Ryan Lott had never been to St. Louis. The Brooklyn, N.Y. dweller, and brain behind Son Lux, spent upwards of seven weeks holed up in Indiana. Presumably, he worked fastidiously on "Lanterns," Son Lux's third release, and developed an insatiable appetite for corn and Pacers basketball.
When Xenia Rubinos' album "Magic Trix" landed in my lap it felt like the most tangible show of piano and percussive prowess.
Snow covered a parking lot occupied by a dozen vehicles. The wintry mix came late but was welcomed by the bands and patrons leaning against the Firebird's brick walls.
Located between Broadway's historic blues' venues and Soulard's brassy drinking establishments, the Old Rock House has hosted a bevy of EDM acts this year, along with its usual slate of rock, R&B and folk musicians.
The ambiance of Beacon's R&B-tinged compositions harken back to the '90s. Back then "CrazySexyCool" exemplified sex-imbued music without turning carnality into gratuity.
Paramore's "Self-Titled Tour" unveiled itself last night in St. Louis with ample joy and production values. Paramore, no stranger to Top 40 and guilty pleasure playlists, brought to Fox Theatre's opulent, Byzantine interior a slew of tweens, teens and season-ticket holders.
"This song is about being broke," Conor Oberst began. He peered down at the audience, tuned his guitar and finished, "I'm rich as fffuuuccckkk, so it doesn't directly apply to me."
Tame Impala's song "It Feels Like We Only Go Backwards" expresses enough hope and musical beauty that it can assuage the gnarliest of inopportune emotions.