Tag Archives: Crescent Ballroom

McDowell Mountain Music Festival Brings The Roots and The Shins to Downtown Phoenix

An exciting event has raised Phoenix Underground from the ashes to report with much enthusiasm that the premier Arizona music festival~The McDowell Mountain Music Festival of Arizona~ is coming to central Phoenix. It will be a three-day musical festival taking place at Margaret Hance Park between March 22nd and March 24th. This has been an event that has been yearned for by this blog and many other cultural outlets who want to see premiere events in central Phoenix~where they belong.

The McDowell Mountain Music Festival’s move to Hance Park allows for a more populist event that reaches out to all residents of the valley to have equal access and travel time. In the meantime, it becomes an opportunity for Phoenix to shine as it hosts music lovers from around the country to enjoy the burgeoning downtown area.

The line up for the festival is outstanding and is far less esoteric then MMMF’s past festivals. It includes The Shins, Edward Sharpe and the Magnetic Zeros, Les Claypool, Dr. Dog and the headliner of headliners will be The Roots that will be the top of the line on Saturday night. This event will be a locus of Phoenix pride that will allow local artists, musicians, deejays, and businesses to be able to step up their game and strut their stuff. It will be in the best interest of every town in the valley from Buckeye to Queen Creek to show off an Arizona music festival that will kick off next season’s music festival, even before Coachella starts. It will be going down at a time when Phoenix will have beautiful weather and at a time of renewed interest in downtown Phoenix life.

Another highlight of the event is Margaret Hance Park itself, which has been the subject of oft suggest improvements. However, there is nothing wrong with the park itself, it only needs events like the MMMF to give people an opportunity to appreciate it. In fact, the park has a very scenic atmosphere that has a beautifully lit underbridge that the lightrail passes over. The Burton Barr Library sits on the Northeast corner of the park and is in comfortable walking distance from the Evans-Churchill neighborhood where FilmBar, the Fair Trade Cafe, Portlands, Jobot, the Angel Trumpet Ale House, and a host of other cafes, shops, and restaurants that are opening on a regular basis. Plus, the park is only a short lightrail trip from cafes, pubs, and restaurants from Camelback all the way down to Jefferson Street.

The McDowell Mountain Music Festival is in its 10th anniversary in 2013. It is the brain child of John Largay who is the owner of Wespac Construction. It is a non-profit event that emphasizes “Charity, Culture, and Community“. McDowell Mountain Music Festival was rooted in the very underrated venue called Compound Grill that was located in the northeast of Phoenix, inside the corner of the 101 and Scottsdale Road. Unfortunately, the Compound Grill closed this year. However, the announcement of Hance Park as the location of the festival breathes new life into the MMMF.

With the relocation of the festival in central downtown and an outstanding line up, McDowell Mountain is posed to be one of the premiere musical festivals that will kickoff the music scene in 2013. The Crescent Ballroom will be supporting the event with afterhours featuring Orgone and Deertick to cap Friday and Saturday nights of the festival. John Largay and the MMMF deserve a salute for bringing the festival to the downtown where hopefully it will remain. (Now, if we can only convince the Phoenix Film Society to bring the Phoenix Festival downtown, the downtown may be even closer to making Phoenix a cornucopia of cultural celebration.)

Tickets will be going on sale on January 1st, 2013. A three-day pass is $120 and is more than worth it for the total experience of music and people, but daily tickets will range from $40-55 apiece.

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The Blue Atmospheres of Zola Jesus

Zola Jesus , a Wisconsin band, lead by Nika Roza Danilova kicked off the first show of their tour last night at The Crescent Ballroom. The show was opened by local Phoenix indie-pop artist Youceff and the Brooklyn duo Talk Normal. Many are disappointed that they may not have gotten tickets to see Flo and the Machine at Comerica in April. If that is the case, then the question is why didn’t you go see Zola Jesus? She fits within the gallery of female voices that are able to maneuver though many vocal ranges like Florence Welch or the vocal airiness of Casey Dienel of White Hinterland. In addition, Miss Danilova has a pixie-styled presence as she engages the stage on the wings of her voice. She kept a very enthusiastic rapport with the audience as she walked through the audience at one point where she performed Sea Talk. The atmosphere of the performance drew upon winter motifs that Miss Danilova was very much a character within a blue-frosted fairy tale set. Percussionist Alex DeGroot who has been with the band for two years said that, “She represents what may not be most apparent in most pop music, because she is very different.” He also noted that although Zola Jesus is a band, “It’s very similar situation as Nine Inch Nails, where Trent Reznor was the creative force of the band.” The same is true for Zola Jesus that is the alter-ego for Danilova. The band is touring east to Austin, New Orleans, and beyond to continue performing songs from their new album Conatus. (The Setlist: Avalanche, Hikikomori, Stridulum, Collapse, Sea Talk, In Your nature, Shivers, Seekir, Lick the Palm, Night, Ixode, Vessel, and they did an encore with Run Me Out and Poor Animal.)

Traveling with the band was a overwhelming surprise of Talk Normal lead by Sarah Register and Andrya Ambro who are from Brooklyn. When you go see a headliner, you know what the general mood and tone of the music is going to be. However, the surprises are usually the opener. In the case of Talk Normal, Zola Jesus chose an amazing opening duo. They are Patti Smith on steroids. Sarah plays on guitar and Anrya Ambro plays on drums with an onstage experimentation that has echos of Velvet Underground. Both musicians would weave their voices together with a driving “Tribal Pop” of Ambro’s primal drumming. They used feedback as a painter would use dripping spirals of paint that would encircle Ambro’s driving vocals that would carry yearning pitched notes that expressed an apocalyptic edge. Once Talk Normal finished their set, the audience wanted the band to continue performing. They are a magnificent addition to Zola Jesus’s tour. Ambro said, “That she wanted Talk Normal to continue to always be a surprise,” when audiences see them. They performed songs off of their albums Sugarland and Secret Cog. (Their set list: Sunshine, Baby Your Heart’s Too Big, XO, Lover, Lone General, Shot This Time, Bad Date.)

A show at the Crescent would not be the same without a local musician exhibiting what Phoenix can do. Youceff was first at the Crescent when Reptar was not able to open for Phantogram. . He stepped up to the plate and entertained the audience with a wonderful brand of indie-pop with a one man show. This was his second performance at The Crescent and he is peformed before Talk Normal Youceff describes his muic as, “A mix of bass lines and beats, coming together setting a landscape that expresses his voice and hopes it leads to a catharsis for the audience.” Youceff is going to Phoenix College and performs with the choir there. He is originally from Brussells, Belgium and came to Phoenix when he was fourteen years old. “The reason my mother chose Phoenix was because it was the cheapest ticket.” However, he found that when he and brother left Belgium, that Phoenix was surprisingly welcome and hospitable. Youceff does an amazing job channeling ambience in his music and churning it with the softness of his voice that is hypnotic to his audiences. You can find his album and download it at his website on Bandcamp for free.

The entire evening was a contrasting experience between the raging reds of Talk Normal to the misty blues of Zola Jesus. If you missed tickets to Flo and the Machine, do not despair, because you can have the same musical experience with Zola Jesus.

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Electrical Peformance by STRFKR to a Raucous Crescent Ballroom

STRFKR performed at the Crescent Ballroom on Tuesday, January 10th, to a very energized and enthusiastic group of fans. Since I have been covering concerts at the Crescent, the STRFKR concert was the least reserved experience that I witnessed among the audience. Opening for STRFKR on stage were the Painted Palms from San Francisco who performed songs off of their EP Canopy. Painted Palms were started by two cousins from Lafayette named Chris Prudhomme and Reese Donague who were joined on stage by their drummer Travis Cutright. When Reese described the genre of music that Painted Palms plays, he described it as Psyche-Pop, which are psychedelic sounds with a pop-structure. However, both Chris and Reese still consider their band a rock & rool band with a 4/4 time structure. Chris Prudhomme’s voice has a layered range where he can move from lower to higher register of notes. Their band has often been compared to the music of Panda Bear or Animal Collective, but they even drift from Electro-Pop sounds of that genre to the reggae twinges of 311. In the past, Painted Palms opened for Braids and Of Montreal and this is not the first time that they have been to Phoenix, although it was the first time at The Crescent. They have also performed at The Marquee and the Sail Inn. When asked about the renewed interest in Prog Rock and New Wave, Prudhomme said, “That music tends to come in waves, but digital media has allowed for prog rock to develop because bands can be smaller and more multi-layered.” He brought up the example of Tame Impala who is only one artist, but sounds like a multi-piece band. When asked about influences, Prudhomme pulls from artists of the sixties and seventies that vary from Todd Rudgren to David Bowie.

This was STRFKR’s first performance at The Crescent after performing in Phoenix before at The Trunk Space, The Modified Arts Room, The Rhythm Room, and The Nile. Starf’r is a Portland band that has been touring its 2011 album Reptilians. The original band consisted of Josh Hodges, Shawn Glassford, and Keil Corcoran and they have been joined by Patrick Morris and Ian Luxton. Upon coming out, if there were any obituaries on glam rock, let it be known that it is still alive. The band came out wearing vintage dresses as shirts on their slim frames with rouge and eyeliner applied to their cheekbones. This flair of showmanship only added to the energy and worship of the crowd who were no less adoring of this hybrid of David Bowie and Robert Smith. But, the passive viewer should not judge the flourishes as the identity of the band. Since Hodges started the band, it has gone through many transformations and this was only one manifestation of STRFKR. When asked about the state of music, Keil Corcoran who is one of the original members said, “The internet has changed everything, these days blogs make bands. It has gotten very grassroots! Bands that never got good press before are now getting exposure.” Corcoran went on to say that there are great bands like Wampire, Guidance Counselor, and Arohan that equally deserve attention and are still working hard to get it. What strikes the observer most was the commitment of the STRFKR fans that raised the entire experience from being a concert to a happening. STRFKR will be continuing their tour into California, but they will be returning to the studio with Polyvinyl and moving to Los Angeles to work on the next record. The Crescent is a small venue with an intimate crowd, but STRFKR did an amazing job creating an experience for its audience and it became a magical event even if you are not familiar with the music.

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Phoenix Cultural Milestones of 2011

Ranking lists are generally silly notions. They miscast our sense of history and culture by trying to cleave out some hierarchy of persons, events, or contributions of a society or locale in general. But, nevertheless they are popular marketing techniques to sell magazines and commercial time on VH1. I find it is more convenient to cluster a variety of categories that may not be in the same genre, but certainly interconnect in any given environment. It is legitimate to say that Phoenix in 2011 has had a unique metamorphosis in cultural and social events that have allowed the city to become more centralized. This transformation was certainly facilitated by the housing crisis that pushed people to either leave Arizona or start to think seriously about lifestyle. More and more, people are starting to measure happiness not by their material status, but by the quality of their life experiences. Phoenix has begun to provide a cornucopia of options, not that these options were not there before. But, now Phoenicians are starting to take stock of what the city has to offer and entrepreneurs and community leaders are starting to provide more options. One common factor for many of these milestones has certainly been the continued appreciation of the light rail. It is no accident that many of the new cultural opportunities downtown have been occurring along the path of the light rail corridor. So, the following are an unranked collection of milestones that have made a certain shift in the cultural life of the downtown and the opportunities for The Valley at large.

The Crescent Ballroom

If you wanted to see a show of the latest indie bands that did not have the following of Lady Gaga or Radiohead, you would have to commute to The Marquee or The Clubhouse in Tempe. However, Charles Levy, the owner of Stateside Presents, has created a cultural tour de force on Van Buren and Second Ave that is as central as you can get. Over the last few months, Iron and Wine, M83, and Phantogram have played at The Crescent providing a venue that is equally accessible to all valley residents. No longer can Tempe monopolize venues that often cater to college crowds alone. The Crescent provides an experience that can be experienced by all ages in addition to ASU students who can travel to The Crescent on the light rail. It has drawn concert goers attention to the blooming cultural life of restaurants and bars that are opening regularly. The Crescent also boasts a wonderful restaurant itself with Cocina 10 that is assisted by Chris Bianca of Pizza Bianca. The Crescent is continuing a trend of restaurant venues that provide for general admission that allows for an intimate experience with your favorite band.

Film Bar

When considering the very thought of “Brew and Views”, you would think of Portland, Seattle, or at the very closest, Salt Lake. But, now Kelly Aubey has broken ground with Phoenix’s very own Film Bar. There are many categories of Brew and Views, but Film Bar provides a club going ambience to clothe the movie going experience for the Phoenix cineaste who is interested in independent, foreign, and classic films. You can order any number of local brews and enjoy a film while imbibing. It began to screen new independent films and will continue to get the best of independent film into the downtown area that has been neglected by many of the large theatre chains. Kelly Aubey has done a magnificent job filling in that vacuum and has made a welcome addition to film culture. If anyone wants to see most independent films, you would have driven to Scottsdale to the Camelview. Now, the avid west and central Phoenix film goer can wait for it to come to Film Bar and watch it there without the commute.

16th Street

It is difficult to really place a Bourbon or a Beale Street in Phoenix. Many might argue Roosevelt Row between Grand and 7th Street. However, if one walks between Thomas and McDowell on 16th Street, one will be surprised by the uniquely cultural identity that only the Southwest can offer. There are a growing list of wonderful Mexican grocery stores and restaurants with genuine Mexican cuisine. It boasts one of the premiere Mexican restaurants in the valley named La Condesa that has the most delicious burritos you will ever eat. In addition to this, there is the art gallery known as The Bee Hive that houses art collectives as well as the vintage store The Bee’s Knees. Not to mention, there is the Barrio Cafe and a new coffee house named The White Sage along 16th Street. It also features a growing movement of mural art that is beginning to emerge on the outside walls of Phoenix businesses everywhere. These murals are becoming quite the feature and another unique aspect of the downtown, but 16th Street is at the forefront of the mural movement in Phoenix. At first glance, many xenophobes may witness this area as a heavily ethnic area that they do not belong in. Well, if that is your fear, then you might be right in your own context. However, just because there is a flexscreen sign over a business and Spanish language signs hanging up, does not mean you don’t have a place there. It indicates that businesses are growing and doing it from the bottom up. As bars and restaurants continue to open, this 16th Street stretch will be a unique feature of the city and one that will be a major tourist attraction for diners and art lovers of a Southwest experience.

Phoenix Ale Brewery

You can go to any city to find a multitude of local craft beers, but Phoenix has been lacking in options. The primary brewer of craft beer in Arizona has been welcomely Four Peaks, however a new brewer has opened this year and the ale is sweetly flowing from its spigots. The Phoenix Ale Brewery started production under the stewardship of Greg Fretz and the Godfather of Craftbrewing George Hancock who came out of Pyramid Breweries. They have created a unique selection of local brews with a local pride invested in them, most notably The Camelback India Pale Ale. Their I.P.A. is starting to flow throughout restaurants and bars in the valley, not to mention its Watermelon Wheat. Similar to the Sand Diego Beer Revolution in the 90′s, Phoenix is beginning to develop its own craft brewing identity. The Phoenix Ale Brewery has a larger tasting room as of November and the best time to go is between 3 and 7 PM when food trucks serve food that you can have with your brews.

Gnosis Architectural Tour

A unique experience that provided for venture into the unknown was The Architects Home tour sponsored by Gnosis in cooperation with Taliesin West. Certainly not all of the homes lend themselves to a practical living experience that is even affordable. However, there are a few dwellings that were well worth the tour that provided for visits into neighborhoods like the Garfield and Coronado District. Indeed, the tour allowed for viewers to get a new appreciation of unique areas of the city and have a broader sense of their communities and local businesses. At the same time, many of the spaces particularly the work by Derek Pasieka’s 300M demonstrates the ability to live downtown affordably with local services. The downtown movement that is being led by entrepreneurs is going to be dependent on access to affordable housing that is not on either the very high-end or the low-end. Architects like Derek Pasieka and Lila Cohen are demonstrating that it is possible and can be done with existing structures without having to scrape and rebuild. Lila Cohen and her partner Teina Manu took 425 square foot home and was able to convert into an object of art for less than $5 a square foot. As it stands, Phoenix consists of 40% empty or dark spaces that invite the New Urbanist to enter these areas and do something new with it. Certainly, not everyone can be expected to live downtown, but the perception of downtown as a habitable, walkable, and safe living area alone is an important accomplishment.

Annual Strong Beer Festival

After being located in Mesa for nearly a decade, over the past two years the Arizona Brewer’s Guild has made the move downtown. This year saw the festival enter Steele Indian Park near Central and Indian School. Although, it was a rainy event this last February, it is coming back to the park bringing a growing list of national breweries including Arizona’s own. In the year of the centennial, Arizona can have some pride with an additional social event that provides for community bound by a pint. Once more, beer festivals may seem like something that the Northwest of the United States has monopolized. But. Arizona now can boast its own driven by breweries like Four Peaks and Phoenix Ale Brewery for Phoenicians and Arizonans at large to come together.

Zombie Walk 2011

The primary drive for the downtown have been events and festivals that businesses can benefit from directly like The Art Walk. The Zombie Walk 2011 saw its largest turnout in its third year. It represented the ability for the city and law enforcement officials to cooperate in a positive way for an event that could be potentially problematic. However, The Zombie Walk proved the ability to draw residents from around the valley to celebrate together, albeit a touch in cheek event. However, whenever an event with this draw can get people to the downtown area, the Zombie Walk would be a model success for other events. This is why it would behoove other events like music festivals, sporting events, or the Phoenix Film Festival to seek downtown as the hub for their events.

Fleet Foxes and Bon Iver Co-Headlining

Phoenix was able to play host to a unique single event this year that took place nowhere else. Bon Iver, Fleet Foxes, and The Walkmen performed together at the Comerica Theatre for a collection that proved to be a mini-music  festival. This concert was the most amazing sets of music that the city saw in one place and only Phoenix was able to experience. In addition, if you were able to get tickets early enough, you could have entered the “general admission” experience that Comerica prepared in the front that reflected Comerica’s recognition of new general admission venues like The Crescent Ballroom or The Compound Grill. Although, Fleet Foxes had come earlier in the year to Tuscon at the Rialto, but they returned to continue to tour their new album Hopelessness Blues. This was only doubled by Bon Iver’s performance after the Fleet Foxes and overwhemed the croud with renditions that were organic and used no electronic backups. What you hear on the album by both performers is what you get on the album and it was a sumptuous experience.

Bird on Fire

Can anyone say platitudes? Not that I am not a guilty of a few in my own life, but it becomes somewhat concerning when the author, Andrew Ross, in question does not live here. Having said that though, the book has become quite the center of attention out there in social media and enumerable editorials. It serves several purposes, it has historic angle that many can pull unique information from about Phoenix’s past, most notably the city could have been called Pumpkinville. Additionally, he brushed over a few interesting details about Phoenix and its horizontal spread, which is not the worse in the United States. As you read the book, it spotlights many of our PHX stars like Greg Esser of Roosevelt Row and narrates the story of much of the social activism of the last twenty years. The book has been touted by Phoenix’s newly elected mayor Greg Stanton and has become a center of serious conversation in Arizona’s centennial. Although the book exudes a presumptuousness about Phoenix and it’s residents, it starts a very important discussion about what Phoenix will look like and avoiding past mistakes of real estate, environmental damage, and reviving central Phoenix as a cultural beacon for the rest of the Southwest.

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Morning Teleportation Revives Psychedelia and Prog

When drummer Tres Coker was asked about the name of the band Morning Teleportation, he replied with the optimistic spirit of Wayne Coyne, “Because, we wake up in a place that were not the night before.” This cosmic perspective permeated the performance of Morning Teleportation at The Crescent Ballroom on Wednesday night. Morning Teleportation consists of Tiger Merrit on vocals and lead guitar, Travis Goodwin on Keyboards, Tres Coker on drums, and Nick Bockrath on bass who was standing in for Paul Wilkerson. Morning Teleportation is an addition to a cortege of bands from the music scene in Bowling Green, Kentucky that includes Cage the Elephant and Sleeper Agent.

The band met each other in Bowling Green, Kentucky and met Tiger there who is originally from the Chicago area. They started performing there and then moved to Austin, Texas to play the circuit of bars and clubs. With the help of woman who allowed them to live with her and food stamps, Morning Teleportation were able to craft their sound and tighten up the performances. It was in Austin where keyboardist Travis Goodwin said, “Six of the songs for the new album Expanding Anyway.” It was in Austin that they met Isaac Brock of Modest Mouse who brought them onto to his label Glacial Pace Records to record their album. After a brief hiatus back to Bowling Green, they moved to Portland, Oregon to continue to spread their sound in the Northwest. The band has gone on a full circuit from coast to coast where they have especially caught on in the New York City music scene, eue to the strong footprint carved by their management and positive press in the New York Times by Jon Parales. In addition to this, older bands like, “The Flaming Lips were very helpful to us in their tours” said Goodwin and, ”Caged the Elephant were also very supportive bringing them on for 200 and 250 shows.”

The bands sound is a swirl of influences from the Neo-Psychedelia of The Flaming Lips and the Thee Oh Sees and older elements like the Ramones and  Yes with an infusion of Syd Barret. Travis Goodwin’s keyboard prowess is reflective of the energy of Rick Wakemen of Yes and Keith Emerson of Emerson, Lake, and Palmer. “My hero is Page McConnell of Phish,” said Goodwin whose speed on the keyboards he seeks to emulate. Tiger Merrit’s combination of reggae-tinged guitar combined with the playfulness of his vocals that is similar to David Byrne in his heyday. Coker’s and Bockrath’s rhythm section added elements of both jazz and funk that wove an even seam through the electro-ska icing that were added by Goodwin and Merrit. Morning Teleportation does have a video for the title song “Expanding Away”. However, the song Treble Chair  translates very well on stage with Goodwin churning a milky hopscotch on keyboards throughout the song, which becomes the song’s signature theme. When Morning Teleportation returns to the PHX or if you have a chance to see them headline or open for one of your favorite bands, they are a welcome addition to the revitalization of Neo-Progressive.

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Psychedelic Kentucky Visits Phoenix

Morning Teleportation, a Bowling Green, Kentucky band, performed at The Crescent Ballroom in Phoenix with music from their new album Expanding Anyway. Morning Teleportation is a neo-psychedelic band with elements of prog rock that draw from Yes, The Ramones, Flaming Lips, and early Pink Floyd with Syd Barret.

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Sublime Moments of Iron and Wine

There are rare concerts that lift an audience to another place when they are not expecting it. When most passive listeners of Iron and Wine cite their music, they might imagine a one man show with an acoustic guitar  singing “Such Great Heights“, which was a song originally composed by The Postal Service. But, upon Iron and Wine’s arrival on the stage at The Crescent Ballroom, those expectations were overwhelmed by an ensemble of six musicians with Sam Beam and two backup vocals. The evening really had three parts that consisted of Marketa Irglova, Iron and Wine, and Sam Beam, the primary of Iron and Wine.  Marketa Irglova who was joined by bassist and husband Tim Iseler and the percussionist Aida Shahghasemi. Marketa Irglova who performed on keyboards and vocals is the lead actress of the film Once. She received an Academy Award for best song for that film titled “Falling Slowly“. Her band performed a number of keyboard centered ballads that were very smooth with occassional bursts of tempo driven by Aida Shahghasemi on the daf. Her new album is entitled Anar.
The next part of the experience was the ensemble that Beam brought out with him that consisted of multi-instrumentalists that were Jim Becker, Stuart Bogie, Matt Lux, Joe Adamik, Ben Massarella, and Nick Luca. Each of them brought a unique addition to the blend of sound that is now Iron and Wine, it is not the experience that many imagine with Sam Beam by himself on acoustic. Iron and Wine’s new album Kiss Each Other Clean is a rich and multi-layer oeuvre of sounds that does not dedicate it’s time to one genre of music. As the performance began with “Rabbit Will Run”, the song starts gently with Beam scratching his guitar as the song builds up to a crescendo that seamed more like a closer. However, throughout the performances of the music, the center of gravity was Stuart Bogie who performed on horns. Bogie’s energy may seem surprising from such a conservatively dressed musician. However, the tones that he was able to weave with sax, flute, and clarinet were the seams of each song. It was impossible not to focus your attention on Mr. Bogie and his ability to swerve from funk to klezmer with the aplomb of a newly launched bumblebee. Yet, it was the audience that was awash with the crest of sounds that broke forth from the sparks between each of the musicians. Ben Massarella was an additional surprise on percussion supporting Joe Adamik on drums. Mr. Massarella, who also plays for Califone, was a rhythmic trickster with the amalgam of cymbals, congas, and cowbell trickling brass sounds and splashes of cymbals in between oscillating rythms and negotiations between each musician. Massarella introduced punctuation to the high and low emotional moments of the songs that added a humor and finality to the metallurgy of sound the band wrought forth.

Finally, Samuel Beam who has cut his locks that were Elvis-slicked back, but still adorned with his signature mossy, blond beard. He brought a swagger to the state that drew from his southern background that exuded a gentlemanly charm. His frenetic movement on stage that was constantly shifting the position of the microphone to the playfulness on guitar. Beam presents a figure that has music that wants to burst from inside him. If he could metamorphosize into a musical creature, his constant movements of posture anticipated that change on stage. He has brought Iron and Wine to a new musical place that drew on many genres that included rock, bluegrass, jazz, funk, Middle Eastern influences, klezmer, and swing. There was one point in the concert that an audience member swooned and collapsed causing a small confusion in the audience. Beam slowed down the tempo and with genuine concern wanted to know if she was alright. He waited until she was back on her feet and the venue was able to give her proper attention. Once Beam was satisfied with her well-being, that was then he lead the band back to the song and finished on key.

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The Daf and Aida Shahghasemi

One of the sparkling surprises at the Iron and Wine concert at the The Crescent Ballroom last evening was the percussionist for the opening performer, Marketa Irglova. Here is a performance by Aida Shahghasemi who performed on a Kurdish drum called the Daf, which is shaped like a tambourine with a two and a half-foot diameter with a ring of tambourines that look like aluminum can tabs woven together. The instrument had a hypnotic effect upon this audience that was not expecting an experience that was truly mind opening. There was nothing but a pal of silence that blanketed the audience as the swirls of smoke soaked with blues and reds of The Crescent light. Miss Shahghasemi enraptured the observers as she took the audience through a journey in time by exhibiting ancient rhythms that was one of the rare collectively spiritual moments at a “rock concert”. I have seen Ravi Shankar live twice and Miss Shahghasemi performance broached the same type of virtuosity that drew on the thin balance between music and spirit.

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Album Leaf at The Crescent Ballroom

The Crescent Ballroom opened its doors this week on 308 N. 2nd Avenue to a very interesting venue. The Crescent is joining a growing list of “Dining Venues”, like the Compound Grill, where restaurants have become an added feature to concert facilities. The Crescent did a very good job designing the space inside the building by separating the concert facility from the dining room. Phoenix Downtowners can dine at the Crescent and go see the show or stay in the dining area without being asked to leave once the show begins. It is a sand stone brick lounge that has open-front windows that allow the dining area to stretch to the front walkway. This combination of dark wood tables with a seating area by a lounge performer that was playing acoustic opposite the bar allows for patrons to be able to vary their experience. You can sit at the bar and watch a ball game, or sit down on the other side and listen to music at dining height tables, or go outside and enjoy a crisp evening at bar tables. The Crescent Ballroom offers a Southwest menu of different styles of burritos served with chips. The kitchen is being tended with assistance from Pizzeria Bianco and the Gallo Blanco. They have a unique selection of  beers on tap with a very attentive staff on hand.

The stage area for the show that is entered through a double doorway of glass doors also has a bar and restrooms seperate from the dining area. Concert goers do not have to go to the lounge for drinks or to use separate facilities. The concert area allows for a horizontal experience along the stage front that rises intimately about three feet from the floor. The stage allowed for the bands to have space for instruments and sound equipment and perform flexibly and personally with the crowd. There are bleachers on the back to allow for seating and a bar that stretches in between parallel to the stage. Between the stage and this bar, fans can get up close to the bands and have a personal experience with the members and the music.

The stage space is a unique swirl that stirs with color and imagery on the front projection screen to the rear of the stage. Sister Crayon opened for Album Leaf and with a unique blend of electric and synth led by Terra Lopez on vocals. Sister Crayon is a trip hop/electro pop band that consists of keyboards, guitar, and percussionist. Throughout their set, Jimmy LaValle, frontman of Album Leaf, would come on stage to assist them on keyboards. In particular, Sister Crayon’s guitarist, Jeffrey LaTour, brings a mellifluous electric blend of rock and techno that included using a bow to play guitar that would make Jimmy Page proud.

Album Leaf came on stage and started their set with “Window” off their album In a Safe Place. Like Bon Iver, those who have passively listened to their music are shocked by how instrumentally organic they are. They consisted of a LaValle on keyboards, a violinist, guitarist, and percussionist with a variety of other instruments including trumpet. Their set was tightly driven and replete with ingenuity without needless flourishes.

The Crescent Ballroom was a very comfortable place for both bands. The sound engineering was uniform with the space and the genre of music. In addition to this, the lighting saturated the stage with radiant colors that matched the ambient contours of both bands elegantly. It was a unique musical experience that was contributed to by good food and the ambience of the restaurant space of the Crescent Ballroom. The venue sells their tickets through Ticketfly that you can purchase through their website, www.crescentphx.com and their phone number is 602-716-2222. Prices are more than reasonable and offers a musical and social an experience that is preferable to spending similar money for an overrated movie and overpriced popcorn. The difference here is that you get a worthwhile experience of a favorite band up close or even have the opportunity of learning about a new band or genre of music that you may never have heard of before.

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A New Downtown Phoenix Venue: The Crescent Ballroom

A new venue is opening up in the downtown area that is going to offer a new opportunity for live music. Phoenix Underground spoke to Charles Levy, the operator of Stateside, which is a concert promoter for Arizona events. The Crescent Ballroom will be a welcome addition to downtown life in Phoenix that will have easy access by ASU students from Tempe and the downtown campus. The presence of a venue located in central Phoenix for nationals through a well-known promoter reduces the trip for many residents of all sides of the valley who may not want to drive all the way to Tempe. The Crescent will also promote shows for 16 and over in addition to shows exclusively for 21 and over. When asked about changes in the downtown area, Levy said, “Light rail changed the downtown area significantly where Phoenicians can walk, ride their bike, and take the light rail to Phoenix establishments.”

Mr. Levy said, “I want to create a good experience where fans can see live music and watch their favorite band.” He chose the downtown area as a location because ”the downtown area is growing with more and more people moving downtown and a different restaurant opening up every day.” The Crescent is going to have a capacity for 400-500 people and will offer a full kitchen, a lounge in the front with free lounge performances by keyboardists or DJs every day. This will not only be a venue for nationals, but will host local bands as well.

Mr. Levy said that he wants to “open a place, where people can come, and enjoy themselves. We have a great team and we are working hard to make a good experience for our customers.”  It’s opening day will be October 3rd and will be featuring Raul Yanez in the lounge and for the first show will be Blind Pilot for that evening. Additional bands performing during the first week of  The Crescent Ballroom will be Unknown Mortal Orchestra, Gang Gang Dance, Chico Mann, and Album Leaf. You may purchase tickets through The Crescent Ballroom’s website and the ticket vendor is TicketFly. The tickets are reasonably priced and offer a reasonable cost for a new and interesting venue. The Crescent will be open everyday from 4 PM to 2 AM.

Phoenix Underground will be covering The Album Leaf on October 7th and Phantogram on November 5th.

The Crescent Ballroom is located on 308 N. 2nd Avenue and its website address http://www.crescentphx.com/.

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