Raise your hand the last time Lucero played Madison. I can’t see you, but I know there weren’t any many hands in the air. It’s been a long time coming. The band will play the High Noon Saloon in Madison on Friday, July 30th. Here’s to a wonderful Friday night in Madison. Wonder if they’d play my wedding the following night in Milwaukee?

Tickets: $15

Elsewhere: My “Escape To Wisconsn” Mix is up for download at When You Awake (thx Jody!)

We’re pleased to co-present Peter Wolf Crier + Conrad Plymouth at the Rathskeller in Madison on tonight with our friends at WUD Music. It’s free!

Having just signed to Jagjaguwar, Peter Wolf Crier took SXSW by storm. Also on the bill is one of our favorite Milwaukee bands, Conrad Plymouth, who played our SXSW showcase and also played our 5-year anniversary show. If you’ve yet to hear their new ep, go here now.

MP3: Peter Wolf Crier – “Crutch & Cane”
MP3: Conrad Plymouth – “Fergus Falls” (Live at WMSE)

With a couple days off between shows in St. Louis and Chicago, singer-songwriterJill Andrews is heading up to Madison for a very limited house show on Wednesday, April 21. Tickets are $10; doors at 8pm, show at 8:30pm. Jill’s new self-titled EP is excellent, and all of you that were lucky enough to see the everybodyfields in Madison back in 2008 know how great she is live. Send an email to nmsc1402@gmail.com to get on the list and receive all the particulars about the show.

Myspace: Jill Andrews
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Buy: Jill Andrews-EP

Depending on your preference, New Orleans can be laid back or rough and tumble. I’ve experienced both ends of the spectrum on my brief sojourn in the Crescent City. Most of yesterday was spent tracking down recommendations from friends that have previously navigated the Magazine Street and the Garden district, providing ample distraction from the seemingly never ending alcohol free-flowing party the city offers in the tourist areas. I had another distraction that no amount of Cafe Du Monde Beignets could relieve. I had a ticket to see Bonnie ‘Prince’ Billy and the Cairo Gang at the New Orleans landmark Preservation Hall.

Before I get into the night’s adventures, I have some things to reveal. Since seeing Bonnie ‘Prince’ Billy last year at Turner Hall Ballroom in Milwaukee, Will Oldham’s music has taken on a significant spot in my heart. There was something so special about that show, that, well over a year later, I still smile at my recollections from it. That show, like all profound and moving shows do, led me on a steady audio diet of all things/creations of Will Oldham. No doubt, if you read the site on the regular, you’ve noticed the posts. So saying I was looking forward to last night’s show would be an understatement.

To put Preservation Hall into perspective for those unfamiliar, picture a single room that holds about 125 people. The musicians play unamplified to a crowd that is mixed of those seated in front and those standing in back. It’s BYOB style, no smoking, and it pretty much goes without saying you stay quiet and polite. I took in the Preservation Hall Jazz Band the previous night (post coming soon) and learned that early arrival puts you up close and personal. Because the venue hosts live jazz nightly across three hour long sets, touring acts play late, after the regular cats call it quits. I arrived, tenth in line around 10:30, and waited about 45 minutes before they called us in. No sooner than I sat down, nursing a mostly warm beer, it was announced that Hurray For The Riff Raff would open the show. (Check out our 5 Albums feature with them here) Led by Alynda Lee Segarra, this hometown group had the audience in their hand from first pluck of a banjo string. Band members filtered in and out as their folk tunes provided the absolute perfect opening set for the night to come.

So there I sat. Watching Emmett Kelly and Bonnie ‘Prince’ Billy showcase their talents to a full room that overflowed into the entrance. Of course they showcased their most recent work, Wondershow of the World, the highlight of which came via a gorgeous take on “Go Folks, Go.” Throughout the night Kelly handled most of the guitar work which left Oldham free to sing, dance, gesture, and laugh his way through his catalog. “I Never Thought My Love Would Leave Me” and “The Sounds Are Always Begging” were early set highlights.

You’ll notice in a picture below a sign that adorns the wall directly behind the performers at Preservation Hall. This simple black sign with white lettering lays out the request policy and the cost of what it takes to get your song heard. “Traditional” song requests cost a couple bucks, “Other” will set you back $5, and “The Saints” will drain you of $10. I got the latter the night before thanks to another patrons generous pocketbook. One fan amongst last night’s crowd braved mention of the sign to Oldham. Apologizing first, then drawing attention to the sign, the fan and Oldham struck a deal ($5) on “I Am A Cinematographer.” The sign was taken from the wall and the evening resumed as with a lovely version of
“That’s What Our Love Is.”

I never expected to hear Bonnie ‘Prince’ Billy perform “I See A Darkness” last night. The fragility of that song combined with the intimate confines of said venue, would certainly draw water from every eye. I’ll never forget the silence of the room. I looked around and watched. All eyes transfixed, mouths slowly singing along, though barely audible. It was pretty powerful. Because the musicians were literally surrounded by people they were somewhat forced into playing a second encore, for which they quickly served up “Keep Eye On Other’s Gain.” Kelly and Oldham quickly stepped off stage and into the gated back of this landmark venue.

A pretty special night and a perfect send off to my first time in New Orleans. I know I’ll be back, but musically at least, last night’s show may be hard to top.

Video: Bonnie ‘Prince’ Billy – “I Am A Cinematographer” (Preservation Hall, New Orleans)

Buy: Bonnie Prince Billy & the Cairo Gang – Wondershow of the World

Words: Tyler Fassnacht | Video: CJ Foeckler

Ever since I saw Titus Andronicus open for No Age back in 2008, they have been in the running for my favorite live band. Each time I have seen them grace a stage with their energy and stage presence, it has been better than the last, and this concert was no exception. When it was announced that they would be playing the Project Lodge, one of my favorite intimate venues, I bought my ticket immediately, especially because this would be my first time seeing them as a headliner.

Local Madison group His and Her Vanities opened and started the evening off a great foot. They are able to mix jangly and catchy with dissonance and elements of math-rock, into their art-rock sound. Their set did a good job of getting everyone excited for the headliners, but was also memorable in their own right. Since this band doesn’t play too many shows, I would suggest seeing them if you ever get the chance, or just pick up last year’s awesome The Mighty Lunge.

Titus Andronicus came out on a stage covered in American flags, to a cheering, completely packed audience and jumped into the opening track from their near perfect new album, The Monitor. As soon as the song began, the front of the crowd went crazy and continued throughout the rest of the show. It had been a while since I left a concert so sweaty. Something that makes this band so great live is that in almost every song there is opportunity to dance, pump your fist or shout along with big choruses and memorable lines (I have never heard so many people shout “FUCK YOU” in unison). Playing mostly tracks from their new album, they tore through all the epic songs, even the magnum opus, fourteen minute long, “the Battle of Hampton Roads.” They also threw in a handful of tracks from their amazing debut album; so older fans were made happy as well.

There was some trouble with the mics turning off at some points, but they were fixed pretty quickly. My one complaint with the sound, however, was how the vocals seemed a little muddy, but with front man Patrick Stickles growls and yelps, it wasn’t too noticeable.

After more than an hour of playing, they put down their instruments and left the stage. The audience applauded and chanted “one more song!” until Stickles came out to say that they actually didn’t know how to play any more songs. That was the sad realization that the night was over. Though after the comical banter, the moshing, the raging guitar solos and the scream a longs, I was completely satisfied. Yet again, Titus Andronicus blew me away with their live show, which is something I think everyone should experience at least once in their life.

Previously: Video: Titus Andronicus – “A More Perfect Union”
Previously: Review: Titus Andronicus :: The Monitor

Buy: Titus Andronicus – The Monitor
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MP3: Titus Andronicus – “Four Score And Seven” (Part One)
MP3: Titus Andronicus – “Four Score And Seven” (Part Two)

By Jodi Root

Miike Snow is one interesting fictional character: mysterious, sleek and one hell of a dancing machine. When two-thirds of your band are mastermind production artists responsible for such dance chart toppers as Britney Spears and Madonna, it’s no surprise that your own beats are equally polished and addicting on the dance floor. Violet lights and an abundance of fog foreshadowed the sleek and mystical ambience pre-show for the second night of the sold out set at Chicago’s Metro last evening. The packed crowd seemed restless, and shouted, stirred, and cheered their excitement as the temporarily double-sized electronic trio took over the stage, donning mysterious white facial masks. Kicking off a 60+ minute dance party around the 10:15 mark, this predominantly Swedish troupe of hip-hop and electronic production maestros started busting out several numbers from their 2008 debut release–proving that these dudes can hold their own with live performances in addition to mastering behind the scenes.

A sexy and subdued, slowed down version of “Cult Logic” opened the night up, hyping the crowd up with a melodic array of keys, thumping bass and a collision of synthesizers. Vocalist Andrew Wyatt purred in his gaspy, talk-like casual prowess, while still able to effortlessly belt out the high falsetto notes, all while managing double duty with his guitar work and a side stage synthesizer. The sleek and sexy soundtrack was infused with minimal banter, but a lot of non-stop bass and futuristic synth-work, mixed with some chimes, woodblock percussion and heavy guitar. Highlights of the night included the upbeat dancey, “Animal,” an extended outro rendition of “Sylvia,” and a pounding, yet polished “Plastic Jungle.”

Buy: Miike Snow