A few months ago, there was talk that ZuZu, the Middle East’s slightly swankier lounge, would stop hosting live music in favor of more DJ-centric music nights, like Solid! and the always-popular Soul-le-lu-jah. This hasn’t proved to be the case, I’m glad to report.
Daniel Striped Tiger, photo by Christopher Huang.
Dudes in sleeveless T-shirts who looked as if they’d been bathing in Taco Bell bathrooms for months rolled amps through the quiet, misty Harvard quad to Holden Chapel, where a stately portrait of a shiny-domed professor looked down on a mess of kids flailing around to screamo cadre the Saddest Landscape.
If there was one thing I didn’t expect to see displayed on stage this windy Saturday, it was big smiles. Spastic dances? Yes. Twitchy guitar palpitations? Check. Darkly intoned exhortations over a punishing rhythm section? Sure. But when you think Six Finger Satellite, musicians grinning ear-to-ear in musical exultation is not an image that comes to mind.
Repo: The Genetic Opera screens April 18 at the Coolidge
Two weekends ago, I went to the Coolidge to see the midnight screening of Repo: The Genetic Opera,
the 2008 rock musical set in a decadent, surgery-obsessed dystopia. I
should have known something was amiss right away when, before the movie
started, a dude dressed in what appeared to be a conductor’s outfit
stood up and commenced screaming film quotes until the audience gave
him a satisfactory callback response.
The advantage of dubbing something an “experiment” is that — no matter what the outcome — you’ve achieved your goal. That’s not a swipe at the Institute of Contemporary Art, which has hosted a number of successful — and daring — avant-garde “Experiment” shindigs at its Waterfront home base. I’m just saying that my not having had the best time since senior prom doesn’t mean the throwdown wasn’t interesting, or even worthwhile.
There were no Fiji mermaids or dog-faced boys to be found at the
“Cabinet of Wonders” show at the Brattle Theatre last Thursday, but the
odd variety-show format ensured that its shelves were well-stocked with
First, the night’s host — Hastings-born, Dylan-inspired
singer-songwriter John Wesley Harding — tore into a few earwormy
numbers off his new album, Who Was Changed and Who Was Dead
On hiatus for the last 13 years, Irish-bred rap group House of Pain returned for a one-night performance at the Roxy on St. Patty’s Day. One would think that after over a decade off-stage, the group would have delivered a power-punch performance that lingered on the lips of the audience for years to come. Instead, the audience received yes energetic, but not a long-lasting impression of this once ground-breaking group.
About five hours into the show Friday night at the Cambridge YMCA, MC and resident Whitehaus scribe Brian S. Ellis once again climbs on stage in a pool-shark three-piece suit to introduce the Needy Visions. “We knew we had to get the greatest band that Weymouth, Massachusetts, has ever produced. And we did research.
If you see an
older white Cambridge intellectual correcting someone who says “breakdancing”
instead of “breaking,” or explaining how the term “hip-hop” dates back to the
1940s, chances are he or she attended “Expect the Unexpected” last Tuesday, an
evening of boom-bap flair and Jody Adams flavor at the celeb chef’s heavily
propped Charles Hotel high-grubbery, Rialto.
It’s a Thursday night, and the vestibule of the Berklee Performance
Center is squirming with hopefuls trying to get into tonight’s
way-sold-out show. A girl offering up a spare ticket sets off a
grabbing frenzy. From the security guard’s perplexed crowd-control
attempts, I get the impression that the BPC was not entirely prepared
for this onslaught.
JONATHAN PETERS + WIL TRAHAN | March 6 | Rise, Boston
In what I was told was his first spin ever at Rise, JONATHAN PETERS drew a large waiting line of fans – guys and gals, very mainstream, as unlike the glitter and flash of Peters’s New York scene as possible. By 3am, Rise’s dance floors were packed, and they stayed packed.