Totally Unauthorized's Top Concerts & Festival Sets of 2022: Emptying Out the Bucket List 50-26

I say it every year, but 2022 really feels like the year that totally outdid every other year in terms of live music experiences. I'm not sure if it was because of things coming back online after the pandemic, but it feels like can't miss shows were happening pretty much every weekend from about late July through  the end of the year. 2022 was a monumental year because I finally had the chance to knock most of the rest of the bands out of my bucket list, and then some. The result is the largest live music list I've done to date, with an all out recounting of the Top 50 live music performances I witnessed this year.

50. Charli XCX

August 3 at Ryman Auditorium, Nashville, TN

English pop star Charli XCX received a major boost to her career a few years back when she started experimenting with hyperpop, characterized by unusually higher pitched, noisy, or glitchy frequencies to drive a sense of energy in the music. This was best exemplified by setlist staple Vroom Vroom, which is absolutely dripping in attitude and is backed by futuristic/tech production that makes it easy to picture racing down the interstate in a state of the art sleek, sophisticated ride. The set also featured a full album playthough of her recent album Crash, highlighted by Lightning, a fun stomper drenched in 80s style beats and production.

49. Frank Turner

July 5 at Brooklyn Bowl, Nashville, TN  

Few performers in the business manage crowd interaction better than Frank. Whenever you go to a show, you know you're always going to walk away feeling uplifted by Frank and welcomed as a part of a larger community. And also rocking the fuck out to about 25-30 tunes per night, which range from white knuckle hardcore to more pronounced meditations on time, loss, and life. This show was part of Turner's Never-Ending Tour of Everywhere, which featured the folk-punker playing show in all 50 U.S. states. He gently prodded on the crowd saying that their mosh circle would be pretty good for South Carolina, but this is Nashville, he proclaimed! You guys can do better. He also had a segment where he would scream out the state motto before launching into hardcore rager In Serviam each night, noting that some mottos worked better for that than others. He said he was pretty sure this is the first time someone has ever shouted Agriculture and Commerce before playing a punk rock song.

48. James Blake

October 21 at III Points, Miami, FL 

Normally this would be higher but an unprecedented number of technical errors plagued the set and threatened to derail it entirely. As a result, we got only a glimpse of the churning, billowing production that plays such a key role in the English's crooner's sets. Blake himself was openly frustrated for most of the duration but played through as best he could. The disruptions did shift attention over to his magnificent piano work, highlighted by a cover of Don McClean's Vincent. Some sense of regularity was restored near the end of his set, just in time for a haunting rendition of Overgrown.

47. Melvins

March 19 at Ryman Auditorium, Nashville, TN

Godfathers of sludge? You be the judge, but what can't be denied is these guys are always a treat. They played the middle slot on the bill before Ministry but after Corrosion of Conformity on their springtime tour and stole the show with their unrelenting riffage and raw power.

46. Mastodon

September 3 at Gas South Arena, Duluth, GA

Another middle slot performance here, with the Atlanta prog metallers playing basically a hometown show on the Imperatour alongside Ghost and Spiritbox. They sound resurgent and re-energized since the release of Hushed and Grim in late 2021. Setlist highlights Teardrinker and Pushing the Tides stack up favorably against anything in teh band's catalog, and are primed to be live staples for a long time to come.

45. Disclosure

June 17 at Bonnaroo

Nearly a decade ago, I caught the tail end of Disclosure's late night Bonnaroo set and got to see Sam Smtih come out to do Latch with them. At that time, it seemed the English duo of Howard and Guy Lawrence were on the precipice of world domination. The moment may have passed them by to some extent since then, but their Friday night Bonnaroo set demonstrated why the brothers still command prime late night billing at the country's biggest festivals. Crowd favorites White Noise and When a Fire Starts to Burn waste no time in turning up the temperature, while more recent cuts like Douha (Mali Mali) show they still know how to get the pulse racing.

44. The Marias

October 21 at III Points, Miami, FL

Imagine spending the afternoon in the waves of Miami Beach and following that up with the smoky, Latin stylings of The Marias? Sign me up, please! A dizzying blend of jazz and world rhythms provide a stirring backdrop for Maria Zardoya's smooth vocal. This stunning combination placed The Marias among the many highlights of Miami's III Points festival.

43. Magdalena Bay

November 19 at Basement East, Nashville, TN 

One of the big challenges in live concert performance is keeping your audience engaged. The Miami duo's future/spacey/bassy sound has a lot to do with that but they have a lot of tricks onstage as well. At various points throughout the set, frontwoman Mica Tenenbaum can be seen playing a flute and wearing an animal mask. Being that they were in a prog band before this, they're well versed in how to switch up the beats and keep their crowd guessing. One of the best examples comes during "Chaeri," when Mica urges the crowd to chat the "three, four down to the floor" part. Which might sound like a pretty standard thing for a performer to do, but it comes right at a moment in the song when the beat changes and transitions to something that sounds truly astral.

42. Animal Collective

March 24 at Marathon Music Works, Nashville, TN

Veteran indie pop rockers Animal Collective put our their best album in over a decade this past year, and it coincides with the best set I've seen from them since the 2013 Bonnaroo late night performance. To no one's surprise, they line up a murder's row of the best material from Time Skiffs, but also worked out plenty of new and unreleased material in front of crowds. Chief among them is the slow burning, moody build up of Defeat (A Not Suite), which totals over 15 minutes and the aptly titled "Magicians from Baltimore." They wrap things up with a punchy blast from the past in "Chores" and the delightfully acidic "For Reverend Green," both from the band's landmark 2007 album Strawberry Jam.

41. Haim

September 21 at Ascend Ampitheater, Nashville, TN

Nine years ago I was at my first Bonnaroo, and nine years ago it was when my dumb ass walked away from that stage to get a good spot for Purity Ring (who were okay, but not mind blowing). The next band up on the stage I left? None of than HAIM (with Father John Misty coming later behind them, oof) and ever since then I had been looking for the moment to correct my mistake. With their latest album, Women in Music III being their strongest statement yet it was the perfect time as the pop/rock and roll sister trio gave the record its much deserved showcase by playing all but one of its songs. They can go from kicking out super fun bops like Gasoline and The Steps one moment to unleashing their fury on Man From the Magazine. But the best moment came mid-set when the sisters convened at center stage for “Leaning on You” and “Halleujah,” backed only by a tender acoustic guitar. The full beauty of their harmonies shined strongest here.

 

40. Sheryl Crow

September 1 at Live on the Green, Nashville, TN

Her name hasn't been sexy in a long, long time, but this show is up there for one of the most underrated I saw this year. Her band is well oiled, they have excellent camaraderie, and she has more hits than you probably credit her for. Give Crow a chance and she'll get you moving.

39. Clozee

June 16 at Bonnaroo

When I was told Clozee is a very visual artist I prepared myself as best as possible, but was still wowed. I feel like I was transported to the middle of a fairy forest or something. French producer Clozee, also known by her surname Chloé Herry, has been described as everything from Jungle to Bass to World Electronica, and her eclecticism has enabled her to become one of a select few electronic artists on my radar. This early evening set, taking place right after sunset, set the stage on the first day of Bonnaroo and split my head right open like a atom.

38. Billy Woods

June 29 at Elsewhere, Brooklyn, NY

Over the past decade, experimental hip hop artist Billy Woods has quietly built a career off constructing deep, dark, methodical wordscapes that seek to elicit an emotional response from the listener as much as an intellectual one. That has culminated in what is arguably his most provocative statement to date with his latest album Aethiopes, of which this was billed as a release show for. If you're wondering how that might translate to the stage, rest assured that Woods wows by tempering his hard hitting delivery with an up-tempo, celebratory atmosphere. Accented by the picturesque sunset on the rooftop of Elsewhere in Brooklyn's Bushwick district, Woods barreled us over with career spanning cuts and a long line of guests and frequent collaborators who joined him on stage. One of these was none other than Euclid, who, together with Woods, make up the hip hop duo Armand Hammer, and they took the time to revel us with some of their tunes from that project. What was even cooler was many of those guests stuck around to mingle out in the crowd after the show was over. I actually passed right by Euclid on my way out of the venue!

37. Wet Leg

September 4 at Variety Playhouse, Atlanta, GA

To call them a buzz band would be a colossal understatement. The Isle of Wight rock duo, consisting of Rhian Teasdale and Hester Chambers, exploded onto the scene with their 2021 single Chaise Lounge, which bubbles under a solution of sexual tension before exploding in a big, ebullient, fuzzy chorus and final coda, and sounds like it was sung by Napoleon Dynamite's dream girl. It's an unconventional formula that turned a lot of heads and enabled the gals to leave long string of sold out shows in their wake. Their live set is a sprint through their devilishly deadpan self titled debut but is elevated even further by Teasdale's magnetic presence. And what a presence she has. Half the guys there must have left with a crush on her. While it remains to be seen how high their star may rise, they have the live tools to maintain dominance for a long time.

36. Violent Femmes

October 29 at Marathon Music Works, Nashville, TN    

Get out of there with that nonsense that only the first album was good. Maybe they never topped it, but the absolute clinic they put on at Marathon Music Works is more than sufficient evidence the boys have produced an full career's worth of excellent tunes. Brian Ritchie, with his signature acoustic bass, and stand up percussionist John Sparrow are the true standouts, impressing with their dazzling array of rhythms. One of the undeniable highlights of the night came when Ritchie took his sole turn on lead vocals to blast out "Dance, Motherfucker, Dance," a skittering punk scat blast with an edge that hits every bit as hard as it sounds. Gordon Gano, not to be outdone, flexes his muscle on a variety of instruments while delivering his inimitable vocal style that has proven so vital to band's sound.

35. Sons of Kemet

June 16 at Bonnaroo 

If you think jazz is just easy listening, background music, give these guys a shot. They hit with the intensity of a punk or hard rock group, and are dedicated to being firebrand spokesmen on racial issues. This tour was, unfortunately, their swan song, as the group announced they would be disbanding after their 2022 run of shows. Drummer Tom Skinner now has a prominent spot alongside in The Smile alongside Thom Yorke and Johnny Greenwood of Radiohead fame. Saxophonist Shakaba Hutchings has returned to star in his excellent jazztronica outfit The Comet Is Coming, and they'll be on the road at least through 2023.

34. Molly Tuttle & Golden Highway

December 31 at Ryman Auditorium, Nashville, TN

My only prior live experience with Madam Tuttle came on the blazing fields of Bonnaroo for a blink and you'll miss it three song Grand Ole Opry set on the festival's first day. Was this a better atmosphere for her, serving as the lead in to a rowdy New Year's Even celebration in the Ryman's hallowed halls? Oh, a bit. The gal from California, and her whole band, prove themselves to be dedicated students of the folk/bluegrass scene, and we welcome her with open arms.

33. The War on Drugs

June 17 at Bonnaroo

Second time seeing them on the farm and they never disappoint. This Philadelphia based quartet has established themselves as one of the most consistent and satisfying bands of the past 10 years with their patented blend of heartland rock with a fuzzy coating of dream pop. Hearing those tones ring out under the hazy orange and purple hues at sunset enhances what is already a very impressive set, and ensures their legacy will only grow over time.

32. The Chicks

June 17 at Bonnaroo

More than a few eyebrows were raised when The Chicks were announced as one of the main attractions of the Bonnaroo lineup. Those of us who grew up around their music knew better. They've shed their somewhat girl pop leanings of their early days and evolved into an impressive instrumental act who fit in well on the contemporary alt/country folk circuit. This show hit on all cylinders, with impressive musicianship, a deep catalog of hits, great visuals that at one point lambasted Russian leader Vladimir Putin. 

 

31. Andy Stott

October 22 at III Points, Miami, FL

Cold, dissonant, and nostalgic are descriptors that come to mind when thinking of English producer Andy Stott's output. In a live setting, it becomes all these things and much more. It is positively frenetic. It's the most glorious combination of abrasive rhythm and warm sound. The stage also contributed greatly to the atmosphere. It was constructed out of a bunch of metal beams and rafters that enclosed a courtyard type space where you would go in and see him play, giving the environment a unique industrial flavor.

30. Jack Antonoff's 1984 Superjam

June 18 at Bonnaroo

Confession time. This was my 7th Bonnaroo and first time ever experiencing the Superjam. The diminished crowds this year made it much more palatable. This one was based on 80s covers and as always, boasted a great selection of guests. Lauren Mayberry dropped by right before heading across the field for her set with Chvrches to deliver a cover of Madonna's Material Girl, while Spoon's Britt Daniel broke up the pop hits with an assured cover of Echo & the Bunnymen's steely edged Killing Moon. Rising jam band Goose made a strong push this weekend to secure their status as Bonnaroo darlings, and that continued with their frontman Rick Mitaronda making an appearance to drop a great rendition of Take on Me and It's My Life. There's little that's more fun than surprise guests though, and this year's Superjam certainly made its mark with Carly Rae Jepsen's appearance to sing What's Love Got to Do With It and Cyndi Lauper's Time After Time.

 

29. Tchami

August 26 at Deep Tropics Fest, Nashville, TN

Although Nashville isn't traditionally known for house music, Deep Tropics festival has served as an oasis for many of the genre's more notable acts for a few years running now. French house producer Tchami's headlining set was the clear highlight of the festival's first day. It's rare to find a set that you can get lost into dancing like this, forgetting everything around you while becoming enveloped in this dense layer of sound.

28. Denzel Curry

June 17 at Bonnaroo

Curry has started a fire that's been burning for a few years now on the strength of several excellent releases. His latest, Melt My Eyez See Your Future, Might be his best yet. There was little doubt he was going to kill it during his late night Bonnaroo set which kicked off just before 2am. His intensity was on full display as he barrelled though each song without missing a word. One of the most notable moments in this set is what's become known as the 2am wall of death. Curry split the crowd into two halves down the middle and directed the two sides to charge right at each other. After being out here on a hot festival ground all day since 1pm? Are you kidding me? I wasn't sure I was going to survive. But it was beautiful in its own way when you consider that it was one of the most potent ways for a performer as fervent as Curry to transmit that sense of surging energy into his crowd.

 

27. Rolo Tomassi

September 10 at The End, Nashville, TN

Sometimes you really need one of those sweat drenched shows at a tiny club. I had forgotten how good those could be for your soul. These guys are a mathcore/post hardcore/metal band from Sheffield, England, who are readily picking up steam, and it had been eight long years since I’d been to this venue. It’s about 150 something person capacity with no barricade between you and performers, so shit gets pretty intense. It was one of the most cathartic, if not a little bit downright terrifying experience when I ended up at the very front near the end of the show and had the band literally inches in front of my face. It's a real mindfuck because you try to give as much energy back to them as they're putting out for you. Fun fact: out of every show I've been to, this is the only one I've ever gotten the setlist from.

26. Kendrick Lamar

July 31 at Bridgestone Arena, Nashville, TN

What strikes me the most about the evolution of Kendrick's live show is the visual aspect of it. It avoids the trap of being overly exuberant or over the top and instead manages to strike the perfect balance of being tasteful and elegant. His Big Steppers tour begins with all his dancers taking big marching steps single file up the catwalk toward the main stage, with shoulders shrugging in time. When the curtains are drawn, Kendrick appears somewhere you might not expect -- behind a piano. It's like you're watching the opening cutscene to the final boss of rap music. The new material, from the Mr. Morale and the Big Steppers album, holds its own against his established catalog classics but the highlight of Kendrick's shows lies in music made for your feet, not your head. It's hard to beat throwing down with Backseat Freestyle, DNA, Money Trees, or his dynamic collaboration with his show opener and cousin Baby Keem on a rendition of Family Ties.

Totally Unauthorized's Top 10 Concerts of 2017

Some years are better than others in terms of album releases, but one area that never fails is in live music. Let's reflect on the best concerts of the past year.

Honorable mentions:

St. Vincent
Nov. 22 at Ryman Auditorium

St. Vincent is undoubtedly one of the most visual artists performing today. Her wild, wacky outfits and stage demeanor recall David Bowie. Her current tour is divided into two parts. The first features her wearing a tube shaped, sensual pink plastic outfit performing the best of her back catalog, and the 2nd act consists of her performing her new album Masseduction in full. The 2nd half is most definitely better. Masseduction is one of the year's best albums, with a full range of heartfelt balladry, twisted electro/rock and roll, and full throttle sensuality. The reason this set missed the top 10 was due to her heavy reliance on a backing track in lieu of a full band.

Nicolas Jaar
April 8 at Marathon Music Works

What I like about Nicolas Jaar is that his sound isn't super saturated with samples; everything is constructed from the ground up, so it all feels very natural. He's not the most obliquely dancable or high energy DJ around, but he is among the more thought provoking producers you'll have the chance to see. One of the most remarkable things he's capable of is enveloping you in a crushing wave of sound, and just when you think you can't take anymore it will suddenly break and dissipate beautifully like foam on a beachead. There isn't a whole ton of melody in his music, until it comes to the immensely booty shaking "Space is Only Noise," a track which offsets Jaar's admittedly monotone vocal with a thick, arresting bassline. The euphoric, extended breakdown that came in before the song's final stanza elevated a great song to the level of a glorious one.

10. The xx
June 10 at Bonnaroo

The first sight I saw at my first Bonnaroo Late Night was The xx's incredible laser show beaming from Which Stage, and since then had regretted not stopping by to take in some of their set. Catching the band's first performance at Roo since then was never going to erase missing that first time, but did enable them to sneak in and steal a Top 10 slot. The new material carries a large dose of groove and swagger, adding some much needed new dimensions to their sound. When I saw Jamie's solo DJ set a couple years ago, it was clear they were going to come back funkier, more soulful, and with a little bit of an edge without compromising the original sound. Oliver Sim and Romy Madley Croft's love duets provided the sultry soundtrack for sweating out the hot Manchester night, but Romy impressed with a some honest grit and moxie on cutting tunes like "Infinity" and the short but surprisingly crowd energizing "Intro."

9. Garth Brooks
December 16 at Bridgestone Arena

The greatest spectacle in country music returned to Bridgestone arena after a seven year absence with a two and a half hour extravaganza. Out of all the big stars I've seen, he's one of the absolute best at making himself relatable. Garth reaching out and gesturing toward fans was a regular sight all night. His encore consisted of playing stanzas from songs on signs held up by fans in the stands. Hes got a hits catalog deep enough to rival almost any big act. Fans were dazzled by the strobe lights of "The Thunder Rolls," tropical backgrounds on the big screens during "Three Pina Colodas," or the romantic nostalgia of "The Dance. And to up the ante even further, he announced the night's show was being recorded for a live album. The momentum sagged a bit during the Trisha Yearwood segment and lengthy band introductions, but I never was a big fan of hers anyway.

8. Sturgill Simpson
July 15 at Forecastle

Sturgill's guitar playing is what stands out most about this show. His albums don't give much indication of it but Simpson is a maniac on the axe. It's very rugged and bluesy, with hints of Stevie Ray Vaughan, but still fits in the framework of gritty country music. He reminded me of another guitar player I had seen on this same Forecastle stage a few years ago: Gary Clark Jr. Unlike Clark, however, Simpson has the songwriting chops to back up his playing. His subject matter concerns simple life truths stated directly: the joy of fatherhood on "Welcome to Earth (Pollywog)," his skepticism with religion on "Turtles all the Way Down," and good old fashioned despair on "Living the Dream." Simpson is one of today's most promising country music talents, and still doesn't get enough credit.

7. U2
June 10 at Bonnaroo

Blood red light illuminated the stage for Irish rock titans Friday night headlining performance at Bonnaroo. The occasion? None other than the 30th anniversary of their most esteemed release, "The Joshua Tree," for which they played the album in its entirety. The show started dramatically with early career stunners "Sunday Bloody Sunday" and "Pride (In the Name of Love)," followed by propulsive Joshua tree gems "Where the Streets Have no Name" and "I Still Haven't Found What I'm Looking For." The momentum slacked up once they got past the album's well known songs. You could tell they weren't used to playing these songs as often. Things got strange on "Exit," where Bono donned a black bowler hat and made a bunch of jerky movements. It looked like he was practicing to be Batman. The new school material made its appearance in the encore, before finishing off with the sublime "One."

6. Opeth
May 4 at War Memorial Auditorium

Six long years had passed since the Swedish prog barons last played Nashville. To be honest, their performance then eschewed much of what endears the band to fans, focusing instead on acoustics and clean vocals while supporting the oft-maligned Heritage album. They made up for all that and more, masterfully mixing the best of their new material with the classic stuff. Old school fans were treated to a guttural gut punch with "Demon of the Fall," a punishing salvo that expertly weaves folky, acoustic proggy passages with black metal bombast. Their always artful frontman, Mikael Akerfeldt, explained the song was written with former bandmate Peter Lindgren in the early days, when they were a couple of junkies in Gothenberg. Set closer Deliverance starts off brutally heavy and ends with a trancelike riff, covering a huge swath of ground over its 13 minute run time. Akerfelt joked you'd have to call your boss to tell him you'd be late after that song. The only disappointment was no Blackwater Park material, especially glaring given that The Drapery Falls had figured into virtually every setlist this tour.

5. Kendrick Lamar
August 30 at Bridgestone Arena

I was unimpressed with Kendrick as a live performer until this set. I left his last two Bonnaroo sets after only a few songs as they seemed to lack substance. But realizing he's one of the great young artists of this generation, I gave him another go. One of the craziest things I've seen is the entire crowd rapping "Humble" to him -- not just the chorus, which would be expected -- pretty much the whole song. You could tell by the look on Kendrick's face he was like damn, and so was I. Other things I appreciate about Kendrick is his ability to set a mood. During "Pride" and "Love," he had this energy going that was so positive and uplifting it could melt all your troubles away if only for those few moments. Also enjoyable was watching him dodge sword swipes from ninjas while donning his alter-ego Kung Fu Kenny.

4. Mayhem
November 27 at Cannery Ballroom

This was like some shit straight out of a graveyard. I knew of the long standing Norwegian black metal band more by reputation than by their actual music, but the novelty of this band playing Nashville, coupled with a pair of positive spins of their debut, De mysteriis dom Sathanas, convinced me it was worth a shot. Mayhem's set is up there with the greatest visual spectacles I've seen. Mist machines and tortured gargoyle/gravestone statues set the scene, but the centerpiece is vocalist Attila Csihar. Cloaked in tattered robes and demonic facepaint, he looks like a wight bent on delivering unholy retribution. Presentation has been the band's calling card since their early days. The music itself's not too shabby either; the ice cold opening riff of "Freezing Moon" split the crowd's skull like a guillotine blade, as the band blazed through the eight tracks of their debut album. They didn't stick around after that, but the brief performance proved short, sweet, and deadly to the touch.

3. LCD Soundsystem
July 15 at Forecastle

It's been a hell of a comeback. The New York disco/dance/punk outfit's reunion has allowed them to claim their rightful status of one of the best live bands of today after triumphantly overcoming initial chagrin from fans who felt jilted after shelling out for the bombastic "final" performances. I've seen them three times in this run, but their Saturday night headline set at Forecastle is my favorite. The densely layered dance beats of "You Wanted a Hit," the starry eyed melancholy of "Someone Great," the brazen jubilation of "Daft Punk is Playing at My House," and the fist pumping garage energy of "Movement" blew me away from my spot five rows from the front. The setlist was virtually identical to the one they played at Bonnaroo last year -- with one notable exception. I was on my way out of the crowd already when James Murphy announced the band's first ever festival encore: a deliriously twisted rendition of their renowned sing/chant along "Yeah."

2. Radiohead
April 1 at Phillips Arena

Due to their somewhat elusive nature, the simple act of Radiohead announcing dates is an event in itself. This show was part of a small string of dates surrounding their headline Coachella performance, in support of last year's excellent A Moon Shaped Pool. To fans' delight, it featured a great deal more of the band's guitar based back catalog than we're used to seeing from them. Airbag, No Surprises, and fan favorite Iron Lung were among the highlights, but perhaps more astonishing was Subterranean Homesick Alien, an OK Computer cut so deep Thom Yorke warned it might be a little off-kilter, but it was nothing short of beautiful. They closed with Karma Police during the third encore, and, well, if you've never seen Radiohead, you've never lost yourself in show quite like this. I'd seen Yorke before with Atoms for Peace, but it did nothing to prepare me for this. Every individual member of the band is so talented that when the full unit is assembled, they truly are greater than the sum of their parts. This collection of talent is why Radiohead is one of world's truly great bands, arguably the defining band of its generation if there is one.

1. Iron Maiden
June 13 at Bridgestone Arena

The longstanding British metal barons take the top slot after having placed 2nd on my year end list four years ago (behind Paul McCartney's once in a lifetime Bonnaroo performance). I've been big fans since high school, and I was left in awe after seeing them from about 10 feet away from them on the main floor. The energy, imagery, and general trappings of an Iron Maiden show lifted this one to the top. The show opened with Bruce Dickinson standing behind a dimly flickering flame ominously aglow. They then broke into "If Eternity Should Fail," the high octane opening cut from their excellent album The Book of souls, which they were touring for this show. Dickinson delivered a nod to the fans as reflected on all they years they've been around as a band. "The reason for our longevity," he declared, as he surveyed a full house, "I am looking at tonight." He riled them into a frenzy by waving the giant Union Jack flag during "The Trooper," donning monkey and wrestler masks, and unleashing giant monsters during "Number of the Beast." The three headed guitar battery of Adrian Smith, Dave Murray, and Janick Gers unleashed some mischief of their own during the 13 minute epic "The Red and the Black," designed pretty much as a love letter to frenetic guitar solos. Maiden shows are the perfect combo of virtuosity in musicianship and showmanship, and they don't show any signs of slowing down anytime soon.

Totally Unauthorized 2013 4th Quarter Playlist: October - December

With the final installment of the quarterly playlist for 2013, the overall list for the year is now complete. And what a year it has been! 2013 has refused to go into the night quietly, pumping out amazing tracks even in the typical November-December dead period. This should give you a head start on stocking stuffer ideas for anyone interested in keeping up with the best of today's contemporary sounds. And to make the list complete, I have provided links to the first three sections of the list, covering the other parts of the year. Happy Holidays!

 

1ST QUARTER PLAYLIST: JANUARY - MARCH

2ND QUARTER PLAYLIST: APRIL - JUNE

3RD QUARTER PLAYLIST: JULY - SEPTEMBER

SLEIGH BELLS - SUGARCANE

Sleigh Bells may be best known for Derek Miller's headbanging guitar antics, but "Sugarcane" demonstrates Alexis Krauss's ability to headline a song on her own terms. Her breathy, airy voice leads the listener through an infectious melody, while the buzzsaw guitar riff lends an ample amount of energy. 

DANNY BROWN FEAT. PURITY RING - 25 BUCKS

The low, bassy, hip-hop styling of Purity Ring's production have always begged for the presence of a bonafide emcee, and Danny Brown is here to save the day. Corin Roddick's production provides a new perspective to Brown's bleak tales of street life, while Megan James delivers a smooth but dissonant hook.

VV BROWN - IGNEOUS

Janelle Monae released a popular album this year about an android. But VV Brown's latest sounds as though it actually could have been made by an android. "Igneous" packs a sneering, acidic edge and presents a bold, breathtaking representation of her mystical, whimsical, and highly conceptual space age pop music.

PUSHA T FEAT. KENDRICK LAMAR - NOSETALGIA

If you haven't paid attention to rap for awhile, here are two vibrant names to look into. If you have, you can barely escape mention of them. Pusha's flow is laid back but clearly focused as he delivers an intimidating verse. Not to be outdone, Kendrick rips into a tale of how he rose from the streets to find his own success.

PEARL JAM - GETAWAY

Crunching, guitar driven rockers are Pearl Jam's bread and butter, and the opening track from their 10th album, Lightning Bolt, is one of their best in years. Jeff Ament's grooving bass, Eddie Vedder's questioning of the accepted order, and a litany of solos firing off here and there create a tasty rock and roll confection.

PELICAN - DENY THE ABSOLUTE

Although it gets off to a rollicking start, Pelican's vision unfolds slowly but deliberately. Once their full vision of ravaging instrumental metal is laid out, however, you will come to appreciate the boundless sense of direction with which this band operates. That the song has such a badass title is just more points in its favor.

PAUL MCCARTNEY - NEW

Everything about this song is Paul McCartney doing what he does best. It's very simple and straightforward pop/rock with crunching guitars, great harmonies, and a boundless sense of optimism, but what seals the deal on "New" is McCartney's undeniable sense of charm and charisma.

 

ARCADE FIRE - REFLEKTOR

Everything about this song delivers chills. It builds as it goes, contrasting Win Butler's airy vocals with Regine Chassigne's French language verse, before adding in some dramatic guitar work and piano that will make the hairs on your arms stand up. Butler's desperate pleas near the track's close could not be more perfect.

M.I.A. - BAD GIRLS

It may be unfair including this song on the list, as it was first released in early 2012. Yet "Bad Girls" is easily the most infectious cut from her newly released Matangi album. She stays true to her world music influences, but the main meat of the song is carried by a series of catchy hooks soaked in her irresistible accent.

CUT COPY - TAKE ME HIGHER

When you hit play on a Cut Copy album, you can always be sure a good time is about to ensue. The Australian dance outfit keeps things festive on "Take Me Higher," the third single from their third album "Free Your Mind," but the dazzling outro to this song ranks as one of 2013's most dancable moments.

CHILDISH GAMBINO FEAT. JHENE AIKO - PINK TOES

Donald Glover may be searching for his identity as a rapper, but he has great production to help him find his way. This song is very flowery; it feels like sitting in a garden orchard somewhere. It's the musical equivalent of drinking raspberry lemonade. Aiko's vocals, meanwhile, are pristine, calming, and totally groovy.

BURIAL - COME DOWN TO US

The work of Will Bevan has always been dense, wandering, and haunting, but "Come Down to Us," from his Rival Dealer EP, shows something more. It sounds at times mythical and Eastern, and at other times uncharacteristically warm for his standards. It ends with Bevan's thought provoking anti-bullying plea. 

A$AP Rocky shows he's not to be trifled with on major label debut

Anyone who considers themselves a rap enthusiast must be encouraged by the influx of new talent streaming in. Harlem rapper Rakim Mayers, better known as A$AP Rocky, is making a strong push toward the front of the line. He's establishing himself in the industry the way many of his brethren are: with mixtapes. Kendrick Lamar and Frank Ocean, most notably, have presaged highly successful albums with independently released mixtapes. Most notable is Rocky's $3 million record deal with Sony/RCA subdivision Polo Grounds Music, the fruit of which is his full length debut, LongLiveA$AP.

One thing this album does not do is try to be intellectual. In strong contrast to recent albums predicated delivering sociopolitical messages, like Killer Mike's R.A.P. Music, or albums with strong thematic elements like Kendrick Lamar's Good kid m.A.A.D. city, Rocky's record doesn't make an effort to be lyrically deep. Rocky himself puts it best on album closer "Suddenly," declaring "don't view me as no conscious cat, this ain't no conscious rap/Fuck the conscious crap, my mac'll push your conscious back."

What LongLiveA$AP does do is display Rocky's boundless skill as a rapper. His delivery is loud, forceful and clear; he is able to spit rhymes with great rhythm and flow. It also serves as a great showcase piece for the youth rap movement. LongLiveA$AP rounds up most of the key names being shouted now within the indie community (with the obvious exception of the Odd Future collective).

But it doesn't take long to find Odd Future parallels. Album opener "Long Live A$AP" is an ominous and foreboding track that shows off Rocky's sense of paranoia. He asks, "who's that looking in my window with a pistol to my curtain?" With its stripped back beat and its introspective nature, it is reminiscent of Tyler, the Creator's "Yonkers." It features a surreal falsetto chorus that gets downright creepy near the end when a chorus of children's voices join in.

Lead single "Goldie" was a great choice as a teaser, as it highlights many of Rocky's critical strengths. The lyrics are not the most inventive of all time; it's mostly just him bragging. But the track succeeds not due to the subject matter, but because of how Rocky presents himself. He comes across as very focused, determined, and charismatic.It's not hard to believe he deserves the lavish praise, even though he's the one heaping it on himself. The flute beat is also great;  it gets out of the way and lets Rocky do his job but is distinctive enough to give a tangible coloring to the track. It makes Rocky feel outside the box and inventive, something many people disillusioned with the current state of rap are looking for.

Unfortunately, his penchant for unmemorable lyrics continues on the next track, "PMW (All I Really Need), which stands for pussy, money, weed. This is one of the most blatant, sexually explicit rap tracks since Kanye's My Beautiful Dark Twisted Fantasy. The verses have that sort of loud, in your face club quality that was best captured by Sean Paul. Schoolboy Q's guest appearance here is very effective,  as both rappers prove themselves as talented emcees. But lyrically however, there is no debating that this is one downright vulgar track.

One of the album's biggest strengths is that very few songs sound the same. On "Lvl" he mellows out considerably, slowing things down with a beat not unlike Aphex Twin's "Xtal," while "Hell" features Santigold sounding a bit like M.I.A. on the chorus hook. The song has a ravey beat, but it's slowed down and subdued to the point you wouldn't notice if you're not paying attention.It's like the record label wanted him to have a dancey club beat on a song, but he was embarrassed so he slowed it down and spliced it around hoping you wouldn't notice.

The seventh track, "Fuckin' Problems" is one of the most star studded on the album. 2 Chainz powers what is most certainly the catchiest hook on the album, while superstars Drake and Kendrick Lamar join Rocky in putting on a solid but not stellar performance  All three have dropped better verses in their career, and given the collection of talent one must wonder if they were more concerned with trying to wow their audience with name brand than they were with constructing the caliber of verses that won them name recognition in the first place. Yet even despite this, the song is still an easy album highlight.

Yet no track is more star studded than "1train," an effort that features so many guest rappers it would be too much to even list them all here. There is no hook, just six minutes highlighting the best up and coming talent in indie hip hop. The piece does an outstanding job of establishing the personality of each individual rapper, and in that regard it bears great similarity to Eminem's D12 pieces such as "Purple Hills" or "Under the Influence." All parties involved do a fantastic job, but honors for best verses go to Kendrick Lamar, Danny Brown, and Big K.R.I.T.

"Wild for the Night," featuring the always sensational Skrillex, is about as subtle as dropping a dishwasher on the listener's head. The real highlight, though, is Rocky's blistering spitfire verses. "Fasion Killa" is easily the lowlight of the album. His penchant for being fashion conscious  a common theme in many of his interviews, comes to full fruition here. He spends the entire time name dropping top shelf designers that no one outside of the Hamptons cares about or is impressed by. The lame hook doesn't help either.

Album closer "Suddenly" is the album's most startling song. It is very surreal, reflecting on how he went from living in the hood to all of a sudden being famous. The beat is almost nonexistent. In the background you have what sounds like TV cartoons from the 1950s playing, along with a chorus of singers from the the big band era. The first verse is slow and meandering but on the second verse he starts spitting faster and the effect, contrasted with the first verse, is pretty clever. Rocky has managed to bookend the album with two very mystifying, unsettling tracks.

Thinking back to the kids in high school who listened to Lil' John and Ludacris, it isn't hard to think their seventeen-year-old selves would be into something like this. However, to blanket lump him into this category would be selling Rocky short. LongLiveA$AP often sounds like it could be played at a club, without sounding specifically tailor made for that type of environment. He shows a great deal of creative potential, demonstrating that he can spit fast while mixing it up with a slew of mid-tempo tunes, and he often intersperses mellow R&B hooks throughout. He possess great command of his flow, while doing a supreme job of establishing a sense of personality.

But there is room for improvement. His lyrics could use some work, as the best of them do little to move rap forward and the worst are downright silly and sophomoric. He also has a tendency to rely on downpitched vocals too often, and some of the album drags. Ultimately, LongLiveA$AP  does not place him at the head of the young hip hop class, but does demonstrate he's a force to be reckoned with.

Score: 74/100