#taylor goldsmith

[lunastar92]

[pressure-machine]

BRANDON FLOWERS joins DAWES onstage during their show @ The Commonwealth Room in Salt Lake City, UT, April 20th 2023

[mandymoore]

April 5, 2024

[allaboutjmo]

[krispyweiss]

Album Review: Joni Mitchell - At Newport

Joni Mitchell laughing with joy is among the sweetest of sounds heard on At Newport.

That laughter is often and unfortunately, however, cut when the album inexplicably fades between tracks and/or head cheerleader Brandi Carlile inserts herself unnecessarily into the proceedings.

At Newport is, thus, less a Joni Mitchell album and more a celebration of Joni Mitchell. And in that regard, it is hugely successful.

It documents Mitchell’s first gig in more than two decades with a cast of musical friends and admirers at the 2022 Newport Folk Festival. Led by Carlile, the Joni Jam band includes Lucius, guitarists Taylor Goldsmith and Celisse, pianist Ben Lusher, percussionists Marcus Mumford and Matt Chamberlain, Allison Russell on clarinet and others.

Everyone sings.

Including, of course, Mitchell, whose voice has deepened and become less agile. But being a vocalist extraordinaire, Mitchell knows how to work her diminished instrumental and coax all it has to give, even as she struggles to keep up on uptempo ensemble pieces such as “Carey.”

Her 2015 brain aneurysm be damned, the 78-in-2022 Mitchell shines on ballads such as “Amelia,” “Both Sides Now” and “Summertime.” She even picks up an electric guitar for “Just Like this Train” to the delight of the appreciative audience, which roars with approval every time Mitchell nails a note.

And even when she doesn’t.

For her part, Mitchell is tickled, cackling between - and occasionally during - numbers, recalling Hejira as among her favorite albums and offering support when her collaborators take over, as Lucius do on “Big Yellow Taxi” and Celisse does on “Help Me.”

Grade card: Joni Mitchell - At Newport - B-

7/31/23

[lauren11993]

Marcus Mumford

November 07, 2022 • New York, NY • Beacon Theatre

• Awake My Soul (x)

• The Cave (x)

• Dink's Song (Fare Thee Well) (x) Featuring Oscar Issac

• Hang Me, Oh Hang Me (x) Featuring Oscar Issac

• Cannibal (x)

• Grace (x)

• Prior Warning (x)

• Better Off High (x)

• Dangerous Game (x)

• Better Angels (x)

• Go In Light (x) Featuring Monica Martin

• Stonecatcher (x)

• How (x)

• I Will Wait (x) Featuring Ben Lovett (Completely Unplugged)

• Ditmas (x) Featuring Ben Lovett

• I'm On Fire (x) Featuring Ben Lovett

• When I Get My Hands On You (x) Featuring Oscar Issac, Taylor Goldsmith, Ben Lovett, Monica Martin, The A's, and the touring band.

• Kansas City (x) Featuring Oscar Issac, Taylor Goldsmith, Ben Lovett, Monica Martin, The A's, and the touring band.

Playlist (x)

[sinceileftyoublog]

Dawes & Bahamas Live Stream Review: 11/15, Mandolin

Photo by Ward & Kweskin

BY JORDAN MAINZER

On their latest album Misadventures of Doomscroller (Rounder), Dawes finally stepped out of their comfort zone. With longtime collaborator Jonathan Wilson in the producer’s chair, the Los Angeles band ditched their trademark Laurel Canyon-inspired sound for longer, more experimental rock songs. Fittingly, they tackled everything from age-old tales of political control in a world of tyrants to new school themes of social media addiction. The proggy nature of the music fit the concept-heavy lyrics.

As if the about-face of Doomscroller wasn’t enough, Dawes decided to further shake things up with their recent tour with Bahamas, the project of Canadian singer-songwriter Afie Jurvanen. Throughout September, the two acts backed each other, even singing each other’s songs. Last Tuesday via Mandolin, they presented a stream of their concert from the Englert Theatre in Iowa City. At first, even older Dawes songs, stretched out to languid jam sessions, presented a clear contrast to Bahamas’ efficient pop. Jurvanen’s songs represented a welcome change of pace between ripping, tempo-changing Dawes tunes like “Someone Else’s Cafe / Doomscroller Tries to Relax” and “Most People”. Still, they contributed to each other. Jurvanen’s thrilling guitar solos bolstered Taylor Goldsmith’s urgent vocals, Lee Pardini’s smooth keyboards, and Griffin Goldsmith’s unexpectedly stadium-sized drums. On Bahamas songs like “Own Alone” or the snappy funk of “All The Time”, the Dawes folks offered up strong instrumental and vocal harmonies, guitars in sync before Jurvanen unveiled his terrifically prickly lines.

What was perhaps even more notable, though, was the difference in sentiment between the songs of the two acts. Take a Doomscroller song like “Everything Is Permanent”, introduced by Taylor as “our collective brains melting together.” A choogle with a mid-song breakdown and proggy keyboard solo, dipping to silence and elevating back, it ends with the refrain, “Did you really need to cry or be seen crying?” It’s a lukewarm take on social media performance, some Steely Dan cynicism for the modern age to go along with Taylor’s Becker-esque guitars. It couldn’t be farther in mood than Bahamas’ “Way With Words”, a smooth soulful keyboard-heavy tune with a heart of gold, or “Opening Act (The Shooby Dooby Song)”, wherein Jurvanen reflects on all the time he spent opening for other bands and learning from his own mistakes. (For what it’s worth, Doomscroller’s “playing in the band” song “Ghost in the Machine”, which Dawes didn’t perform, could be “Opening Act”’s sibling.) During “Opening Act”, Jurvanen goofily ad-libbed a semi-introduction to Dawes, “Taylor on my left and Trevor [Menear] on my right / I just remember to put away all the Fenders and just let Lee loose.” Real jam band lore should someone have been taping.

At a certain point towards the end of the concert--probably Bahamas’ “Trick To Happy”--I couldn’t help but think that as much as I enjoyed how much each band bolstered the other’s songs, that even if you were dropped in not knowing either one prior, and even if they weren’t alternating, you’d be able to tell whose song was whose. Ingeniously, however, and intentional or not, they then played two songs in a row that bucked the trend. Dawes’ “Roll With The Punches” sported a Bahamas-like strut, while Bahamas’ gentle “Lost in the Light” embodied the scratchiness of the earliest Dawes records. And their encore performance of Bahamas’ “Stronger Than That” personified both bands, Jurvanen’s inherent hopefulness combined with Dawes’ skyward melodies. All in all, it was the third time Dawes surprised me this year. Perhaps only a fool would say this, but Dawes’ concert with Bahamas exemplified a band in their second decade of existence growing as much as ever.

[davidporterjewelry]

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[alixlives]

one day we will be remembered

[pushthlildaisies]

[mandymoore]

Gymboree Mandy Moore Collection Campaign - 2023

[myvinylplaylist]

Foo Fighters: The Essential Foo Fighters (2022)

RCA Records

[rock--band]

100+ Rock Band Posters and Canvas Prints

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[athenastudios]

Shuffle your favorite playlist and post the first five songs that come up. Then copy/paste this ask to your favorite mutuals. 💌🤎

wbjsdjjdjdj im a fav mutual omg

1. New Romantics(Taylor's Version) - Taylor Swift

2. Cruel Summer - Taylor Swift

3. The Story Of Us(Taylor's Version) - Taylor Swift

4. Model Buses - Lovejoy

5. Ballad Of A Homeschooled Girl - Olivia Rodrigo

do you see how im still going through my melodramatic teenage girl phase even though im 24?

[tamaraniac]

getting back to my roots (making my go to discography Smallpools)