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Mitski performed at The Slyvee last Wednesday night, blending her old and new tunes to fill the air with bopping indie melodies.
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Mitski performed at The Slyvee last Wednesday night, blending her old and new tunes to fill the air with bopping indie melodies.
One of Madison’s favorite indie rockers graced the Sylvee on Wednesday night, a venue size upgrade from playing at the Majestic last year. Mitski Miyawaki, who goes by just Mitski, had an explosive show filled with performative acts that showcased her newest blow-up album, Be The Cowboy.
The Wisconsin Film Festival is presented by the UW-Madison Division of the Arts in association with the Department of Communication Arts from Thursday, April 4-Thursday, April 11. This is the largest university-produced film festival in the nation at UW-MAdison campus and AMC Madison 6.
I spent my Thursday night at Stubb’s — one of the largest stages at SXSW. The first of five sets started off with Durand Jones & The Indications. The Indiana natives fuse funk and soul, heavily drawing on the 70s with complex vocal runs and horns. Jones’ main goal: get the crowd moving. Picking up and slowing down from smooth, longing tracks like “Is It Any Wonder?” to soulful “Long Way Home,” the setlist showed off the band’s range to a mostly unfamiliar crowd.
Wet + Kilo Kish bring all forms of indie pop to the Majestic stage this past Thursday night.
Three blank screens lined Majestic’s stage last Thursday night, and what played in front of them were vastly different, unpredictable movies, like you couldn’t choose one and decided to watch all three.
At the time of the Electric Lady Studios’ founding, it was the only artist-owned studio in existence, built by and for the one and only Jimi Hendrix. He only got to use the space for a few weeks before his untimely death. Decades later, the studio has seen some of music’s biggest names pass through, becoming a sight of legend and of great music: Arcade Fire, Lady Gaga and David Bowie, to name a few.
25. Shutter Island (2010)
Listed below are 25 of the top underrated films in this century that range from indie to mainstream.
As I rushed to the Rainbow Kitten Surprise concert at the Sylvee this past Monday night, I had high expectations after their gig at Majestic Theatre last year, which was full of head-bang worthy rock-inspired renditions of their classics and an intimate feel despite Sam Melo’s overwhelmingly energetic stage presence.
“Well ... that ain’t good,” the shooter proclaims of the bullet holes in his hat — and his forehead. Such morose writing would, in any other instance, draw breathless moviegoers to the edge of their seat; consistent to the directors’ natural flair, though, we need only laugh at the existential gag’s matter-of-fact delivery. Yes, Joel and Ethan Coen return to the big screen in Netflix’s (medium screen?) release of their newest film, “The Ballad of Buster Scruggs.” Tracing the independent anthologies of six vignettes in the American West with grit, irony, tongue-in-cheek humor and a varied cast of peculiar, well-spoken souls doomed to wander the duo’s gifted minds, the two-hour film demands multiple rewatches.
Think of the last time you sat down to play a video game with another person — I’d be willing to bet that you were playing with them online. With the development of technology in the modern era, we can now connect with people all across the world in seconds. Of course, this evolution has affected gaming as well. We now live in an age where we can play in lobbies with others across the globe at the press of a button.
Stores boast crazy sales like “Buy three, get one free!” Concerts do the same thing, in a way, giving audiences an opener along with the headliner they’re paying to see. The joint show of indie-folk singer-songwriters Julien Baker, Phoebe Bridgers and Lucy Dacus was the best three-for-one deal though, all three of them headlining acts worth every cent and tear.
“What are you going to do with that degree?” This question plagues liberal arts majors through college and beyond. Indie-folk singer-songwriter Julien Baker answered this differently while studying literature in school before dropping out and releasing two albums and touring the world in a span of two years.
The Majestic Theatre was inflated with badass, indie rock fans of all capacities this past Thursday to relish in the positive energy that is Joywave and Sir Sly.
EDM fans had a lot to be excited about last week, as Ethan “Whethan” Snoreck brought his “Life Of A Wallflower Tour” to the Sylvee. The Chicago-based music producer performed at the Majestic last year, making his return to Madison at a new, much larger venue all the more anticipated.
I feel it’s necessary to preface all this by admitting that, as a man who plays a lot of games, I’m not the type of person to anticipate new releases. Games are just too expensive of a hobby, and getting caught up in hype trains all the time is a quick and reliable way to lose your shirt. If I didn’t write this column, I’d never pick up a game the first day it was out. With the exception of Nintendo and a few particularly smart indie game developers, every company drops the price of their games drastically a few months after release.
After three years, LANY returned to Lollapalooza — only this time they were bigger and better than ever. With a larger stage and a larger crowd, the indie pop band exuded confidence and charisma, much more than their 2015 set. Matching their stage presence, energy and enthusiasm, the crowd wasted no time shouting and cheering the second the band set foot on stage. Grins set into place on everyone around me. LANY is a somewhat lesser-known band, but considering Lollapalooza’s roots as an alternative music festival, LANY’s place in the lineup felt more than right.
I typically listen to The National while writing, like right now, letting lead vocalist Matt Berninger’s baritone lull me into focus in the background. At their performance last Tuesday, though, Berninger pulled me into his show, his intensity tangible as he sang like he was sharing the song with the person it’s about for the first time.
Pitchfork Music Festival goers expected the worst, their eyes watching gray clouds roll in as they flocked to Chicago’s Union Park, armed with rain ponchos and umbrellas. But something was looking out for us this weekend — only small spurts of rain dropped on the crowd of thousands and artists played as though sparked by the adrenaline rush of risking electrocution.