Danny Brown, in support his forthcoming album, Old, sold out an energetic Gabe’s on Sunday. The venue was buzzing with excitement throughout the day and when the show finally started the place was booming.

Following the success of his 2011 album, XXX, Danny Brown has garnered a devoted and ever-growing following. His shows are wild, energetic, and done with an enthusiasm other rappers and artists could take a note from. Backed by his producer/DJ SKYWLKR, the duo devastates speakers with a sound that is uniquely their own. They exist for each other. The show at Gabe’s exemplifies that they can do the same thing, especially in a more cozy and personal venue.

Local act AWTHNTKTS were the first act of the night. They have been showing moments of great potential in the shows they have done recently and their knack of opening for awesome shows (Killer Mike and now Danny Brown) is surely helping them out; they performed very well.

The Old and the Reckless Tour has been running for a good portion of the spring. Danny Brown has played with Bauuer and has performed at SXSW and Coachella this year. On Sunday, and on this current leg of the tour, Kitty has been opening for Brown. Her song “Okay Cupid” has garnered some major attention and her live shows are always an experience. Her performance at Gabe’s was sensual, confident, and it had the venue pumped and ready for more.

Danny Brown came on soon after Kitty. The lights dimmed and SKYWLKR dropped his trap-influenced tracks to hype the crowd. Danny flew right into tracks as soon as he got on stage. In a jet-like pace he went into the songs because of the time restrictions.  Brown’s stage presence is phenomenal; he is humorous, flamboyant, and intelligent. His lyrics can be hysterical and also gravely serious. This concoction, along with SKYWLKER’s knob manipulating techno prowess, deliciously manifests as wonderful performance. You can tell they are enjoying themselves and the vibe goes right into the crowd beautifully. Until you experience Danny Brown live for yourself, no YouTube video or recording is really going to do it justice. He sounds better live than on his albums and a lot of that has to do with the incredible talent and attention to detail, plus the atmosphere that a Danny Brown/SKYWLKR show cultivates.

The only draw back from the show was the brevity of the set and the few people at the show who thought they were better than the momentum of the crowd (you know, the guy that thinks the space he occupies is solely his kingdom) but that was never enough to take away from the performance. Danny sampled a few new tracks off of Old and plenty of crowd favorites. “I Will,” “Blunt after Blunt,” “Radio Song,” and “Monopoly” were all there; as were a few older gems. Danny left the stage with the crowd eager for more. While it’s not the best Danny Brown performance I have experienced, it was a damn good one made all the more special by the energetic crowd and the fact that it was in Iowa City. Check him out if you get a chance, Danny Brown is only going to get bigger and his shows are like no other hip-hop performances you will see.

The post Show Review: Danny Brown w/ Kitty, AWTHNTKTS @ Gabe’s — 4/28/13 appeared first on KRUI Radio.

The Detroit rapper has been in the game for years and has recently garnered more press and attention because of his energetic performances, clever rhymes, and a style that is uniquely his own. Danny Brown and his badass producer, SKYWLKR, make a damn good combination that stands out in the hip-hop world today.  With massive performances at Bonnaroo, Pitchfork, and Coachella it is an honor to have the privilege of seeing Danny Brown in Iowa City at a venue we all know.  Doors are at 7:00 and the show starts at 8:00.   

Check out his video for “Grown Up”:

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Divine Fits is a band that will surprise you. They deliver what you would expect and keep on giving. Despite having only one album—A Thing Called Divine Fits-and only existing for a brief amount of time, they have a live cohesion that could rival any seasoned band. This might have a little to do with the fact that the men behind the band are seasoned musicians themselves. Britt Daniel (of Spoon), Dan Boeckner (of Handsome Furs and Wolf Parade), Sam Brown (of New Bomb Turks), and Alex Fischel make up the quartet that many have deemed a “supergroup.” Recent performances opening for the Flaming Lips at SXSW and the Black Keys in Las Vegas might be just evidence for such a claim. Their performance at the Blue Moose Tap House for Mission Creek Festival was no exception.

Iowa City band No Coast began to liven up the venue and they did just that. Their thirty-plus minute set was full of harmonies and folky goodness. As a local band, they are getting their name out more and more and they are certainly worth checking out if you ever have the chance.

No Coast Gallery:

Emperor’s Club, an additional Iowa City act, continued the good form when they brought their own blend of punkish-pop vibes to the eager crowd. The five-piece garnished their set with intricate funky moments which provided a nice juxtaposition to the rest of the music throughout the night.

Divine Fits took the stage with Boeckner insisting, “Iowa City! Let’s get crazy!” They rolled into their set smoothly with a full crowd supporting the welcomed weight. Their stage presence was splendid, with Boeckner and Daniel pushing and moving out to the crowd; they made it clear they wanted to deliver their set with the showmanship one would expect from seeing their other bands. That being said, Divine Fits exists on its own as flourishing musical act, you don’t need to know the other bands to enjoy their splendor. From pulling each other’s hair, shaking their instruments, and walking out through the crowd, you could feel the band’s intimacy and it made the experience all the more enjoyable. They hit just about everything on A Thing Called Divine Fits, “Like Ice Cream,” “Would That Not Be Nice,” “Flaggin A Ride,” it was all there.

A mentioning of the famous Blue Moose beer boot from the band launched the set into the surprise of the night: a well-worked cover of Frank Ocean’s “Lost” which delivered an enjoyable punch.  Their cover of Tom Petty’s “You Got Lucky” was a handsome addition to the already fantastic set; they tweaked the covers to their own style and even played a few new songs to expand their limited catalogue. An ovation beckoned them back on stage for an encore which ended with “Shivers” to close out the night.

Divine Fits are living up to the standards set before them and they establishing themselves as an act that can play any crowd, large or small. The show was a welcome addition to the magnificent Mission Creek Festival and certainly a highlight of the week.

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Iowa City’s Rich Rok opened the show with his DJ set of blending samples classic from the likes of Snoop Dogg and Notorious B.I.G. to more the recent Danny Brown. The atmosphere was set and a slick transition into Iowa City’s own AWTHNTKTS proved to be an excellent performance to pump up the eagerness of every one there. Both acts had solid sets and are certainly worth checking out if one gets the chance.

A little before midnight Killer Mike took the stage and an onslaught of smooth, witty verses ensued. His remarks between songs weren’t just banter but intellectual and political insight that drew cheers from the crowd. This man is intelligent and his music and political knowledge proves it. Half way through the show he remarked, “That will be the end of the aggressive shit, but know I do it for you, you, you…” in reference to his activism. There was a hilarious appearance by Ronald Reagan, in vinyl mask form, while performing “Reagan” and a nice anecdote about knowing one’s rights. From there, the partying began in a different way. A great story about strippers as relationship therapy (you had to be there) was a hilarious juxtaposition to the activism. Throughout the show, Mike dished out freestyles only a seasoned and intelligent rapper could deliver: he served many moments of delight. He tore through his catalogue and featured a generous portion of tracks from R.A.P. Music.

The show wasn’t short of optimistic, beautiful moments either; he related a story about being raised by his grandparents—the harsh and kind moments— to the audience. He said honestly, “I’m gonna have a tear in my eye.” He closed the show with “God In The Building” and he stepped into the middle of the crowd ending it with a freestyle variation of one of the verses. His joy was obvious throughout, and it was only more evident when after the show he stayed for signings and pictures. Killer Mike gave everyone many reasons to be optimistic; it’s safe to say most people left the show glowing.

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The atmosphere at the Englert Theatre on April 4 couldn’t have been more appropriate for a concert. Patrons lined from the doors all the way to the Ped Mall. All of this, in anticipation for Grizzly Bear’s return to Iowa City for the first time since 2007. Grizzly Bear is currently touring with Owen Pallett in support of their hailed album Shields (2012). Started as the project of guitarist/keyboards/vocalist Ed Droste in 2002, they have since become Daniel Rossen, Chris Bear, and Chris Taylor who together create one of the most respected bands around today. With four studio albums and a thorough touring record, Grizzly Bear have accumulated many fans who adore their records and live performances.

The talented instrumentalist and composer, Owen Pallett (formerly Final Fantasy) has been opening on their current spring tour. His multi-layered performances, composing of loop pedals and his amazing abilities, are renowned for their intensity and craftsmanship.

Together, Grizzly Bear and Pallett graced the Englert perfectly. The venue was full and after a brief introduction, Owen Pallett took the stage. He and his band put on an energetic and infatuating performance. Pallett insisted that their live show doesn’t sound like their albums—this is true, but true in a fantastic way. The music, experimental, baroque-pop if one might give it a name, complemented the theater splendidly. The show, which began with most people sitting in their seats, ended with everyone standing and cheering. Grizzly Bear may have been the more familiar name, but Owen Pallett set a hell of a standard for them to live up to as the night went on. After some friendly banter and thanks Pallett left to an excited crowd.

Shortly after, Grizzly Bear took the stage with a few hellos and went right into their set. Grizzly Bear’s blend of folk, indie rock, with elements of psychedelic and lo-fi couldn’t have suited the live show better. Like Pallett, their live show takes on a different dimension when played live. It’s louder, more intense, and it emits an emotional intensity that can only be experienced at a concert consisting of musicians with immense talent. Their light show was impeccable; fifteen or so lanterns, all different heights but all towering, with jellyfish-like characteristics emitted light and blended with the other stage lights. A plethora of colors beamed throughout the show that added depth to each song being played at the time. It was a sight to see. For the most part, Grizzly Bear chugged through their set, but with a few comments about returning to Iowa City, short-vibes (Ed’s words), big beers, and their appreciation for Iowa City life for the few days they stayed in town.

Grizzly Bear opened with “Speak in Rounds” and then continued to showcase the delicious new batch of songs off Shields. That being said, songs from Veckatimist and Yellow House peppered the set as well. “Two Weeks,” and “Knife” sounded great. There never seemed to be a note Grizzly Bear or Pallett missed throughout the show. As awkward as it sounds, “professional” would be a word to describe it; but it was so much more than that. After a long set, Grizzly Bear left the stage only to immediately be beckoned back on stage by the crowd. The show winded down and they promised, “Next time it won’t take so long” in reference to their time between shows. I could go on and on with the details of this show: it was gorgeous. My advice, go see Grizzly Bear, live videos don’t necessarily do their shows justice. This one was one not to miss and one never to forget. The Englert emptied and for a good while, everyone who left was “vibing.”

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From the ethereal “Propeller,” a twenty minute beast, to the more radio friendly “Identical Ship,” Centralia stands out among other releases in 2013. Don’t let the often referenced genre (if you can call it that) of “drone” dissuade you, this is the type of “drone” that is bewitching. The opening track “Sands” is sensory playground where sound and imagination can walk hand in hand. It is ambient and eerie; strings compliment the electronic layers in a tasteful concoction. Much of this can be said for the whole record because it never gets to the point where it is overbearing, though there are moments that may tend to bleed on for too long. “Liana,” with its commanding distortion and electronic power, is diverse and often sublime. Centralia is full of moments to get swept into.

Mountains have managed to keep a record with seven songs, three of which are over ten minutes, enticing and enjoyable throughout its runtime. It is a record for contemplation, vibing out; a record pleasing for many occasions. The layers are deep and one can get lost in the eccentric ooze. It is aggressive and therapeutic, powerful and trancelike. Centralia is something best dived into, listen to it loud and with an open mind. It is an album that you can listen to again and again and still find new details to love.

Essential tracks: “Liana,” “Propeller,” “Circular C”

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It’s hard for words to do justice to the live experience King Khan and the BBQ Show put on. Let’s just say the nutty, energetic sets are best experienced a few feet from stage where the scent of sweat and beer permeates. On November 29th the Mill was the place to experience live music. Iowa City band Rusty Buckets lifted the night off with their blend of howling, grungy garage rock. From the get-go, Rusty Buckets provoked concert-goers with their sludgy riffs. The Mill was rapidly filling and many were already there enjoying the strong set the duo put on. Dancing was encouraged.

Samuel Locke Ward and the Garbage Boys soon followed with their concoction of rough and melodic rock. The crowd was obviously very familiar with the hometown band and the love of the show was mutual. The Mill was nearly full and the music rollicked on late into the night. Grandiose was the word that came to mind after Ward claimed, “This next one is a song for your job!” The concept of jobs and bosses seemed to be a motif throughout the night, but no one seemed to care that it was a Thursday. Ward and friends let the city know that anytime is the right time to slip away for a while. The instrumentals soared and for a while it was nice to be lost in the sound. They finished their set with the claim that the last song was “one for Mom.” She would have been proud; the crowd drank it in and everyone was eager for the next act.

King Khan and the BBQ Show crept onto the stage, which was adorned with a large golden ornament. They were dressed to impress: headdresses, skirts, neck pieces—this stuff is difficult to describe. The duo plugged in and moshing soon ensued, one might call it aggressive dancing but that seems too kind. They chugged out their brew of punk-y garage rockabilly and it was met with hospitable shouting and sing-along. It’s safe to say the crowd was beyond satisfied. Favorites like “Treat Me Like a Dog,” “Tastebuds,” and “Why Don’t You Lie” were all played ecstatically. Between songs a little crowd and band banter peppered the experience, “Tell your boss you hate him” sticks out in the mind. The environment was playful and it became apparent throughout the night that this was not a show one should miss. King Khan and the BBQ Show were damn glad to be back in Iowa City and they showed it. After their set they had no time to leave the stage because they were so quickly coerced into playing a few more songs.

Their live show is made to impress and it did more than just that. Let’s put it this way, if you weren’t at the show on Thursday you need to find yourself a way to make it next time around. The energy, excitement, and atmosphere of the show were all things the Iowa City concert scene has craved. Do yourself a favor and become familiar with these bands, you’ll be happy you did.

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That is exactly what they got.

The night started out with the music of Matthew E. White supported by a group of musicians that help capture the massive sounds that his music commands. Based out of Richmond, Virginia, White’s music is a blend of soul, southern rock, and waxy gospel power, with nods towards the ‘70’s. In other words, it was a concoction of sexy, psychedelic gospel-tainted goodness. The group consisted of nine members with a variety of instruments; horns, lap-steel, keys, sax, percussion, and the staple guitar, bass, and drums. White came on stage donning a VCU sweatshirt and a deep voice that could seduce any ear. The band’s set picked up around nine and they didn’t let up until their set was cemented in the minds of everyone present; it’s safe to say that earned a few new fans. Many of their songs were jammed out for minutes which would have made Cornmeal, who was playing above upstairs, proud. Midway through the show White joked, “What is a Hawkeye anyway?” to which some crowd member responded humorously, “None of your business!” White and company’s music made love to the rapidly filling bottom floor stage; their deep, rootsy Southern jams set up what was to be a very enjoyable concert experience.

Soon after ten, three handsomely dressed men came onto the stage: this was The Mountain Goats. It was loud and the excitement was tangible. Dressed in classy suits, they opened their set with “1 Samuel 15:23” in a chill and confident manner. After the song, Darnielle greeted the crowd and introduced the band. The venue seemed to be near capacity. To describe The Mountain Goats as an indie-rock or indie-folk band cheapens what the band really is, though, they are a band that fits under that guise, they are clever and their stage presence truly captures the crowd. They mean business when they are up there, but they make sure you know they are having a damn good time as well. Composed of a guitarists/vocalist/keyboardist, a bassist, and a drummer, The Mountain Goats are able to captivate an audience through their passion, vigor and great songwriting. The fans that came out to the Blue Moose adored every minute of it. Darnielle’s unique croon was perfect throughout the show, songs like “Up The Wolves” sounded even more powerful through the monitors than any recording. As a live band, Peter Hughes (bass and backing vocals) and Jon Wurster (drums) were in top form. They were truly a joy to witness.

There is something to be said when a group of people flock to a show where many of the songs are tragic and empathetic; everyone has the ability to relate and grasp onto Darnielle’s intelligently crafted songs, especially when the band is so effective in performing them. The evening was enjoyable, heartfelt, and it was funny. There was an incident when Darnielle asked for a capo before performing “Night Light,” and they improvised like quality musicians do.

The band is touring in support of their new release Transcendental Youth, so naturally new songs were performed along with many favorite and throwbacks like “Pure Milk.” One of the highlights of the night was Darnielle’s anecdote about his time spent in Iowa and how he was happy to be back, and soon after he then rolled into “There Will Be No Divorce” playing a few other songs solo. Anyone who was present could tell the band was really enjoying themselves and it certainly translated back into the crowd. Darnielle called out people talking too loudly in a serious, please shut up kind of way which was hilarious but effective. When the set chugged on to its close, members of Matthew E. White’s horn section were summoned by, “Send the horn players up!” and they came on stage to deliver a rollicking closing set of songs. The set ended with Darnielle meandering through the crowd without a mic singing “Amy aka Spent Gladiator 1.” The crowd was ecstatic and the chants for an encore were rewarded with three songs and a favorite to close the entire set, “The Best Ever Metal Band In Denton.”

This was a show to remember and an unfortunate one to miss. It came along the tail-end of their tour and both Matthew E. White and The Mountain Goats delivered as they should have. Its shows like these that make the concert experience in a place like the Blue Moose memorable and completely enjoyable. The Mountain Goats signed off stage slowly and the crowd was glowing by the end of it all. It was truly a great performance and anyone who was there could tell you that Iowa City would love to have them again. It was great to have them back.

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The album is an ambition of the doleful and lonely; it is resonant of the desire for more, especially in this impatient world. Shields encourages the listener to slow down and reflect on the complexities of what it is to be human, through its lyrics and ethereal tones. The album is peppered with soaring vocals and intricate instrumentation that only a seasoned band of musicians could create. There are moments of sound that ascend, as if one was stuck in a spectral haze, and there are also parts that twang of folk-tinged sing along. Some stretches are epic and some are airy, especially in tracks “Half-Gate” and “Sun in Your Eyes.”

The vast array of sound that Grizzly Bear has managed to capture is very impressive. Within its flashes of edginess, Shields manages to create a grand collection of songs by juxtaposing its raw moments to a friendly-produced whole. Grizzly Bear have honed and expanded their sound with this album, and they have proven they deserve the acclaim they receive. Near the beginning of the record Daniel Rossen croons, “But I can’t help myself.” Neither can we Daniel, neither can we.

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Sometimes an indie folk band has the ability to get a crowd thinking they are at a much bigger, louder show. That is exactly what Blind Pilot did on February 2, 2012. The crowd was ecstatic and wild as if Blind Pilot’s return to Iowa City was long overdue. Touring behind last year’s We Are the Tide they found themselves at the downstairs of the Blue Moose Tap House.

Iowa City’s own Emperors Club was the opener and they did well to get the crowd ready. They had an ample amount of fans and many people seemed as excited to see them as they were to see Blind Pilot. Then a little after ten the Portland sextet came on stage to cheers and went right into playing their pop-friendly blend of folk. Lead singer Israel Nebeker sounded flawless throughout the night, dipping into harmonies that were fantastic live. The sound was great as they graced the stage, layering trumpet, vibraphone, upright bass, and harmonium in with guitars, bass, and drums. At times their sound waivers on the fringe of alt-country and Americana, all the while they keep a sound that is uniquely theirs.

Their set ended shortly before midnight. They made time for older favorites like “I Buried a Bone” and “The Story I’ve Heard” as well as a large portion of songs from their new record. The crowd was excited to hear the popular “One Red Thread,” which got the largest reaction. But perhaps the most special part of the show was when the band closed with an unplugged version of “3 Round and a Sound.” They asked the audience to quiet down and for the tech to be turned off. The performance was haunting and beautiful. If anything it was a testament to their talent and songwriting capabilities. With performances like this there is no doubt you will be hearing more about them in the future.

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