PWR BTTM, Mal Blum and the Blums, and Naked Giants – 2/18/2017

Hey! In case you didn’t know, I’m primarily music blogging over at Sifted Magazine now. There is where you can find my writeup of this show. Here is where you can find all the pictures that didn’t make it into the article. Much love to all the folks at Sifted, and all the folks in these pics ❤

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PWR BTTM, Vundabar, and Lisa Prank – 10/21/2016

Before this show, I hadn’t been to a proper concert (a.k.a. one not in my friends’ garage) in a long time– a long time being like, 2 months. But for someone who thrives off the experience of live music enough to run a blog about it, that’s a long time.

Ever since I committed to Hofstra University, which is located in the NYC metropolitan area, I had been excited to explore the local music scene. As an LA native, I have no shortage of great local music, but just like almost every aspect of life, the NYC music scene is vastly different from the scene at home.

I was so excited, in fact, that over summer, I bought tickets to three concerts in the area. While that might seem excessive, indie concerts are thankfully much less expensive than say, Beyonce concerts. And since all three are local artists, the most expensive ticket of the three that I bought was $26.

Due to unforeseen circumstances, I wasn’t able to attend the first show for which I bought tickets. It wasn’t any great loss– the bands were some that I’m only marginally interested in. The second show, however, was this Friday, and it absolutely lived up to (almost) all of my expectations.

As you have probably been able to ascertain from the title of this post, the show consisted of the bands Lisa Prank, Vundabar, and PWR BTTM. I got into PWR BTTM this summer, and quickly fell in love with their small but excellently crafted repertoire of punchy pop-punk tunes with a queer overtone (I mean, the name is short for “power bottom“). I had long been fascinated by videos of their glitter-infested live performances, as well as their captivating social media presences, so naturally when they announced that they were playing Brooklyn in a tiny venue with a 200 person capacity called Shea Stadium, I bought tickets immediately.

Due to popular demand, the venue later changed to the Market Hotel, a slightly larger venue. Two weeks ago, though, Market Hotel was shut down by the NYPD for operating without a liquor license, though this was very much a technicality. This is not the first time the venue, one of the few all-ages DIY venues in the city, has been shut down, and hopefully it will rebound just as it did before. That aside, this show, and all upcoming shows previously scheduled to be held at Market Hotel, were moved to Villain, a venue which my friend described as looking like a “sketchy-ass warehouse.”

On the day of the show, I covered my face and my friend’s face in vibrant eyeshadow and glitter, and we embarked on the journey to the venue. We disembarked from the L train in Williamsburg, a decidedly not sketchy area. In fact, Williamsburg is so not sketchy that on the way to the venue, we passed by the biggest and most bougie Whole Foods I have ever seen in my life. It had multiple stories and sold lobster tails on a stick, but most bougie of all was the fact that there were ACTUAL PAPER TOILET SEAT COVERS.

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Bougie af.

Anyway, the space itself did indeed appear to be a “sketchy-ass warehouse,” rather far from the center hub of the neighborhood. But then I spotted some chalk art on the wall of the venue advertising a Thrillist oyster sampling event. It was almost as if we had never left that glorious, shining Whole Foods, or rather, that the Whole Foods ethos permeated all of Williamsburg.

The space consisted of a stage set up in a large central room, with plenty of exposed brick and mood lighting. My friend and I took our place among the crowd, and before we knew it the MC, Patti Harrison, was on. She came onto the stage wearing a box on her head that read “I’M CIS,” shorthand for “cisgender.” She riffed hilariously for a few minutes, covering topics from how glad she was that the audience was all cisgender, heterosexual people, to killing the bands. (In actuality, she is a trans woman of color, the audience was most likely almost entirely LGBT, and the bands were very much alive.) Then, she took off the box, remarking upon how different the “acoustics” were, and introduced the first opener, Lisa Prank.

She played power chords on a pastel mint green electric guitar as a backing track played in the background. All the songs were originals except for her adorable cover of Blink-182’s “Dammit,” complete with a chiptune-esque rendition of that iconic guitar riff. That cover was fairly emblematic of Prank’s aesthetic and sound; super cutesy and soaked in ’90s nostalgia, just like her namesake.

Next up was Vundabar, who came onstage and started performing immediately with no fanfare. With just a three-piece band, they somehow managed to craft incredible songs that shifted from calming riffs to walls of sound. The guitarist and lead vocalist switched between the two with almost disconcerting ease, though there was a certain flamboyance (or maybe just weirdness) that slipped through in certain aspects of their performance. They’re definitely one of my new favorite bands.

Then finally PWR BTTM came on, in all their glitter-covered, thrift store dress glory. Despite being a garage punk band, their performance was so antithetical to every punk show I’ve been to. The environment, just like the physical venue, was so warm and intimate, and though people were dancing, there was no moshing (to my slight disappointment). And of course, there was the duo themselves. The glitter and the thrift store dresses, though somewhat reminiscent of the ’90s riot grrrl scene, is completely out of place in the typical punk scene. Between songs, the duo have a constant, campy rapport (including jokes about member Liv Bruce and their supposed sexual relationship with other member Ben Hopkins’ father). Though at this show, interspersed with the moments of camp, there were also moments of authentic emotion. As the band currently resides in Brooklyn and considers NYC to be their hometown, the amount of people at the show meant a lot, considering that PWR BTTM, in Hopkins’ words, began as a joke. One of my favorite moments was when, upon playing their new single “Projection,” people sang along, and mid-verse, Hopkins said “what the fuck?” in sheer awe that a song they had released just a few months ago had been memorized by so many.

PWR BTTM are more than just a band; as they said themselves, there is an intentional community around them that is slowly changing the face of the alternative scene. In a genre that has typically been dominated by hypermasculine, cisgender, heterosexual men PWR BTTM and their camp and glitter and dresses are revolutionary. They are showing that you can be gay and gender-nonconforming and make amazing rock music, that your tastes as a feminine gay person are not limited to pop divas (though I love them too, don’t get me wrong). They are showing that it is possible to have a DIY scene that is characterized by love and community, not violence and toxic masculinity.

Though after the show it took me 3 hours to get back to my dorm, it was almost 100% worth it, and though it wasn’t quite the rough-and-tumble experience I was expecting of a punk show, I am left not with bruises but with warm feelings every time I think back to the intimacy of the show.

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