If we thought last year’s brief reunion of iconic 90s rockers Belly — which included a Philly stop at Union Transfer — was too good to be true, then we were proven wrong when the band announced last month that they’d be recording a new album, their first in two decades. The title of the forthcoming record is still unknown, but news broke of an April 6 release date, and we can now listen to the first Belly recording in 22 years — their “long-promised” cover of “Hushabye Mountain,” originally from the 1968 film Chitty Chitty Bang Bang. Continue reading →
90s alt-rockers Belly are back the old grind. After regrouping for a tour last year, which included a kickbutt stop at Union Transfer, the crew has decided to prolong the fun by recording their first new record in twenty years. Currently dubbed NameTBD, there’s no concrete release date as of yet. Continue reading →
When a band frames a show as “An Evening With…,” the connotation is that this is a special event, a unique and refined occasion for the learned and erudite spectator. It can be construed as a veiled euphemism for “we’re all a little older now.”
As further evidence of the ‘90s revival that Gen X-ers are all enjoying lately, alt-rock darlings Belly have reunited for the first time since disbanding two decades ago. A new record — their third — is due out soon, and they closed the first leg of their reunion tour Sunday night at Union Transfer with “An Evening With Belly.” A special occasion for fans who are a little older now, it was.
Belly didn’t seem to want to let those older fans forget that, either, with lively stage banter throughout their two-hour set about parenthood and bathroom breaks at intermissions, advice on stretching before moshing to avoid sprains, and an interactive conversation about the prescription drugs that have long since replaced the recreational ones. (Cracking a joke about inhalers, bassist Gail Greenwood got a section of the crowd to chant “albuterol!”) Continue reading →
’90s dream pop band Belly is back after 20 years off. Yup, it’s true, and they’re playing Union Transfer tonight. New music is promised to be released soon, but it’s a safe bet you’ll hear some of it live tonight. Relive the classic “Feed The Tree” below and get any more info you need on tonight’s show at the XPN Concert Calendar.Continue reading →
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 →
From the moment it was first announced, there’s been something tremendously appealing about this team-up. Kurt Vile, Philly’s humble hometown guitar hero, and the wry Melburnian riffster Courtney Barnett are two of indie rock’s most beloved, affable slackers, and the notion of the two of them palling around, goofing off and trading drawled vocals and casually sublime guitar licks was worth a bucket of grins. So it is with Lotta Sea Lice, the duo’s goofily-named, pointedly low-stakes collaborative LP, out last month, which, if hardly revolutionary in any respect, is just so abundantly pleasant. And so it was with their sold out Philly date last Friday night: just a couple of friends giving the kind of amiably understated performance that can make a majestic, storied venue like the Tower Theater feel like a big, cozy living room. Continue reading →
In a previous life, Will Lindsay and George Legatos played electropop for the basement show punk kids in W.C. Lindsay, a group we dug a lot around here at The Key. In a concurrent life, Carlos Pacheco-Perez and Sean Gill are two-thirds of Square Peg Round Hole, the progressive, percussion-driven instrumental ensemble that we also enjoy, whether they’re onstage or in the studio.
This would lead us to reason that we’d be all about Caracara, the new collaborative project of those various musicians. But we were nevertheless surprised how epic their debut record wound up being. Continue reading →
Support for The Key Studio Sessions, from Dogfish Head