Set list (via Setlist.com)
Do You Love Me Now?
I Just Wanna Get Along
Drivin’ On 9
Shocker in Gloomtown
(Guided by Voices cover)
Head To Toe
Happiness Is a Warm Gun
(The Beatles cover)
Don’t Call Home
Alt-rock band The Breeders have announced a world tour to celebrate the 20th Anniversary of their 1993 sophomore record Last Splash. The album charted at #33 on Billboard’s Top 200 album chart upon its release and subsequently went platinum in 1994. Originally the side project of Pixies bass player Kim Deal, The Breeders became a full-time gig in 1993 when The Pixies broke up. Most recently the band released the Fate to Fatal EP, featuring guest vocals by Mark Lanegan and a cover of Bob Marley’s “Chances Are.” Tickets for The Breeders’ show at The Trocadero on May 5th will go on sale this Friday, February 8th, at noon. More information will be available here. Below, watch the video for “Cannonball” from Last Splash directed by Spike Jonze and Kim Gordon.
Iconic alt-rockers The Breeders brought their almost decade-long recording hiatus to an end recently with the news that they’d be releasing a new full-length album this spring — All Nerve, out March 2, is the band’s first LP since 2008’s Mountain Battles. Now, the band has shared another single from the forthcoming album, following first single “Wait in the Car” and title track “All Nerve,” an XPN Gotta Hear Song of the Week in January. Continue reading →
Alternative rockers The Breeders recently announced details about their first album in ten years, All Nerve, to be released on March 2nd. The band’s classic lineup of Kim and Kelley Deal, Josephine Wiggs and Jim Macpherson return for the new album. Continue reading →
After the release of her double EP, A Sea of Split Peas, in 2013, Courtney Barnett has been gathering quite a following. Pitchfork commended the Australian artist for her witty lyrics and a personality that gives her music a backbone, and she appeared in a great interview on NPR’s World Cafe as well.
On an MTV set in 1993, Tanya Donelly was interviewed in support of Star, the debut record she’d just released with her new band Belly. She exchanged several minutes-worth of witty banter with Kennedy, the mononymous veejay who always seemed to face the challenge of having to concurrently contain her effusive enthusiasm and her runaway ADHD. By contrast, the singer shows a unique guile and sly introspection, an unassuming administrator of a remarkably sharp tongue. Dressed in dark clothing and smoking a cigarette, Donelly is clearly a little uneasy in the spotlight, as she humors the host’s exuberant if erratic interrogation. Prompted early in the interview to address her place as a frontwoman in a predominantly male industry, Donelly responds almost immediately, as though she’d already given it plenty of thought, “Kurt Cobain’s allowed to be Kurt Cobain, and Michael Stipe’s allowed to be Michael Stipe, but it’s really hard to find a niche as a female. They have to put you somewhere.”
When asked about that quote during a recent interview with us, she debriefs about the industry’s evolution over the last two decades, in that regard. “I do think that’s updatable now, happily.” Twenty-three years on, the singer has rallied her seminal ‘90s dream pop band Belly for a new record and a reunion tour – which makes a much anticipated stop in Philadelphia this Sunday at Union Transfer – and when asked to reflect again on the role she played in several ways as pioneering female voice in a generally male-dominated industry, she seems glad to revisit. “I don’t think that the glass ceiling is totally smashed, but I do think that women in music are sort of taken much more individually now than back then. And I also think it comes in cycles, you know, that that waxes and wanes for women. And so there will be spaces sort of where everything feels like it’s moving forward, and then there’ll be a step back. But I would say for the most part I think that the playing field is much more level now than it was in the ‘80s.” Continue reading →
Johnny Brenda’s hosted the glories of R. Ring on Monday night for a small, eager Philadelphia crowd. Kelley Deal of The Breeders and Mike Montgomery of Ampline rocked their way through a brisk 40-plus minute set, with the occasional drumming help of Leo DeLuca for good measure. With songs coming from various EPs, some released, some unreleased, as well as cuts by The Kelley Deal 6000 (“Trixie Delicious”) and Shellac (“Ghosts”), R. Ring engaged with tightknit arrangements. Deal had 10 pedals at her disposal and even played a few songs free of guitars. It was quick, furious and enthralling ear candy. Continue reading →