black rebel motorcycle club kansas city review

As Patti asserted her pride at being a musician in the U.S of A (“I’m an American, I’m an American artist,” she repeats at the end), sirens and buzzing drowned out her voice, red light bled down onto the stage, and “Spread Your Love” opened, swagger-licious, onto the crowd. (More on that to come).Guitarist Peter Hayes, bassist Robert Turner, and drummer Nick Jago grounded that night’s go-getter attitude in Patti Smith, whose “Babelogue” played as the band took position, under minimalist though intense light coming directly from center stage. They did this in light of the venue and a host of other difficulties: whatever it was that caused their set to start late and be cut short the usual trials that come with being an opening band and the specter of Spiritualized, a bona fide spectacle that thrives in topping everyone and everything, including their own previous performances. In short, it was exactly the wrong place for the trio to perform their brand of thick, groove-heavy music.But, true to the triumphant spirit that infuses even their most contemplative songs, Black Rebel Motorcycle Club (otherwise known as B.R.M.C) sallied forth with a winner-take-all, burnin’-down-the-house gusto. It’s the kind of space where drinking feels out of place, where one dances with caution, where it’s likelier to walk out and happen upon a nice brunch spot than a joint appropriate for post-show reveling.

More symphony than rock & roll, the Theatre sits in the city’s thoroughly vanilla Upper West Side, miles away from the bawdy trickery of Manhattan’s primary rock concert locales.

April 24th landed the San Francisco cum Los Angeles lads at the Beacon Theatre, one of New York’s most stodgy venues. Black Rebel Motorcycle Club had their work cut out for them.

The Drunk and the Junkie: A Concert Review in Two Parts I.

Spiritualized Black Rebel Motorcycle Club

Black rebel motorcycle club kansas city review