#sofarreview

Well…just a little heads up, reading this might piss you off a little bit. With that being said, I’m going tell you about a movement going on that more than likely have not been invited to. Not because your not cool enough, or that you don’t have enough money (it’s free). There are hundreds of people that apply for entry in the DFW area. How many people are invited to attend, is based on the size of the space.  The “guest-list-guru” painstakingly selects the lucky music lovers, based on a few criteria…#1 How long has it been since “you’ve” been to SOFAR a show?  #2 Have “you” ever RSVP’d to one of our events and been a no-show? #3  Is it “your” turn?  Bottom line? If your name is chosen, you will receive the secret address to the event 2 days prior to the show. The full band list is kept secret until the day of the show. The locations are random but one thing you can count on, is that the level of intimacy between you and the bands will rival any you have seen before. Sofar Sounds is what they call it and it is probably the coolest thing to happen to live music around the world since that wonderful day in 1779 when my man Gaetano Vinaccia gave the world the first acoustic guitar.  

 The following is my account of Sofar #589, an event I was lucky enough to be invited to...I opened the e-mail I had been expecting to find an address and 3 simple rules. 1. Shush. Don’t talk during the performances. 2. Stay until the end. 3. Support the bands, i.e. follow them online, talk them up, buy ‘merch’ and attend future shows when possible. Sound fair enough? No problem. We arrived at the address in an East Dallas neighborhood with thirty minutes to spare, punctuality is key! Once the doors shut you are out of luck. We noticed quite a few people looking for parking and quite a few already walking towards the house. We entered through the garage and quickly got stopped by the “List-keeper” Although everyone was friendly there was the definite air of No Ticket…No Taco. She checked for our names, crossed us off and gave us the nod. We were in. Immediately you couldn’t help but notice the vibe was that of a small house party. People chatting, drinking beers and the usual but there was a definite lingering anticipation of what was to come. We made our way through the kitchen and into the dining room that was furnished with nothing more than musical instruments that the first band had previously set up and we stepped out onto the back patio. This was obviously the smoking section/ Green room. Still not knowing who was actually playing, I started asking around. Here’s the list: Chambers (Denton, TX), Taylor Baker (Austin, TX), The Roomsounds (Dallas) and wrapping it up would be a Band called Friendly Savages (Austin, TX). Our MC’s for the evening were local East Dallas natives John Pedigo and Taylor Young who make up a band called The O’s. If you have ever seen these guys play then you’ve heard their back and forth comedy stylings. They should make great hosts.

Let’s get down to business.

 Up first was a band from Denton Texas known as Chambers. They were a 4-piece group that consists of Piper Johnson on vocals and keyboards and a bit of small percussion, Judson Valdez on guitar and vocals, Chase Johnson on drums and vocals and Daniel Pelletier on bass guitar.  Their first song “Strange Visitor”, started out with Piper slowly rocking some percussion when she started singing she definitely got your attention with some great high notes. She played the keys then Chase joined in for some wonderful melodic harmonies. They played 5 songs with Chase on drums and occasionally throwing in some Xylophone. Which mind you, all is sounding amazing with the acoustics of this furniture free dining room and kitchen.  Instruments were switched around a few times reminding you of the musical schooling this foursome has had in the past. UNT is in the group’s blood and teaching/sound engineering are primary jobs for multiple members. At one point between songs Daniel spoke about how different it was playing so softly to a crowd. When I asked Chase about the comment during a later conversation he expounded by saying “One of the things we loved about Sofar was the fact that during our shows we like to take people on a journey. Some soft parts of a song are followed up with louder intense sections. During shows at live music venues or bars it’s not as easy to showcase that experience while playing over conversations and what not. He followed up with. “We love playing to our crowds regardless, but Sofar was special in the fact the room was completely quiet and the crowd was following our every note”. They ended the 5 song set with “Friend Song” a song they explained would be a special treat due to the fact there was not a recorded version of it anywhere that they knew of. I thought they wrapped it up perfectly because for all of us sitting on the floor, we felt like our new friends had just played us a special private performance. Check these guys out chambersmusic.net for show dates and links to their Twitter/Facebook.

 After a small break for load out and load in, our next artist up was Taylor Baker from Austin Texas. I tell you, there is something about a girl with a banjo that just says sit down, shut up and watch me work! This two-piece from Austin just recently scaled down from a 4 and 5 piece to just herself on guitar, banjo and vocals and Drew Walker on guitar and trumpet. With her soulful crooning and emotional lyrics she was a perfect fit for this room. It was also easy to imagine her putting some of her songs together in similar homey surroundings, minus the 60 people staring at her of course. They opened with “Sun Song”.  Her voice had great range, but not so much that it distracted you from what she was singing about. It was just right. The trumpet Walker was blowing on in a few songs was a very fresh addition to an already unique sound they had to offer. “Here we go again, thinking this ride will never end.” is the opening line from “Gold Dust” and a great ride it was. Only bad thing was that the ride did end, only 4 songs later. They wrapped up with ”Closer”.  Taylor and Drew both are slowly becoming quite involved in the Sofar movement, this being the 3rd show they have played and one of the three actually being hosted by Walker at his home in Austin. They will be recording an EP in February so keep your eyes out for that. You can find videos, show dates and band info at taylorbakermusic.com. Links to their Facebook/Twitter accounts are there as well. In Gold Dust she sing’s “When its all said and done, did we say anything at all? Will we build it just to watch it fall?” Well Taylor, you just keep saying what you’re saying because it doesn’t look like anything is going to be falling anytime soon. The sky is the limit.

Next up was a local Dallas band, The Roomsounds. Beers in hand, dirty blue jeans and 4 pairs of boots, these guys oozed rock and roll. Fronted by Ryan Michaels on lead vocals, lead guitar Sam Janik on guitar, harmonica and slide guitar, Red Coker on bass and Dan Malone on drums and percussion. All but Red come from Connecticut and thankfully they enjoyed the fit of Red (Oklahoma) seeing how he was the only guy to answer their ad on Craigslist. While living just a mile a way from the other three it seemed like “Musical Destiny”. These guys say they are giving people a young twist to some old rock and roll. Normally playing full on, plugged in rock shows I was curious to see them stripped down. They did not disappoint. I asked Michaels later how he felt about Sofar and he said he loved it. Since he writes most of their songs on a acoustic guitar he knew they would translate well for the crowd with a little fine tuning. After the first song “Chasing a Fox” ended the completely quiet room exploded. The band told a few jokes and thanked the crowd for coming while Red bummed a few swigs of beer from the person in the crowd closest to his bass amp perch. The only thing plugged in I might add. The whole crowd joined in during the chorus of “You couldn’t break my spirit” Which is as much of a rock and roll anthem to come out of Dallas as any I’ve heard in quite a while. They rolled through a few more songs and the two acoustic guitars sounded great along side an upright blue leather suitcase that that had been fashioned with a kick pedal. Malone was using this for a bass drum. A. It sounded great and B. It looked like it could have been carried on tour, by one of the rock bands from the 70’s that has obviously greatly influenced these guys music. Not to mention their fashion. They played 5 or 6 six tunes that the crowd ate up asking for more. Go to theroomsounds.com for show dates and a link to the video for “Couldn’t break my spirit”. Also check them out on Facebook. As for myself? I definitely will be seeing more of these guys the first chance I get. 

The last band up was Friendly Savages from Austin Texas. A foursome including, John McDonald on guitar and lead vocals, Josh Coulter on guitar and mandolin, Michael Summers on bass and Malcolm White on banjo and keys. Nice clean-shaven guys in and button down shirts, they came wielding an acoustic guitar, electric stand up bass, a mandolin and a banjo. I heard them warming up on the side of the house a few minutes before so I knew these guys meant business. Out of the gate the guitar and banjo filled the room beautifully, and then came the harmonies. Man could these guys sing. It looked like everyone but the banjo player was singing. The way he was plucking that banjo you didn’t even care. He totally got into it, rocking back and forth the whole time. He made it impossible to get a focused shot, (see attached picture). In talking to the guys later, one of the guys works in the music department at Austin Ridge Church, which has a very strong music program. One works for a company which aids Spanish speaking employees learning English, one guy is a computer programmer and the last works for Google. In my opinion they should quit their jobs and play music for a living. The lead singer studied a capella in college and obviously he has shared his knowledge with his band mates. The combination of the three of them singing sounded amazing in this space. Oh and then add guitar a bit of mandolin and some banjo. The upright bass was just gravy. They started out with “I have your ghost” and when they finished the applause from the crowd showed immediate approval. They went into ”Natchez Trace” and with each song the banjo started to be more and more apparent. During “Her locket on a chain” they had the crowd fighting not to sing along, (remember your supposed to remain quiet during the performances), which I give them a lot of credit for, seeing how they were from Austin I wasn’t sure how may people even knew their music. That’s how catchy the tune was. They played one more tune and then asked the few people and any other band members that were out back to come inside and close the door. Asking everyone to stand up, they announced that they wanted everyone to sing along to their final song which was going to be “I’ll Fly away” A hymn written in 1929. They started out softly and the crowd gently started singing along. As the song went on the crowd started getting louder and louder and before you knew it was a full on sing along, Choir style. I have to tell you being part of 60ish people singing “I’ll fly away” in a dining room with no furniture is something I won’t forget for a good while. My appreciation for the Sofar experience grew as the show went on and I couldn’t have asked for a better ending. Check out www.friendlysavages.com for more info and show dates. Ok. Sofar…I’m hooked. Now I just have to wait and hope to get invited back. The next one is scheduled for March and the rumor is that a band for the U.K. on the way to SXSW might be involved. Go to www.sofarsounds.com click on your city and fill out the form to get on the list. You never know. Maybe you’ll get invited. I’m heading out now to buy a lucky rabbit’s foot, throw a penny in a fountain, look for a four leaf clover, hang a horseshoe, rub a Buddha’s belly and any other thing that might give me the edge to be one of the names chosen. Those names will be invited to be a part of the movement in music they are calling Sofar Sounds.

 Words and Photography by: Chad Davenport

The Local Yokel Show

Saudade de otoño para un verano en fuga

Sofar regresó a un escenario elegante para cerrar el verano: recital en una casona antigua en el bajo La Lucila, un barrio muy próximo al Río de La Plata. Tras la puerta de reja, lo primero que encontraban los invitados, al llegar, era un copioso jardín contorneado por enormes árboles, enredaderas, floripondios... también círculos de personas sentadas sobre el pasto. Si la edición de diciembre, que tuvo lugar en la misma zona de Buenos Aires, fue veraniega y prenavideña, de vocación familiar, la de febrero tuvo una dulzura melancólica y crepuscular, conectada con el final del tiempo estival. Quizá porque la noche era fresca y húmeda, o porque nadie, en su interior, estaba dispuesto a decirle que no al goce vacacional, todos se afanaron en entrar calor rápido: la cerveza, el vino y los mojitos volaban, literalmente, y para el último intermedio apenas quedaba una gota que echarse a la garganta.

En un living blanco, con chimenea y pinturas clásicas, lámparas de candelabro, a media luz, comenzó La Magnísima Gronda con melodías bellas y ensoñadoras que evocaban sombras ingenuas, soplos de aire frío y hojas cayendo. A la formación clásica -bajo, guitarra, batería- se unían piano, xilófono, un bombo legüero -del floklore argentino- y un violín donde la única mujer de la banda coloreaba con pasajes emotivos la sección vocal. Yendo quedándome -título tan contradictorio como argentino- fue uno de las canciones mejor terminadas, claramente influenciada por la música de Spinetta, como recordó sin sonrojo el propio cantante. Los integrantes de La Magnísima Gronda, sospechosos de contar con una formación musical por encima de la media, mostraron su capacidad para trazar atmósferas tiernas y nostálgicas, con una cuidadosa y sugerente orquestación, como de banda sonora para película de animación.

Si La Magnísima Gronda tendía tanto hacia la factura minuciosa y la melancolía porteña, Bombacha Collective, la segunda formación, fue lo contrario: un trío femenino -dos norteamericanas, una argentina- que a falta de escuela musical, seguían una improvisación fresca, desinhibida, inspirada en el do-it-yourself: haz lo que quieras, como quieras. Así, ellas entregaron canciones sencillas y divertidas que transcurrían por un folk minimal con ecos de bluegrass y country -cerca de unas Be Good Tanyas en acústico-, donde la canción se construye a partir de repeticiones, armonías vocales y fragmentos que se solapan. Tres mujeres, tres: con miradas de apoyo entre sí, intercambio de instrumentos -la viola, el banjo- guiños y sonrisas de complicidad, letras simpáticas “-exboyfriends, they all want the same things”- de alegre humor femenino. Para las dos últimas canciones, un hombre, de acompañamiento o de compañía, encargado de la percusión y un esmerado beatbox.

La velada avanzaba con cierto tono de saudade pero cuando más apacible parecía, llegó Toro Blanco para voltear la mesa de una patada. Con una escolta de músicos apareció Fran Tórtora, un intérprete porteño con cancionero enérgico, aura rockera y un estilo agresivo que bebía del sonido y la actitud desafiante de iconos del rock local como Andrés Calamaro o Charly García. Comenzó el toro furioso, en pie, entregado al micrófono como un Pete Doherty vestido de guapeza porteña; siguió el toro sentado, solo en una silla, con una guitarra, azotando las cuerdas de la guitarra con violencia; y culminó un toro rebelde que comenzaba una canción, no la terminaba, pedía un vaso de agua, interpelaba a los asistentes con afán revoltoso... probablemente en una búsqueda tirante, inquieta, de complicidad.

“No estoy sereno” dijo en algún momento de su actuación Toro Blanco. Y en verdad nadie estaba sereno: el otoño comenzaba a decaer sobre el hemisferio sur pero en aquel jardín y en aquellas notas musicales se empeñaban por despuntar las últimas chispas del verano.

-Miguel Cuesta 

WITH TOPAZ JONES, GABRIEL RIOS, MANDIBUL, TIAGO GRADE, THE DIRTY URCHINS

While it’s without question that every night spent with Sofar Sounds is something special, from time to time you find yourself at a night of live music so stirring that it still crosses your mind even weeks after it’s passed. New York’s latest Sofar was that kind of exception: the perfect blend of an intimate space, eager listeners and the unique buzz of a Friday night.

The night unfolded with the return of Sofar NYC favorite Topaz Jones. Having played for us with his full band earlier in the year and then surprising us again with a smaller set at the Cole Hahn offices, we had already seen Jones’ versatility. This time, he and his band concluded by serenading our own Jodie and Vanessa, captivating us all with his fresh style of hip-hop and reminding us once again why he is one to watch.

Up next, Gabriel Rios mesmerized the room with songs influenced by his Puerto Rican heritage. Leading on guitar, Rios’ music displayed a certain sexiness, underscored by the provocative accompaniment of cello and bass. As if we weren't already reeled in, Gabriel shared that he would tease listeners with one new track a month for the next twelve months, until his entire new album is shared.

If you haven’t brushed up on contemporary beatboxers, get yourself on YouTube and sit in absolute wonder at the skills of Mandibul and 2012 American Beatbox champion, Tiago Grade. This duo shared their unmatchable skills, from lighthearted beats (which encourage both twerking ladies and a valiant gent or two) to rich storytelling. In short, this pair have us all wondering, “How exactly the do they do it?

Our evening ended with the crowd begging for an encore from the bluesy folk vibes of The Dirty Urchins. After a recent reshuffling of members, the stunning Julia Haltigan lead the way on vocals, her soulful voice ripping through the room like a member of a gospel choir. The Brooklyn-based trio is no doubt doing acoustic folk rock right.

Finding a home for our increasing fan base isn’t always simple, so we were ecstatic when Jon Morris of the Windmill Factory offered up his live-in workspace for April’s gig.

Perhaps best known for the Hudson River installation “Reflecting the Stars,” the Windmill Factory is a unique interactive design and art initiative that seeks to “spark a sublime moment for the public”—a mission not unlike that of Sofar. And so it came to be that our diverse range of performers sang, stomped and improv’ed their way through a screen-printed forest, complete with astroturf rug.

First up was Charly Bliss, a newcomer to Sofar, who came to us (thank you college!) through a friend of an NYU friend. Made up of siblings Sam and Eva, along with their pals Spencer and Kevin, the quartet grew up together in Westport, CT, but are relatively new to the NYC music scene. Led by Eva’s quirky vocals—a tone both pinched and soulfully rough—their distinct mix of indie pop offers cut-to-the-chase, upbeat originals and addictive covers alike.

Next up was Sofar veteran F. Stokes, a spoken word/hip hop artist who transcends both genres and expectations. Having literally just jumped off his bike, Stokes launched straight into a reminiscent flow, crafted on his very first NY job as a bathroom attendant. The experience was a veritable Ph.D in social tendencies, the likes of which pervade his uniquely perceptive verse. He instantly wowed the crowd, including Spencer of Charly Bliss, whom he recruited to spontaneously spar guitar with his in-the-moment verse.

After a brief interlude that introduced the audience to Candy, the Windmill Factory’s “saber tooth” mascot, we succumbed to the soothing sounds of Lovely Liar. Infused with a coolly jaded, 1960s storytelling vibe (recalling the likes of Serge Gainsbourg), the group’s lead singer, Tatiana Pajkovic, seduces with a wise, lived-in voice that spans more octave than expected. Yet, it's in her lower range that Pajkovic resonates most clearly, as on the song “Glorious Hollywood”.

And then came a surprise performance by Leah Siegel of “Firehorse”, a favorite of Sofar NYC organizer Jodie Belman and girlfriend (yet another asset of the location) of Windmill Factory founder Jon Morris. Though she claimed acoustic guitar might render her song a bit of a dud, the stripped down sound proved how beautifully raw and brave Siegel is in her upper register. Barely whispered notes, thick with emotion, revealed why many before me have described her as akin to the late Jeff Buckley.

Closing the set was Woolly & the Mammoth, the perfect companions for our indoor woodland setting. Falling within the “folk revival” movement, this budding young band layered percussion—from the buckles on their boots to tambourine and an expertly played cajon— under fiddle, guitar, and co-ed vocals. Their casual tone and round-the-campfire vibe was an upbeat end to yet another incredible night of intimate Sofar Sound.

                                                      Carly Defilippo 

Sofar Houston’s show on Saturday, March 2 was filled with stars on the rise in the middle of a city on the rise. White enjoying complimentary from Buffalo Bayou Brewing Co. in the backyard of an unconventional residence that could easily double as an art installation, music fans were treated to intimate, innovative performances from some of the music’s “next big things.”

Austin Smith, one-fifth of the band A Sea Es, kicked off the night with four songs of beautiful, electro-pop genius. Throughout his set, Smith used a looper to layer seemingly disparate sounds into cohesive, soulful melodies. Up on stage, surrounded by an impressive array of equipment on loan from KTRU, Smith built music out of what began as beatboxing, two seconds of vocals and a guitar riff. A Sea Es will be performing at Houston’s Free Press Summer Festival at the beginning of June, and you can download their album here.

Austin Smith of A Sea Es. Photo credit: Amy Carl

The second act was a riotous acoustic duo comprised of Austin, Texas-based Jordan Laz of the band Locksley and his ukulele, Junior. Laz got the crowd energized and dancing with his stripped down songs, that were, for lack of a better word, jammin’. His and Junior’s voices merged perfectly, and when his last song took a more soulful turn, the audience couldn’t help but be captivated by his charisma and vulnerability. You can download Laz’s album here and purchase any of Locksley’s three albums here.

The final act, Chin Xaou Ti Won, was the perfect way to conclude the evening. Marcus Cone and Ian Travis transported listeners to a different time and place with their synth-infused, atmospheric melodies – ideal music to warm attendees against the cold night. Chin Xaou Ti Won will also be performing at the growing Free Press Summer Festival, and their most recent album is available for purchase here. You can also find some of their older material here.

The rain was constant, the annoying type that establishes a presence with its ongoing pitter-patter.  After emerging out of the metro, I spotted a mirage of instruments being carried by hooded individuals filing one behind the other into a narrow doorway.  Anxious to get out of the rain, I quickly joined the parade and accompanied these strangers and their drums up the staircase.  Just as I was rounding the second flight of stairs (progressively getting more nervous that I was approaching a “point of no return,”) I saw a door opened to a vibrant apartment, filled with music enthusiasts and signs for 1euro beer.  Anxiety subsided and was replaced with excitement for my first Sofar show, and the first ever in Barcelona. 

It was a full house.  Amigos, lovers, groupies and strangers all gathered in a characteristically Barcelona apartment with its tall ceilings.  There was cheap beer, instruments being tuned and lots of smoke looming overhead.  It felt like the intimate, legendary rock-n-roll concert that is covered years later by a journalist from Rolling Stone.

Our introduction to the first band was a slow-clap in unison, which contributed to the intimate feel of the night.  Then the beautiful, melodic folk-sound silenced the audience and Olivemoon took over. 

Olivemoon is an alternative folk-rock group assembled of Spaniards and Swedes that got started in Barcelona in 2007.  Marc Navarro’s steady vocals are accented by an array of sounds from many different instruments.  Olivemoon’s lyrics are in English - this offers the listener a poetic journey, but the accompanied instrumentals represent another journey even more lyrical.  Olivemoon’s, “The Cliff” begins slowly like a train steadily moving forward with Navarro’s soulful voice at the lead.  The drums pick up, and the instrumentals transition into the storyteller.  Olivemoon is the perfect combination of solidity and experimentation, and this is a recipe for a beautiful musical adventure. 

After a five-minute break, the audience was introduced to the second band of the night: La Sentina.  La Sentina is a small band on the Indian Runners record label with sincere lead vocals, instrumentals and Catalan lyrics. 

 Catalan is a beautiful spoken language and even better when put to music.  “Plàstic,” the third song by La Sentina, has a powerfully instrumental refrain that gives the piece a roller coaster feeling. 

For someone who cannot speak Catalan, I felt like I understood the song’s meaning perfectly.  La Sentina was the perfect first-introduction to Catalan music.

The set-up of the third group was interesting to watch unfold.  There was a diverse range of instruments, including harmonium, multiple keyboards, autoharp, marxophone – the list goes on!

Berlinst is a “band that dreams about music and makes music about dreams.” Just as diverse as its instruments are the nationalities represented in this group.  Berlinst has six members from Poland, Italy, Spain and Chile.  Their sound is breathtaking, especially the vocals of Barcelona’s Gemma Gamarra. 

Berlinist has an echoing sound comparable to that of Sigur Ros, and violinist Natalia Bednarczyk strikes a lasting impression.  During all four songs, the audience was completely entranced; a pin-drop could be heard throughout their entire 20-minute set. Berlinist created magic.

The final performance came from Mates Mates, five Catalan boys that are re-inventing the meaning of “jamming out.”  Their set began with a beautiful cover of Bob Dylan and Johnny Cash’s, “Girl from the North Country.” 

It was the calm before the storm, because the rest of the set was an energetic ending fit for a rock-n- roll concert.  Playing to their strengths, these boys got the crowd going and engaged in the music – dancing rambunctiously around the room with guitars and trumpets in hand into the smiley-eyed audience.

Mates Mates has the sound of an eighties garage band with a big personality.  They appropriately ended a night (which began with slow clapping) with foot-stomping excitement.  

  The first Sofar show in Barcelona was not only memorable for the 75-person, hand-picked audience and musicians, but for Barcelona as well.  The evening showcased local talent and allowed a new city to join in on an international music movement.  Sofar, without a doubt, has a bright future in Barcelona.

Words by Nancy Brown

Photos by Yulia Syresenkova and Mary Elizabeth

On March 7, 2013 in the art district of Los Angeles, Gianni, Grant, Ahdom and Sam graciously opened their home to Sofar Sounds. It was a night dedicated to celebrating artists what would soon be playing SXSW. With the crowd all settled, Petros took the stage to get the show started.

The first performer of the night was Grace London. At 13 years old, Grace London is the youngest performer to perform at a Sofar Show. She began her set with Honest Thief. Her flawless voice immediately grabbed the crowd’s attention. Her set was endearing and filled with charm.  Her second song, Texas Dreams, was performed with passion beyond her years. It was difficult for most of the crowd to wrap their heads around the amount of talent that Grace Displayed. The rest of her set included the oh-so bluesy Box, and an impressive cover of Led Zeppelin’s Bron-Y-Aur Stomp.

The next act of was comprised of the impressive members of AAN. With vocals reminiscent of Jack White, AAN impressed the audience with their acoustic set. One of their songs, Daylight, seemed to strike a chord with the audience, and got them swaying with musical bliss. AAN continued to impress with a pformance of Spiritual Provisions, which is off of their new EP Mystery Life.  Their last song of the night was a cover of Roxy Music’s Take a Chance With Me. Overall, AAN was a very much welcomed prformance.

Changing things up a bit was Yellow Red Sparks. They kicked off their enthusiastic set with My Machine Gun. Their vocals were spot on and flowed perfectly with the sounds emitting from their instruments. The audience was definitely impressed. With performances of Monsters and Misdemeanors and Happiness Comes in a Box it was easy to see why they had been added to the night’s list of impressive performers. For their last song, they joined the crowd on the floor for a beautiful cover of Elvis Presley’s Fools Rush In. It was endearing and completely memorable.

The last set of the night came in the form of The Lonely Wild. They kicked off their set with the heartbreakingly beautiful Over the Hill. The vocals that came from The Lonely Wild were beautiful, yet chilling. By the time the band performed The Right Side of the Road the audience was completely hooked. The next song, Closer than the Needle is a rather tragic song, but you could feel the audience’s excitement while they played. During the last song, Everything You Need, The Lonely Wild had everyone up and moving to their music. It was an amazing performance that most won’t forget any time soon.

The entire night was more than successful. The bands were amazing, and the audience was charming. Add in that the location was beautiful, and the hosts were amazing, and you have a night that was pretty much perfect. It was another night that proved that SoFar Los Angeles knows what they are doing.

  Words and Editing: Rachel Stephens

Photos by: Elli Papayanopoulos

After a whole day of wind, clouds and the fear of rain, which luckily came hours before the show, I began my way towards my first Sofar Sounds gig. Needless to say, I was really excited, and the beautiful cosy and mellow rooftop as a venue made it clear that is was going to be a fine night; no threatening clouds on sight and a shining moon.

The stage was put on nicely; a small spot, just big enough to fit a simple drum kit with plenty of room for the other band mates to move about, amps and guitars waiting, table lamps lightning and setting the mood for the entire evening, and to pamper us viewers, cushions were set all around the stage to give us the best and most comfortable view possible. The background music gave us a good clue to what kind of atmosphere we were about to experience.

After the all too familiar sound of guitars being tuned, That Guyy and Girl, the first band of the evening, were ready to delight the crowd. A very potent mixture of 12-string and acoustic guitars, with soft harmonies, upbeat transitions began with ‘The Language’. A five-song set by Canberra’s own filled the rooftop with arpeggios and bright, colourful riffs.

Girl’s soothing voice and autobiographical lyrics, together with Guyy’s playful and emotional riffs backing the vocals, That Guyy and Girl really set the bar high for the music that was yet to come, and in spite of some minor technical difficulties, they made it happen. Closing with Guy’s powerful ‘United’, a song with evident Celtic influences, the crowd clapped this Guyy and Girl off stage, both with a big smile on their faces.

Once That Guyy and Girl were off the stage it was time for Hot Spoke to take over. This one-girl/three-guys band sent us straight a nostalgic yet warm state of mind. With a very soft voice together with the acoustic guitar, over tight and steady drums and bass line, Hot Spoke had us remember those beautiful days behind us.

The singer’s shy and somehow fragile vocals, playing with the slow, emphatic chorus guitar riffs made a very comfortable combination throughout the band’s five-song set. As the band got to their fourth track of the night, the band’s confidence grew. With an air resembling Cat Power’s Jukebox, the slight change in the song’s dynamics and the restful harmonies made it clear that Hot Spoke’s punchy and mellow sound had achieved what they wanted that night.

We all took a ten-minute break to stretch ‘em old legs and were then ready for the last performance of the evening, Louis London.

This five-man show was not shy at all and went straight for the money; crunchy ska-beat guitar, sexy reggae bass line, bright glockenspiel ornamentations, strong rhythm by the djembe and explosive vocals all joined to take us all to a beach not far away. An ingenious mixture of surf and reggae textures and a warm acoustic guitar, along with harmonic arrangements Bob Marley would have been proud of, Louis London knew what they were doing and they did it right.

The saucy rhythms played by this guys was just was the crowd needed, and as the show went on the viewers grew more content and wanted to hear more. Joining the band with their clapping for the last song of this wonderful event, Louis London took us back to their beach-scenario and turned their surf/reggae mellow mood to a polka/ska upbeat party, making everyone in the audience jump and move along. The perfect ending for a very exciting gig. 

  Words by Alejandro Magaña

Photography by Martin Nester Photography, Art and Design and by Seek Stumble Listen Live

Video Work and Light Installation by Sarah Kukathas - displayed downstairs in the hosts’ apartement.