Faster Than Sound: The Fall Music We Always Talked About: The Music Columnist Returns To Two Big Venues And A New – Music
Khruangbin at Stubb (Photo by Jana Birchum)
The last time I walked up Second Street with my boyfriend, we were heading to our auto-mythological “last show before”, March 2020 Austin Music Awards.
On September 15, entering the Moody Theater before Big thief took to the stage, we watched the crowds on several levels and bought drinks with our masks on. Then we returned to the patio to gaze nervously at each other from across a table. “Have you been to anything inside with so many people?” he asked me.
I hadn’t done it.
Although both have been vaccinated for a long time, its bartender at a downtown location and my weekly attendance at mostly outdoor shows for work – a few indoors during those few summer dates before the Delta variant interrupted – it was the largest crowd our eyeballs had ever greeted in one fell swoop. With the last week of summer, the robust, tempting, and largely unmasked return of the live touring economy that music industry pros have always promised for fall has arrived.
Just in time, the Texas clubs struck a ceasefire with the Texas alcoholic beverages Commission under sliding protocol: Concerts require recent negatives COVID-19[feminine tests à tous les niveaux et accepter la preuve de vaccination comme alternative, en mentionnant toujours les cartes en deuxième position dans l’infographie. Avec les week-ends d’octobre se lisant comme un annuaire des festivals de la région (LCA, utopie, Ancien colon, Lévitation), cette journaliste s’est dit qu’elle rentrerait provisoirement dans la cour des grands.
Mercredi : Big Thief à ACL Live
J’ai oublié à quel point la musique d’intérieur peut sembler magnifique, et d’autres peuvent l’avoir aussi, car le Moody était remarquablement silencieux et sans écrans de téléphone pour les premiers numéros de Big Thief. Une première bande de chansons inédites allait de la dissonance lourde au twang country après l’ouverture de “Ingydar”. Disposé en demi-cercle, le groupe indie folk formé à Brooklyn se connecte au Texas par le guitariste de Wimberley Buck doux, dont le travail solo débarque sur le label Austin Écailles carénées.
La soirée a offert une fenêtre sur le processus d’écriture magistral du chanteur Adrianne Lenker, à commencer par l’improbable ouverture de Steve Fisher, un habitué de Festival folklorique de Kerrville, où le chef d’orchestre et Meek se sont portés volontaires pendant les premières années de la création musicale. Lenker a dit qu’elle “ne pouvait pas dire combien [she’d] learned in the last nine years of his acquaintance. “
After cheers and cameras emerged for the mid-range familiars, the artist offered verses and choruses that she said arrived fully cooked in dreams. Going solo, the band stepped in halfway, like a very public practice and sounding magnificent. Lenker then applied his precise, sliding pen to a John prine tribute called “Once a Buncha Times”. I still think about (and I listen Youtube à) new breaking ode “Change”, which, because it is a work by Lenker, also sounds like a statement about mortality and the need for tragedy for growth.
In the unpublished encore, she sang: “Change, like the sky, like the leaves, like a butterfly / Live forever, never die? / While everything passes around?“
Thursday: Khruangbin at Stubb
Khruangbin fans at Stubb (Photo by Jana Birchum)
Pandemic postponed, then spread, then completely exhausted – hype around Houston trio Khruangbin transferred to a four-night run after the group’s debut Austin city limits registration. An excited viewer found the thesis statement before the opening notes were washed: “I’ve been waiting to see these guys for a year and a half!” The historic progression matches the improbable impact of the third album Mordecai, 2020 listening comfort with an international spirit and irreplaceable for many. (Including myself – I made my first trip with vaccines to earth at Stubb for that.)
There is something pleasantly unusual about watching such a large band hook up for such long jams, mostly wordless. The endless groove leaves audiences cheering for every subtlety – the return of a familiar riff after a long whirlwind, or a cheeky clank of plastic cups between the bassist Laura Lee and guitarist Mark Speer. Appearing as stoic and stylish models in press photos with the drummer Donald “DJ” Johnson, the live band animated by rocking up and down while exchanging guitar parts, or Speer’s stoner-y quote from Pee-wee’s great adventure (“Do you remember something? I remember the Alamo“).
Afterwards, the public spread to neighboring hubs like Cheer Up Charlies with the inflatable cows thrown during the “Time (You and I)” finale. Certify the Khruangbin phenomenon – a DJ friend asked me for a video of the groovy song, which he plays regularly at weddings, and a coworker told me another Houstonian Bun B watched Saturday from the Stubb VIP area. Combine Khruang fans with weekend stops from Bully and sylvain esso, free the parts of eminent Austinites Superstar TC and Molly burch (and the fact that hardly anyone wears masks anymore) – red river felt Before Times buzzing.
Friday: Sasha and John Digweed at the Concourse Project
Inside the Concourse project (Photo by John Anderson)
Just after a QuikTrip and not much else on Burleson Road, I pulled into a nondescript square building smothering the quintessential house music bump. In a lot shared with the nightclub Mala Santa Claus, parking attendants head straight for a nearby huge field, off-road with temporary lights like a music festival and a weird sealed fireworks stand. RealMusic Events’ the search for ample, dancing space – a rare commodity in Austin – led producers of EDM events to a warehouse near the airport. With a title on the theme of aviation, the Competition project, the indoor-outdoor hub will host the annual promoters’ event Seismic dance event come November.
After launching major patio shows in June, the Concourse Project ran into a problem rolling out indoor programming earlier this month. The venue canceled an opening night with Diplo on the day of, citing issues with “Austin’s new special events provisions regarding COVID-19.” No COVID-19 vaccine or test controls were in place last week. The Concourse Project website says homeowners “wholeheartedly approve” of such measures, standing only because of state orders.
A pink-lit hallway, smelling of fresh construction, leads into a huge 15,000 square foot main lobby with a sound system tailored to fill it. Very high ceilings provide an awe-inspiring light show, while a prominent British DJ duo Sasha & John Digweed supervised from a 10ft high table along the back wall. Without security checks, I only briefly zoomed into my KN95, but piling up dancers and groups of friends in light-up suspenders didn’t seem to bother me.