80s/early-’90s classics, and their live shows still make most other bands sound like idiots.

Or maybe I’m the idiot. “I don’t know what the f— you’re doing here,” Barlow joked to the crowd during the show. “Jack White is playing solo right now. A living saint is playing right now! The savior of American music is out there, and you’re here watching some old hardcore hippies play?”

We were, and their stellar set of unsinkable ships like “Feel the Pain” and “Freak Scene” did little to make anyone regret their decision.

But Barlow has trouble letting things go. “Do you hate America?” he continued. “Somebody in this town is playing the blues right now; why are you here?”

“We’re going to play a Cure song right now,” he added. “We love the Cure more than we love the blues. F— Dinosaur Jr.!”

As expected, their famous, long-running rendition of “Just Like Heaven” whipped the crowd into a frenzy — it’s always an amazing thing to see mosh-pit bros crowdsurf to the Cure. Then, as an added treat, the band capped the night with the aptly titled oldie-but-greatie “Sludgefeast.” Yep, all other bands are idiots.

Read more:
Jack White announces solo album, debuts new song ‘Love Interruption’: Hear it here
Bruce Springsteen at SXSW: The Boss invites every person he’s ever met on stage at epic three-hour show
Kimbra, Alabama Shakes, Sharon Van Etten highlight Wednesday night at SXSW

Jack White takes over SXSW with new songs, fancy suits

There’s a real “come as you are” approach to dressing for South By Southwest — florescent hair, ironic T-shirts, giant medallions shaped like characters from Rugrats, Ghostbusters-style jump suits. Plus, the weather is all over the place. Cut-off shorts? Seen plenty of’em. Puffy parkas? Ran across at least one of those too.

But you don’t see a whole lot of natty three-piece suits, let alone ones topped off by sassy fedoras—unless you were at the Third Man Records/From The Basement showcase at Stage on Sixth Friday night. Third Man label boss and blues-loving bon vivant Jack White clad his support staff — band members and roadies alike — in natty attire, simultaneously reminding everybody that there was work to be done, and it was to be executed in White’s extremely particular style. (Unfortunately no photos were immediately available from the event, so the picture above is from an earlier show).

The formality was appropriate, as White’s set had grown into one of the most looked-forward-to musical events of the weekend, and the line to try to get in to see him and his label cohorts stretched for several blocks. People were curious about the new material from White’s forthcoming solo debut Blunderbuss, but they were also simply drawn in by his unique charisma and his chops as a performer. And by tapping into the past—classic country, Delta blues, cacophonous teenage garage rock—he has often predicted the future. What would he reveal this time?

White’s first order of business was indulging in one of the cornerstone rules of a rock show: Get’em early. READ FULL STORY

Bruce Springsteen at SXSW: The Boss invites every person he's ever met on stage at epic three-hour show

There weren’t any great revelations that emerged from Bruce Springsteen’s Thursday afternoon keynote address at the music portion of the South by Southwest Festival. The Boss didn’t have a whole lot of clear ideas to impart, and even he agreed with that estimate (“I gave a big speech this morning, f—ed the whole thing up,” he joked from the stage later).

Mostly, he just got across the idea that he loves rock music, and that it still holds some sort of undefinable power — and later that night he got the chance to prove it where it counts: on stage, in an epic three-hour set at Moody’s Theater in Austin.

The big headlines will probably belong to Springsteen’s giant list of collaborators, which ranged from Rage Against the Machine guitarist Tom Morello, who sat in on a trio of tunes, including a raucous, metaled-up version of “The Ghost of Tom Joad” that split the difference between Springsteen’s acoustic original and Rage’s aggro cover, to Jimmy Cliff, who came out to do a mini set of his own during the encore, including an effervescent “The Harder They Come.”

The Animals’ Eric Burdon also stopped by to blast through “We Gotta Get Out of This Place” (according to Springsteen, he happened to realize Burdon was in town thanks to Twitter, and noted that he has stolen from him more than anyone else in his career), and the night closed with an overwhelming spin through Woody Guthrie’s “This Land Is Your Land” featuring Morello, Burdon, Joe Ely, Alejandro Escovedo (who also opened the show), and members of Arcade Fire. READ FULL STORY

Mariah Carey returns to the stage for the first time since the birth of #DemBabies: See the video here

Throughout her career, Mariah Carey has rarely done anything that could be described as “understated” (you need look no further than her legendary episode of MTV Cribs for proof).

But for her grand return to the stage last night– her first performance since giving birth to twins — Carey kept it small.

Her performance was part of a series called “Plot Your Escape: Four Concerts. Countless Celebrities,” at New York’s tiny Gotham Hall. The evening simulcasted four shows from four different cities: Carey and Diddy in New York, Lil Wayne and Cee Lo in Los Angeles (is that why Weezy bagged on Jimmy Kimmel Live?), Sara Bareilles and Maroon 5 in Chicago, and Mary J. Blige and Gavin DeGraw in New Orleans.

A be-gowned Carey kept the whole thing pretty loose, even joking with the audience that she wasn’t entirely prepared for the evening. (Such was the case when she ran into a bit of trouble on her 1996 hit “Always Be My Baby,” when she seemed to have forgotten where she was supposed to come in). Check it out below. READ FULL STORY

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