Ratatat

I first saw Ratatat live in December 2006, at the intimate but now closed Art Bar downtown. I stood only a few feet away from the band on their little stage, completely drenched in color from their projectors, and I still vividly remember their immense music traveling through my body. I have only seen a few bands that can produce a true feeling of euphoria with their music alone. After that show, I instantly became a huge fan and supporter of Ratatat. I have literally been bursting with excitement counting down the days to this show.

Opening tonight’s show at the House of Blues was Bobby Birdman and Dom. Although we missed Bobby Birdman due to the biggest box office line I have ever seen, I was happy to know so many people made a last minute decision to see Ratatat. We walked in with enough time to get a drink and get close to the stage when Dom came out.

As I was expecting similar instrumental groups to open the show, I was happily surprised with Dom’s grungy garage rock sound. The lead vocals were echoed with rough edges and produced ample sound as they completed most of their set as three guitarists and one drummer. Although I’m not quite sure how to describe their sound, it was old but new, think Sonic Youth. Dom had a good vibe, fresh sound, and put on an enjoyable show.

As the audience and anticipation grew, many of us up front started sharing Ratatat stories, only heightening our excitement. Looking across the stage, I noticed the quality and quantity of their music instruments had grown, and so had their visual equipment. As lights darkened, a roar of cheers filled the room, while Ratatat slowly brought up the lights and their synthesizers. Within minutes the stage was an eruption of light and sound. Both members hopped between several instruments, in front of a large projection screen of images from their videos, with two incredible holographic glass panes on either side of the stage. Just as I remembered, their music was overwhelming but also greatly enhanced by the visual elements.
Ratatat kept the crowd dancing and clapping throughout.their amazing set that included songs from every album: Bob Gandhi, Grape Juice City, Mandy, Mirando, Loud Pipes, Falcon Jab, Mahalo, Shempi, Neckbrace, Gettysberg (introduced as, “This song is about surfing.”), Party With Children, Wildcat, Drugs, Lex. After the chanting had diminished and it was unclear if they were going to play an encore, the crowd went wild when we heard, “I’ve been rappin’ for about seventeen years...” For the last two songs, Seventeen Years and Bare Feast, Ratatat and the fans gave all they had left.
As the House of Blues cleared, we were left bubbling with pure fascination of the incredible show we had just experienced. Many of us met up afterward and continued our Ratatat stories and the rush we felt after the show. Just as it was four years ago, Ratatat made a deep impression on their audience, spreading the bond of music through people, comparable to nothing else. True to my tweet after the show, “Ratatat is still one of the top 10 live bands I've ever seen.”

Mike Posner

The September House of Blues Artist of the Month, Mike Posner, stopped in Las Vegas on Saturday night. I read the article and was impressed to learn he recorded his own album from his dorm room and got the word out online. A grass-root artist that worked his way up to major pop star and has the time for a meet and greet with his fans, truly deserves the adoration. I was anxious to hear his music and find out what a top 40 pop singer is like in concert.
Although we were tardy due to another full parking garage, we arrived just as the energy in the room was about to burst. Mike Posner was active across the stage, his vocals were crisp, and he was backed by a full band rather than just a DJ. Most of the audience appeared to be female superfans who cheered louder and louder after each song. He also kept the crowd moving, saying “Don’t be shy, this is not the time... Put your hands up!” The condensed crowd followed his every move, put their hands up and waved along with him.
Mike Posner mostly played songs from his debut album 31 Minutes To Takeoff, just released in August. Posner’s performance included a solo moment while he played piano, was joined by featured artist, Big Sean for his song Speed of Sound, and even included a costume change. I found myself really get into it during Dynamite (Taio Cruz cover) and his lively cover of Electric Light Orchestra’s Evil Woman. Singing for just over an hour, he treated his fans to a great show and also gave one encore. The setlist included (no particular order): Please Don't Go, Bow Chicka Wow Wow, Deja Vu, Please Don't Go, Gone In September, Save Your Goodbye, and Cooler Than Me.
As the venue cleared, I left with the impression that although he is a talented up and coming artist, but I think he still has some growing to do. Even though his vocals and presence were both great, his beats were generic and seemed rather similar. It is rough to say, but until he progresses toward the dance vibe his remixes have, I feel his music falls short. However, if a smooth male R&B vocalist is what you’re into, check out Mike Posner, he’s got what the ladies like. ;)

Apocalyptica with Dir En Grey

Quite honestly, I had never heard of Apocalyptica or Dir En Grey prior to the show announcement, but their names alone intrigued me. After doing a little research, I was so impressed, I could not wait to see this show. Dir En Grey is an extremely popular Japanese metal band and "Apocalyptica is a Finnish cello metal band from Helsinki" made famous doing Metallica covers. Both have over 10 years making music in a specifically unique metal niche. Not knowing what to expect I walked into The House of Blues anxious and looking forward to a one of a kind show.
Dir En Grey had a massive fan base, many of which were Japanese girls. As the curtains opened to a dim foggy stage, a shriek of screaming girls filled the room, as the lead singer (Kyo) taunted them with his moves. While amazed by the loud audience, Dir En Grey played their music even louder. During a few songs, I was surprised by how heavy and loud they were, reminding me of Norma Jean, largely bass and drum driven hardcore. Each member was very talented, the bassist played nearly upright and Kyo did a few a’capella screamo bits, truly a first for me. Image is a high priority to their performance, the singer was showcased on his own raised stage and the guitarist had a fan blowing his long hair. Although I didn't know what to think for a minute, their "look" and attitude made their set fun to watch and kept the girls screaming.
After an hour had passed and Dir En Grey was still going strong. Since I had never seen an opening act complete a full set, I became concerned that Apocalyptica may have cancelled. After their ninth song, Kyo sat Buddha-style, alone on his raised stage covered in blue light, and performed a several minute echoing scream that he pulled from within, entitled Inward Scream. Since I had never seen an opening act complete a full set, I became concerned that Apocalyptica may have canceled. As that was not the case, fans were treated to an immense setlist and with a few experimental transitions: Sa Bir, Red Soil, Agitated Screams of Maggots, Gaika, Chinmoku ga Nemuru Koro, Hageshisa To, Kono Mune No Naka De Karamitsuita Shekunetsu No Yami, Rotting Root, Vinushka, Shokubeni, Obscure, Inward Scream, Dozing Green, Reiketsu Nariseba, The Final, and Rasetsukoku. Encore: Inconvenient Ideal. (setlist courtesy of @trentskers)
After a prolonged break, I was surprised to find that much of the audience had left prior to Apocalyptica taking the stage. Apocalyptica wasted no time showing off their talent by opening with an intricate cello version of Metallica’s Wherever I May Roam, immediately followed by Sepultura’s Refuse/Resist. My guest and I were floored by how much sound their three acoustic cellos produced and how amazing the “guitar solos” sounded. Not only was their instrumental metal totally on point, but it was also as beautiful as a symphony.
Apocalyptica burned through an energetic performance of their music and numerous covers. Whether they were playing sweet melodies or jamming through a metal solo, they captured the audience’s adoration. Although most of the songs were completely cello and drums (no vocals), guest vocalist Tipe Johnson from Leningrad Cowboys, joined in on a few songs. The band interacted with the crowd between songs, and once mistakenly exclaiming, “Thank you Los Angeles!” The setlist included: Grace, At the Gates of Manala, End Of Me (w/ vocals), I'm Not Jesus (w/ vocals), Master of Puppets (Metallica cover), Beautiful, Sacra, Last Hope, Bring Them to Light, Seek & Destroy (Metallica cover), Inquisition Symphony (Sepultura cover), Life Burns! (w/ vocals) Encore: I Don't Care (w/ vocals) and an epic performance of the classic symphony The Hall of the Mountain King.
I came to this show with a blank slate and left with two exceptional masterpieces. After all the live music I have seen, both Dir En Grey and Apocalyptica put on incredible performances and showed me music/style like nothing I have previously experienced. If you have not yet experienced either of these bands and you love metal, it is a must.

Check out an acoustic performance Apocalyptica did on local radio station KOMP earlier that day.

Cyndi Lauper with David Rhodes

I had previously seen Cyndi Lauper on The Body Acoustic tour at Sunset Station Amphitheater, September 22, 2006; I knew how talented she was and was greatly looking forward to seeing her again. Since my mom had somehow made it through life without seeing Cyndi Lauper, I decided she should have the chance. To thank me, she reserved a cocktail table and bottle service for us, which was actually the second table from stage left on the floor. I knew this was going to be a night full of girls who wanna have fun!
Tonight opening for Cyndi was David Rhodes, who is known mostly as studio musician, has experience working with many artists (Peter Gabriel, Roy Orbison, Paul McCartney, Robert Plant), over the past 25 years. It was quite clear that he was a very talented songwriter and musician, however the music seemed hollow and it made his performance reflect similarly. I truly felt for the guy when he apologized and said he, "Couldn't afford to have my bass player or drummer with me." I guess that just shows the cut-throat nature of the music industry, even with years of experience and talent, still traveling broke on tour.
I was excited to see a different side of Cyndi, as she is promoting her latest album, Memphis Blues (8 weeks as #1 on the Billboard Blues Chart). Regardless of her song selection, I remember being impressed with how funny, energetic, and beautiful she sounded and appeared on stage. Although the show was off to a late start, we hardly noticed, the bottle and table made the time fly by. Cyndi came out with big curly pink hair, wearing a black lingerie slip, and chatted with the audience a minute before kicking it off with Just Your Fool and Shattered Dreams. She stopped for a moment, and took another minute to "Introduce the band cause they're pretty badass."
Cyndi Lauper was just as bold and beautiful as I remembered her. She didn't need anything fancy to put on a great show; she rocked it all evening, just her and the band against the plain House of Blues backdrop. Cyndi completed an incredible blues set: Early In The Mornin', Romance In The Dark, How Blue Can You Get, Down Don't Bother Me, Down So Low, Crossroads, Rollin' And Tumblin' (Muddy Waters cover), Don't Cry No More and Who Let In The Rain. Even after completing quite a set, Cyndi and her band returned for an extensive encore, including her 80s hits only played more mellow with blues undertones: Change Of Heart, Girls Just Wanna Have Fun, She Bop, Time After Time, Mother Earth, and True Colors.
Although I am sure a few pop fans were heavily disappointed in the mood of Cyndi Lauper's show, I really think she proved herself as a talented blues singer; not an easy accomplishment. I must also take a moment to emphasize the incredible talent of her "badass" band. They were so good, at times I could hear the spirit of Stevie Ray Vaughan in the guitar. I believe in rock and roll, and at it's heart you will find blues. This evening, I think Cyndi proved herself beyond that of a pop star or humanitarian, but that of a true rock-n-roll singer and songwriter.

If you are interested in hearing more about the new Cyndi, she will be on The House of Blues Radio Hour the weekend of September 25th.

The Dan Band

Since the moment I saw The Dan Band perform Total Eclipse of the Heart in the movie Old School, I was a fan. Being raised in Las Vegas, it's only natural that I have acquired a taste for lounge cover music, but The Dan Band puts a comedic spin on everything they touch. The combination of their song selections, regular guy yet rockstar attitudes, and choreography is truly brilliant. I was disappointed I did not see their New Years Eve 2009-10 performance at Dick's Last Resort in the Excalibur, but thanks to Live Nation, I get to see The Dan Band on the Still Hungover Tour.

We walked down the House of Blues stairs just as The Dan Band's opening skit video began playing on the screen. It was a glimpse into the "real" lives of the band members, Dan as a mechanic, John a drug dealing clown, and Gene a red light special freak. Beepers alert, all change and assemble as The Dan Band, quite hilarious, all while done to Missy Elliot's Get Ur Freak On. They all ran out on stage for an energetic opening with ABBA's Fernando. Dan then sat on the edge of the stage in perfect lounge style, engaging the audience, asked a fellow's name and he replied "Fernando." Dan laughed, "Holy shit! We just sang a song for you!"
The Dan Band kept the energy and laughter high throughout their performance. Not only were their jokes, lyrics, suggestive dance moves, and props hysterical, the music and vocals sounded great. Once Dan teased the drummer for a double-bass slip up, commenting, "Did you hears my drummers Red Bull kick in?" The songs they performed ranged from varying genre and gender, but The Dan Band made each one their own, stylized each in a clever way. As Dan would squirm and grind around up front, John and Gene (dressed in identical suits) danced with hula-hoops, socks, streamers, chairs, while singing back-up; it was too perfect!
For an encore, Dan came on stage alone, lit by one spotlight, and sang a sultry 50 Cent's Candy Shop. The audience loved it, cheering loudly for more, Dan mocked us saying, "You can keep clapping. I'm just going offstage, then I'm going to come back on." The screen was lowered, Dan was then joined by John and Gene, they came front stage in front of the screen and performed move for move Beyonce's Single Ladies (with her video playing behind them on screen). It was not only funny but quite impressive. Just when we thought it was over, the curtains opened to three red fabric swings... While each squirmed around in their fabric swing, they closed with Flashdance/Fame, even splashing Dan with buckets of water... so weirdly awesome, it had the audience in stitches, and delivered a full standing ovation.
Their incredible setlist included Nasty (Janet Jackson), Tyrone (Erykah Badu), Shoop/Whatta Man/Never Gonna Get It, Ring My Bell, Lady (Styx), Whenever Wherever/Hips Don't Lie, Genie In A Bottle/No Scrubs/Slave 4 U, Hold On/Luka, Don't Cha/My Humps/Milkshake, and of course Total Eclipse of the Heart. Although there were so many awesomely awkward and weird moments, I really enjoyed the way they performed the female pop song. It was truly a one of a kind show, everyone exited giggling, knowing The Dan Band really rocked our socks.

Not only is The Dan Band a must see, if you have not heard of them, look them up!

You can also check out the interview Las Vegas' 944 magazine got with lead singer Dan Finnerty.

Ghostland Observatory

I had never heard of Ghostland Observatory before seeing them booked at the House of Blues, but the more I did my research, the more intrigued I became. This electro-rock duo has been around since 2005, already with four records under their belts. I knew a couple people that had seen Ghostland Observatory at Vegoose 2007, when I asked their opinions both were at a loss for words, but said it was "interesting to say the least." I replied, "I really hope they make a laser canopy above the floor, because the HoB would be perfect for that."
Ghostland Observatory darkened the house lights to a moderately sized audience, right at 9 o'clock. Fog emerged out over the stage, as three lasers began fanning out from the front of the stage over and above the whole floor. For a few minutes, the lights and buzz of the synthesizer held us all perfectly still, captivated by the beautiful colors and designs that beamed all around.
While we were hypnotized, Aaron (vocals, guitar) and Thomas (drums, synthesizer) came out, brought the beat up, and immediately got the audience dancing. Ghostland Observatory have their own perfect groove, neither fast nor crunchy, it is bass and dance heavy, with funky and disco overtones emphasized mostly by the Aaron's shrill voice. While Aaron would be singing, dancing, shaking, and moving all over the stage, Thomas was wearing a shiny white and blue cape which he would sometimes hide under when getting into heavy synth sessions. From all that I could see, hear, and feel, this duo was meant create music together.
Ghostland Observatory never let up, running from one song into the next for their full two hour set, including an encore. It was a well rounded setlist, including a several new songs: Midnight Voyage, Silver City, Heavy Heart, Vibrate, Move With Your Lover, Codename: Rondo, New Song, Stranger Lover, Piano Man, New Song, Ghetto Magnet, Sad Sad City. (in no particular order) The audience was a united sea of dancing bodies that never stopped, everyone was smiling and clearly having a great experience.
The blend of the bright laser lights, heavy synth beats, keyboard melodies, and Aaron's vocals were so unique and entrancing, many of us left exhausted and speechless. Ghostland Observatory totally blew me away, not only meeting my level of excitement, but also being more than just a show but an experience. It is also nice to take notice of the growing numbers of electro influenced artists emerging into the mainstream. To be amazed by Beats Antique and Ghostland Observatory on back to back nights really says something about Las Vegas' growing dance scene; something I haven't seen in a decade. Ghostland Observatory has got it, they are new and exciting, a must see!

Keane

Although not much British Top 40 ever makes it across the pond, every now and then, one of these British giants will extend their tour to America. Last night, was a rare occasion such as this, we were treated to Keane with special guests Ingrid Michaelson, and Fran Healy from Travis After having to miss the Arctic Monkeys in April because I was in Coachella, hell or high water, I was not going to miss Keane.
After I was informed the show was expected to last four hours, I advised my pregnant guest that maybe we should sit in the lobby a while in an effort to preserve energy for Keane. After entering the venue, she asked the event staff if we could have a seat and they quickly allowed us a seat in the balcony area. Even though our view was limited, the comfort level was far superior to standing elbow to elbow on the floor, and we were very grateful to the accommodating House of Blues. If I would have known it was as easy as asking, we would not have waited outside in the lobby and missed Fran Healy from Travis.
I must admit, when I saw Ingrid Michaelson listed on the ticket, I did not know who she was. After I heard her unmistakable voice, I knew exactly who she was. I do not think I have ever been treated to such a powerful, clear, and clean vocal performance from a female artist. Ingrid Michaelson showed off her amazing talent by transitioning from a near a’capella The Way I Am, to a “slightly different version,” which sounded more like The Donnas. Ingrid also showed her sense of humor by saying, “We’re just doing this for shoots and goggles," and closed with a cover of Britney Spear’s Toxic. Ingrid and her band exited the stage to a choreographed little dance, which got the audience to give a well-deserved standing ovation.
Keane came out shortly after, opening with their first track on Night Train, House Lights. Keane proceeded to bring the house down with Back In Time, Bend & Break, Everybody's Changing, A Bad Dream, Again and Again, Nothing in My Way, This is the Last Time, and Stop For a Minute. I was quite surprised how loud and lively Keane played their songs, sounding even better than their records. At one point during the show, Tom commented, "Technically anything that could go wrong, has gone wrong." I was taken aback by this comment, as I truly thought their production was seamless. Piano player, Tim Rice-Oxley was playing stacked keyboards with ferocity, moving his feet about like Jerry Lee Lewis. All of Keane, even the additional guitarist, were full of energy and really gave us their all.
The band left the stage and lead singer, Tom Chaplin did beautiful acoustic version of Playing Along. A few other band members joined the stage for another acoustic song, Try Again. The backdrop changed from just Keane to the graphic off their latest album, Night Train. Tom Claplin exclaimed, "This is a love song to this great country," and played Clear Skies. Keane played on with You Haven't Told Me Anything, Is It Any Wonder?, and Your Love which was sang beautifully by Tim (piano). They brought the show down slowly and sweetly with Perfect Symmetry, Somewhere Only We Know, and Bedshaped. As he walked off stage, Tom exclaimed, "Vegas you are the perfect audience. Singing every song."
The balcony all rose to their feet, the crowd below chanted “Keane, Keane,” and the House of Blues erupted in full applause. The band came out smiling, seemingly humbled by the overwhelming response from their American fans. Tom praised Fran Healy from Travis and thanked their fans and everyone for supporting their efforts for the past twelve years. They played My Shadow, and Crystal Ball for an encore before ending their two hour performance.
Many fans rushed over to the merch table to get some keepsakes and rave about the great show we had just seen. I thought Keane and Ingrid put on award winning concerts, not only in quality and talent, but in energy as well. I will admit I was a little brokenhearted Keane did not play Spiraling, but considering that was my only negative, this was a great concert and a must see for any British rock fan.