Totally Unauthorized Top Live Shows of 2015: 40-26

This has been an exhilirating year for live music. I feel like I need to come up for air after everything I've seen over the past 12 months. I'm not sure if it's the best year I've ever seen; that honor would go to either this year or 2013. But I don't know if I'll see a year like it again. I'm not gonna come out and say this is the last year I'm gonna make one of these lists, but I will say not to expect one of these lists from me next year. At the least, it won't be anywhere near as big as the ones I have done. So in honor of that, I've decided to go big this year. Here are the 40 best bands I saw this year.

40. Unlocking the Truth

June 11 at Bonnaroo

Can metal get more respect at Bonnaroo now? These 14 year olds showed that talent and energy can sometimes trump experience, as they put on the most memorable opening set I‘ve seen at Bonnaroo. With raw bravado, front man Malcolm Brickhouse ordered the crowd to split in half and form a moshpit. Cue relentless crowd surfing. He didn‘t break out the guitar solos often, but whenever he did they melted face. Bassist Alec Atkins proved to be a great, sweat soaked showman as well; at one point, he could be seen dousing himself with a bottle of Dasani. No doubt many were interested in them merely as a novelty act due to their age, but they showed they have the most potential of any young band since Black Tide.

39. Iceage

June 11 at Bonnaroo

These Danish post punkers are too chaotic and noisy for me to listen to on record, but it translates very well live. Frontman Elias Bender Rønnenfelt drug his mic stand around behind him like it was his personal plaything and thrust himself toward the front of the stage like a vicious rottweiler trying to free himself from his leash. Twisting and sashaying around the stage, he exuded a heavy Jim Morrison vibe while taking sips of Corona. Guitarist Johan Weith pitched in with walls of battering sound, although at times he’d switch it up for a more American rock and roll type of guitar riff that worked to perfection. Even a few sound problems early in the set weren’t enough to sway them. Though I can’t see Corona being Morrison’s beverage of choice, their hypnotizing performance brought to mind memories of musical eras gone by.

38. The Offspring

April 28 at War Memorial Auditorium

There aren’t many surprises when it comes to an Offspring set, but you’re gonna have a hell of a time anyway. Lots of jumping, moshing, and rocking out. You know all their songs and probably know the words to the vast majority of them. They stick pretty strictly to their mid to late 90s hits in concert, delivering an energetic punk rock blast with “All I Want” and “Come Out and Play.” Fun, bouncy numbers like “Why Don’t You Get a Job,” meanwhile allow you to catch your breath a little while still providing a great opportunity to belt it out at the top of your lungs. And when they finish it off with “Self Esteem,” you’ll be transported back to wherever you were when first heard that song in your wayward youth. 

37. Mastodon

May 8 at Shaky Knees 

Third time seeing these guys in less than a year. Definitely my least favorite setlist of theirs; it was pretty much exclusively new album. Nothing at all from Blood Mountain, although we did get to see Brent Hinds break out his double necked guitar for “The Czar,” a rarely played 13 minute deep cut from their 2009 album Crack the Skye. None of that mattered though, it was still a great time. The pit was hella fun. I saw the same 45 year old shirtless guy I saw at the Clutch set. I was gonna leave early to get a spot for Pixies but I was having so much fun I decided to stay. Then they brought out Neil Fallon, the vocalist from Clutch, to do the final verse of “Blood and Thunder” at the end and ratcheted it up even further.

36. Grimes

November 10 at Marathon Music Works

I was drunk, in the back dancing wildly for most of this show. There’s a lot to like with her sets, but this was just too short. The warmth of Art Angels shines through very clearly, and she has the kind of personality that can translate very well to a live set, but she didn’t seem that interested in playing much of her material. I’m not a huge fan of when an artist decides they just don’t like their first two albums, so they’re just going to play you a shorter set. But she didn’t even touch on that much of her two newer album. "Flesh vs. Blood" didn’t get played, as well as a few other Art Angels gems. Right at the moment when it felt like the set was reaching its crescendo, it came to a screeching halt. My buddies and I had to work off our buzz at Café Coco. 

35. First Aid Kit

July 19 at Forecastle

The rich velour of their vintage, 70s infused, harmony rich folk is slightly out of place in Louisville’s blazing summer heat, but even so they got a crowd cheering under a baking midday sun. Johanna cheerily greeted patrons to the duo’s first ever Kentucky show. “We’re used to polar bears and snowstorms, not this!” she exclaimed. Rich harmonies, tambourine banging, and Ryman inspired swinging country combined with youthful wistfulness was the order of the day. 

34. The War on Drugs

June 13 at Bonnaroo

If you think they sound good in studio, you gotta see this band onstage. The dusky reverb emanating from Adam Granduciel’s guitar strings is one of the most glorious sounds I heard all weekend; his soloing skills make it worth the price of admission alone. Tunes like “Buenos Aires Beach” and “Arms Like Boulders” benefit greatly when freed from the grainy production of the debut, while towering solos in “Under the Pressure” and “Ocean in Between the Waves” serve as ringing reminders as to why you see live music in the first place. The band’s laid back onstage demeanor struck the perfect tone for a late afternoon set. 

33. Loretta Lynn

January 28 at Bridgestone Arena

Seeing Loretta Lynn takes you back to a different time. Her set is composed of two minute little country stompers that come in, make a quick point about a no good woman or cheatin' man, and are done before you know it. It's not hard to imagine a time when this was the industry standard, watching Loretta or Johnny or Waylon tear up in front of a packed rowdy crowd at the Ryman. This show gives a great idea of how much the music industry has changed, but also reminds us of our roots. 
 

32. Metric

November 18 at Marathon Music Works

I don't really remember much about this show. All I know is I was dancing wildly and Emily Haines has the best legs ever. 
 

31. The Tallest Man on Earth

May 27 at Ryman Auditorium

About 20 minutes into his performance, Mattson stands stage right while the shadows drape his shoulder, eyes downcast, entirely focusing on the beautiful, finger picked riff emanating from his guitar. I’m sitting in the fourth row at Ryman Auditorium, close enough to hear the scraping of his thumb pick against the strings of his guitar. His band has left the stage. Matsson himself isn’t even really pushing himself very hard in particular and still he is killing it. “Your voice is sexy!” some girl calls from behind me. Mattson takes notice, approaches the mic and sardonically replies, “I’m just trying to figure out the pedals up here.” The Wild Hunt” and “Where Do My Bluebird Fly” evoked lush, pastoral dreamscapes, while closer "Like a Wheel" saw Matsson gathered with his band for a five part harmony section in his most stunning moment of the evening.

30. Tears for Fears

June 12 at Bonnaroo

These guys have more great songs than I think most people give them credit for. “Mad World” and “Everybody Wants to Rule the World” were obvious humongous sing alongs, but don‘t forget “Head Over Heels,” popularized by Donnie Darko. I liked the backup singer dressed like Debbie Harry; she was grooving the whole time. One of the key moments of the entire festival occurred near the close of their set, when they dropped a cover of Radiohead’s “Creep.” It was the biggest sing along I have heard at Roo since Paul McCartney. Set closer “Shout” was almost equally outstanding. There was so much power pulsing through everyone in the tent, with dramatic light beams sweeping  all over the stage.

29. Clutch

May 8 at Shaky Knees 

Vocalist Neil Fallon declared they were 100 percent committed to having a good time, and it showed. There was this shirtless 40-something dude in front of me who was going nuts the whole time, and his enthusiasm was neat to see. The only song I knew from the going in was “Earth Rocker,” but the last two songs were the best.  The second to last song, which he said was from their first album, had some of the best riffs I heard all day. The finale, “Electric Worry,” had this great sing along section  during its chorus. I walked away from this set with a big smile, and was able to say to myself I had a great time watching Clutch tear it up in a blazing Georgia field.

28. Gogol Bordello

July 2 at Marathon Music Works

They're unbelievable hype men who know how to get a crowd moving. The best part was this old guy they had wearing a ship captain outfit who played violin. At one point, the rest of the band stopped to let him solo for a moment and all the lights went out except for a blueish hued spotlight that centered directly on him. It‘s proof that sometimes minimalism can be the best driver of hype. “Start Wearing Purple” and “Pala Tute” were great, but they missed a few good ones from Trans-Continental Shuffle.

 

27. Jamie xx 

August 4 at Marathon Music Works

Jamie is big on 70s funk and soul -- music that’s easy and great to groove to. That final three song run of "Gosh," "Loud Places," and "Gonna Be Good Times," was something to behold. I had retreated back toward the back of the club by that point and I was having a better time back there. I’m not big on dancing, but "Gonna Be Good Times" had me visualizing dance moves in my head I’d never have the guts to break out in actual public. When an artist can do that to me, it’s safe to say  they’re doing something right. 

26. Brad Paisley

June 17 at LP Field

He might have been opening for The Rolling Stones, but Brad Paisley was doing his best to match them in star power. CMT queen Carrie Underwood and Joe Walsh of The Eagles made guest appearances to sing duets with Paisley. If you can't get hype about seeing a legend like Walsh, you can kindly get the hell out sir. My favorite part was seeing something a completely different subset of music fan sees. I admit I don't identify much with their scene but there is something electrifying about seeing these guys (and gals) I've heard about so much. Paisley's material ranged from hardcore honky-tonkers about moonshiners running from the cops to easy listening love ballads that sounds like something CMT would have on when I was a kid getting ready for school in the morning, to general beer commercial/titans commercial soundtrack music. There is talent, it's just that Nashville music labels whitewash the music until it sounds just like everyone else.

Totally Unauthorized: 2014 Album of the Year Awards

There are several reasons why 2014 was not the greatest year in music or media. First off, Robin Williams died. Rest in peace to one of comedy's all time greats. Secondly, a metric ton of my favorite electro-pop bands either split up or went into extended hiatus. Nicolas Jarr's ambient guitar synth project Darkside fired the first shot by releasing an ambiguously worded statement that they were disbanding but left open the possibility to a future reunion. Electro-freaks The Knife called it quits, Alice Glass left the future of Crystal Castles in doubt by declaring her departure from the group, and all-time greats Orbital decided to hang up for the second (and presumably last) time. In the span of a few months, four of my favorite groups in the genre were no more.

Secondly, it just wasn't as good a year for music than what we've become accustomed to. When you think about it, who really had a big year? I suppose you could nominate War on Drugs. Lost in the Dream catapulted them from being random Pitchfork Best New Music act to 80s rock and roll enthusiasts' wet dream, but would their rise to stardom be as recognizable to the random joe on the street as that of Yeezus? Or Vampy Weekend? Or half a dozen others from the last few years? When the tale of these years are penned, they're liable to be best remembered for a six minute folk diss track than anything else. Sun Kil Moon's Mark Kozalek had possibly his biggest moment yet, then managed to squander almost all his goodwill overnight with his stirring rendition of "War on Drugs: Suck My Cock." Foos were a good candidate for awhile. Their Sonic Highways HBO series gave a thought provoking look into the musical legends behind eight U.S. cities, and their ticket controversy at Ryman Auditorium on Halloween night attracted just enough any press is good press controversy to bolster their status as a major story, but then the album actually dropped and everybody realized: oh wait, it's yet another fucking Foo Fighters album. Swans already had their moment with The Seer. Aphex Twin, observing the success of comeback attempts by Neutral Milk Hotel, Nine Inch Nails, Outkast, and tons of others, decided to step out of the limelight himself but forgot that it doesn't really work the same way without the live act.

So here we are, at the end of another year, and I guess it could have been worse. If nothing else, this may stand as the year to reaffirm our faith in guitar based rock music. Cloud Nothings, Swans, St. Vincent, Ty Segall, Rodrigo y Gabriela, The War on Drugs, Spoon, Jack White, and Tom Petty all put out excellent albums, not to mention the fact that metal had a banner year. Electronic music had a slow start but recovered in the second half with strong releases from Caribou, Aphex Twin, and Iamamiwhoami. Rap, as mentioned before, decided to take the year off.

So if I don't seem that enthusiastic about this year, well, just think that with all the technological advancements we have now, coupled with all the musical breakthroughs of the past 60 or 70 so years, I know we can do better. And we will. But for now, let's get this out of the way so we can move on to the (hopefully) far superior 2015.

 

10. Badbadnotgood - III

 

One of the most intriguing occurrences of the year was Badbadnogood's transformation into an electro-jazz outfit. They shed some of their hip hop stylings but the atmosphere has never been better. It's like wandering around a darkened warehouse at night, but it's a mystical and awesome experience. Not to mention that each band member here -- even the bassist -- gets their moment in the spotlight with an array of dazzling solos, proving just how deep the talent runs in this outfit. These guys are bold, young, and know they're going somewhere -- and they make music that sounds like it.

9. Swans - To Be Kind

It's not that I didn't think anyone would ever make an album like this, it's that Swans make music in ways that never would have occurred to me in the first place. The first disc is an imposing slab of dark art rock, while the second disc sounds like a crazy priest chanting while the earth is being sucked away into a vortex. Admittedly, I like their more straightforward (at least for their standards) rock more so than the 15+ minute post rock nightmares, but Swans are who they are and no one can take their place.

8. Thee Silver Mt. Zion - Fuck Off Get Free We Pour Light on Everything 

Efrim Menuck has a way of talking about things that will stone cold sober you. This side project fronted by Menuck, of Godspeed You Black Emperor fame, touches on powerful themes including dealing with the bleak reality of everyday life, trying to pass on a better world to your children, and realizing that no matter how much love you put out in the world you can never put out enough. Sometimes it's a tough listen with walls of wavy guitars, Menuck's acquired taste vocals, and various elements that stack up and sometimes crash into one another, but there are other times where the post-rock/punk inspired ethos comes together with the backing choir to create sheer beauty. Conceptually, it's one of the most beautiful albums I've heard.

7. Behemoth - The Satanist

The complaint may be that there's not much new in metal, and blackened death certainly isn't either. But what makes The Satainst is all the little touches Nergal puts into it. He's not the first to have to bone to pick with the Almighty, but Nergal insists on elevating his dissent to the realm of high poetry. The amount of passion he put into this is staggering. There's abundance of biblical, Latin, and ancient Roman imagery that gives the album an atmospheric, silver screen type of feel, while the horns, backing choirs, and epic, weighty guitar solos will compel you to raise your hand like a Roman emperor in the coliseum over a downed gladiator. Do you point thumbs up or down?

6. Rodrigo y Gabriela - 9 Dead Alive

9 Dead Alive marks a key turning point for this Mexican acoustic guitar duo. Once known for their white hot metal inspired guitar leads, however, this one is much more of a thinking man's album. Each song is dedicated to a luminary who fought to improve the human condition, or who has pushed the envelope with their creative endeavors. There are sounds of sorrow and of triumph, dedicated to finding our place in the world and meaning in our lives. It appears that their fans didn't follow them in their new direction as this is the least buzzed about album yet, but what they do put forth here is contemplative music to calm the soul, and I find great value in that.

5. St. Vincent - St. Vincent

The tagline everyone floated with this album focused on how bizarre and eccentric it is on the surface, but in truth it is actually a very confessional and interpersonal record for Ms. Clark. She proves she can kick ass and write a killer guitar lick, and crafts one of the most intoxicating albums of the year thanks to her rose tinted guitar and synth crunch. But she also reveals herself to be very sensual and full of longing and desire. Which of her revelations are the most confessional in nature? That she prefers her mother's love to Jesus? That she begins her day with taking out the trash and beating off? Or is it this line: I'm afraid of heaven because I can't stand the heights/I'm afraid of you because I can't be left behind."

The mainstream publications may have focused on her zany image, but this album, maybe more so than any album this year, is a triumph of allowing us to see its creator as human and vulnerable.

4. First Aid Kit - Stay Gold

Swedish sisters Johanna and Klara Soderberg have crafted their finest work yet. It's chock full of themes that will appeal to youth, including insecurities about the future, realizing the transience of people, places and situations when you're young, and figuring out who you are. There are themes of traveling or moving on from certain things in life, which calls to mind Dylan in a way. Even if you aren't a youngster, the breezy melodies, brilliantly arranged harmonies and that retro 70s folk/country vibe are so easy to get swept up in.

3. Caribou - Our Love

The electronic production here is better than any album I've heard this year, and can hold its own with anything this decade. A deep, dense, swirling world composed of IDM beats and hazy psychedelia rise up to engulf the listener from the moment the needle hits vinyl. Dan Snaith's tender croon paints images of love and love lost, but he never dives full bore into the subject lyrically. Instead, he allows his stunning dreamscapes to transpose the message he wants into the listeners' mind. This album that will penetrate every little pore if you let it.

2. Cloud Nothings - Here and Nowhere Else

This album is great for anyone who's ever felt uncertain about life, which is a feeling I think many of us can relate to. It presents a pulsating, driving hard rock sound accented with fist pumping choruses and guitar leads reminiscent of 90s punk. Meanwhile, Dylan Baldi pours out his frustrations and anxieties pour out in full force. It may not help you chart your course for life, but it will provide a hell of a soundtrack for doing so.

1. Run the Jewels - Run the Jewels 2

One of the biggest areas in which music this year lacked was that there wasn't anything with much of a message. War on Drugs might have wowed listeners with waves of reverb, and Swans sure as hell developed some intense experimental soundscapes, but when you boil it all down it's all just music, and nothing more. Run the Jewels 2 was one of the few notable albums this year that actually attempted to say something relevant to its time. Now, I'm not going to try to tell you this is The Times They Are A-Changin' or anything, but a hell of a lot happened in 2014 that didn't involve our headphones and this sums it up as well as anything else. "Early" presented a depiction of police violence and a summation of our society's response to it. In a year in which violent protest dominated our headlines, it's enough to rank Run the Jewels 2 among the year's most socially conscious records.

Of course, the album is great for many reasons other than that. Emcees Killer Mike and El-P talk about some very real themes but don't shove it down your throat. They mix great production with mostly intense hardcore lyrics and then slip the themes in here and there. It's very intense in every sense of the word, from the beats and overall sound of the album all the way down the to lyrics and presentation. They laid down basically what they wanted to do with RTJ1, but this one fixed all of its problems. The beats are better, they cut the shit, cut out all the weak watered down hooks, and tightened everything up.

Swedish duo First Aid Kit bring wonderful harmonies to life at Ryman

On Wednesday night, the glorious harmonies of Johanna and Klara Soderberg enchanted Ryman Auditorium. The Swedish sister duo, better known as First Aid Kit, mesh modern folk with the sounds of traditional country and do it better than just about anyone out there right now. They show off their playful side with cuts like "King of the World," while "In the Hearts of Men" and "Cedar Lane" show off a more contemplative side. They also demonstrated some serious bite during a cover of Jack White's "Love Interruption," a side of them that hasn't come across on their albums very often but they seem to pull off very well.

They felt right at home at The Ryman, spinning out a cover of The Carter Family's "Will You Miss Me When I'm Gone." But perhaps most staggering of all was when the sisters sang side by side during an acoustic version of "Ghost Town" all the way back from their first album. It can't be overstated just how wonderful their voices are when they merge together onstage. They kept their set short and sweet at just around an hour, allowing the audience to head home sated but no doubt leaving eager for more.

Totally Unauthorized 2014 Mid Year Recap: Top 25 First Half Albums

The 2014 musical year started off slowly, but has gradually been shaping up into what may be another excellent year. It hasn't been as good as the past two years, although 2013 was a banner year and may not be topped by decade's end. That said, 2014 has still seen some great releases. Here are my favorites from the first half:

25. Mogwai - Rave Tapes

24. Beck - Morning Phase

23. Little Dragon - Nabuma Rubberband

22. Anathema - Distant Satellites

21. Damon Albarn - Everyday Robots

20. Freddie Gibbs & Madlib - Pinata

19. Mastodon - Once More Round the Sun

18. Lana Del Rey - Ultraviolence

17. Animals as Leaders - The Joy of Motion

16. Future Islands - Singles

15. Real Estate - Atlas

14. Lykke Li - I Never Learn

13. War on Drugs - Lost in the Dream

12. The Roots - ...And Then You Shoot Your Cousin

11. Badbadnotgood - III

10. Jack White - Lazaretto

At this point, Jack White is who he is. You know what to expect from one of his records. The best thing about Lazaretto is that it doesn't waste the audience's time; it gets right down to business by focusing on his greatest strength - rocking hard. White tosses in flourishes of folk and country to supplement his infectious brand of blues rock, weaves in interpersonal lyrics, and mixes it with some of his best guitar playing to date.

9. Thee Silver Mt. Zion Memorial Orchestra - Fuck Off Get Free We Pour Light on Everything

This is a fantastic album to crawl inside of and get lost within. Efrim Menuck of Godspeed You! Black Emperor brews up post-rock in the vein of his flagship band, but this mix boasts more of a hard edged, punk rock vibe that is sometimes whimsical and sometimes ominous. Add a sense of child-like wonder and a theme loosely based on the band's home of Montreal, and you have one of the year's most unique and inspiring albums.

8. Tune Yards - Nikki Nack

This is the biggest and boldest sound Merrill Garbus has had yet. Her patchwork pastiche of world music and electronic influences, coupled with her dizzying drum work merge together to create a mix both intoxicating and impossible to ignore. After two fantastic albums I was hoping she'd knock it out of the park here. It ultimately doesn't live up to its predecessor, w h o k i l l, but for your buck, you won't find an album with a louder sense of style than this.

7. Sun Kil Moon - Benji

This may be the most unique entry on the list in the sense that this is more like reading a short story as opposed to a musical experience. Benji takes a look into who Mark Kozalek is, recounted over various ruminations about his family, losing loved ones, and youthful loves. There are also more specific events including discussing the Newtown shootings in an exchange of letters with a fan, or feeling out of touch while seeing his friend Ben Gibbard of The Postal Service in concert. The level of detail Kozalek recalls is stunning, and he complements it with gorgeous finger picking.

6. Kishi Bashi - Lighght

This is simply a splendid, joyous record. The product of Japanese violinist K. Ishi Bashi, known for his work in Athens psychedelic indie rock band of Montreal. He has long stood out with his signature style of guitar playing, and whimsical, feel good songwriting approach, but now he's expanded his sound by giving keyboards a much more prominent place in the mix. With Lighght, he puts forth an album that is like Wonderland in musical form, and is guaranteed to put a smile on your face.

5. First Aid Kit - Stay Gold

Easily the girls' best effort yet. The harmonies are wondrous enough alone to merit this a spot on the list, but there's also an alluring vintage feel to much of this album. Sometimes they sound pensive, at others they sound like they were born to play the Ryman, but mostly their music moves along with a determined grit and heads held high. Their last effort, The Lion's Roar, suffered from consistency issues, but this time there's not a weak track to be found.

4. Swans - To Be Kind

Swans are tough as nails and impenetrable, but they make no apologies about who they are. That said, there is still some great dark art rock here, alongside some of the year's most sweat soaked riffing. Michael Gira's haunting cadence rings out from the shadows. It's oppressive yet fascinating simultaneously. At times there are more straight ahead numbers at and at times it's really esoteric, but it's equally difficult not to find yourself sucked in by swans' sinister vortex.

3. Cloud Nothings - Here and Nowhere Else

If you're looking for a torrent of pure adrenaline, this album's for you. The Ohio indie rockers barrel full speed ahead with a harder hitting sound than ever before, tempered with catchy, effective song writing and strong hooks. And every now and then they show off their ability to launch into an extended post punk rage. For his part, frontman Dylan Baldi alternates between jagged edged screams and passionate clean singing in what is surely one of the most explosive albums of the year.

2. St. Vincent - s/t

This is the album that's been on everyone's list this year, and for good reason. Her rose tinted art pop might color her as a little weird and off kilter, but Annie Clark's fourth album is perhaps her boldest yet. She's wistful and provocative with an intoxicating sense of confidence, and at the end of the day she's irresistible because she's a knockout songsmith crafting a dizzying collection of fragrant rock and roll.

1. Rodrigo y Gabriela - 9 Dead Alive

This has been my go to jam this year. I was initially drawn into the band thanks to their white hot single "Hanuman," which led to me exploring their previous album, 11:11. This one is much more relaxed and low key, but no less breathtaking in terms of aesthetic or technicality. I like this record whenever I'm upset, or agitated or anxious about something; it helps mellow me out. But I also love it for the sheer splendid beauty of its arrangements. I am surprised that no one is paying attention to this one after the success that their previous two albums had. It must not be the type of sound media outlets are looking for, which is a shame. Because to me, it sounds better than any record released this year.