Latest news with #Zauner
Sydney Morning Herald
4 days ago
- Entertainment
- Sydney Morning Herald
The dancing may be a bit cringe, but Katy Perry can still put on an electric show
And while her newest album 143 has been the subject of overwhelmingly negative reviews from critics, touching songs such as ALL THE LOVE – penned about her daughter – are a reminder of the poignancy and passion Perry can deliver both in her songs and on stage. Seven years since her last visit to Australia, Katy Perry has returned with gusto. In her own words, she is 'a little rough around the edges' but she can still put on an electric show. As five great philosophers of the late 20th century said, 'Baby, when the lights go out, I'll show you what it's all about'. As the kaleidoscopic lights of the Vivid Festival danced on the outside of the Opera House, inside US indie-pop band Japanese Breakfast was plunged into darkness. About half an hour into their ethereal set, Michelle Zauner and co suffered a technical failure that turned the Concert Hall into a black hole. Zauner had been singing about obsessing in the dark during the oddly uplifting ode to introspection, Slide Tackle, then got to put it into practice. For two songs, they battled on, lit with little more than a remote-controlled lantern and the dapple of some distant house lights. The Woman that Loves You and Picture Window shone anyway, as delicately crafted pieces of pop that would have had the audience transfixed even if Zauner had been strumming by a campfire. After a 20-minute intermission to reset the lights failed, the band reappeared and battled on. Drummer Craig Hendrix was enlisted for his Jeff Bridges impression on the duet Men in Bars, but relief washed over everyone when the pink hues of stage lights mingled with smoke during the glistening Kokomo, IN. While it provided the most interesting moments, it would be unfair to call the blackout the show's highlight. Zauner and the band did nothing wrong. Their blissful, dreamy brand of pop is variously accented with woodwind, violins, saxophones and synthesisers, giving the guitar-led singer-songwriter tracks a warm, rounded quality that at times are a little too pretty for their own good. The glitch distracted but did not detract from the quality of the music or the performance – and Zauner has a voice that clearly resonates with her fans – but the songs often wash over without sticking. Only during the encore did the joyous Be Sweet rouse the audience to their feet. Zauner says she was jet-lagged, woke at 4.30am, had her dress on incorrectly for the early part of the set, forgot what an echidna was called and prattled about lesbian geese. 'Everything's going so well,' she joked at one point. Chances are, she won't forget this show in a hurry. 'That's live music, baby.' VIVID LIVE BETH GIBBONS Concert Hall, Sydney Opera House, May 30 Reviewed by BERNARD ZUEL ★★★★ Here was a night which could be summarised with its beginning and its end, and yet to do so might also suggest something altogether different than what was experienced. It began with middle eastern flavours, a drone and a hum and sinuous rhythms, and ended with a closed-eyed dance of limbs unfurled beneath rolling drums and chanting under-voices. Within that was the fluidity and coiled spring of an eight-piece band of much more than a dozen parts (Howard Jacobs alone played flute, bass saxophone, tuned percussion and drums; Emma Smith tripled on violin, guitar and vocals; everyone did something extra). Through that was a physical release, almost joyfully so, of some kind of shadow dancing. A sometimes queasy romantic current pulsed within those songs, Tell Me Who You Are Today and Reaching Out, one also evident in the more controlled movement and clearer, if still pock-marked, faith of Lost Changes, a mid-show moment whose refrain of 'time changes, life changes/Is what changes thing/We're all lost together' dispelled and invited darkness at the same time. And how could we not ride the groovy baby groovy splendour of Tom The Model, a song that evoked a never-happened-but-should have '60s moment of Gene Pitney produced by Neil Diamond. All this was true. And yet inside it all was the other story Beth Gibbons tells, of that darkness in shades of uncertainty, of a taut line holding rhythms close and emotions closer still, of drums as likely to be played with mallets as sticks, sonorous rather than sharp. And most of all of the intensity that held, compelled through everything, broken only when at the end of each song Gibbons – whose voice is unchanged, and if anything even firmer – turned her back, retreated to the even darker space behind and broke from our gaze. Within Mysteries' pastoral awakening (acoustic guitar only at the beginning, choral voices almost humming, before a siren-like woman's voice took us out) and the flute and comfort of Whispering Love's off-kilter dreaminess (which chose not to envelope but instead drape itself over us) was a sense of what might be lost. Through the haunted land of creeping mood and incipient discordance that is Burden Of Life ('But all the times I've lost my way, crept inside, tried not to sway like pebbles on the shore') was the threat of what might be found. And then there were those times when the unspoken did the work for us anyway, the encore's double Portishead surge-and-hold of Roads and Glory Box which settled like smoke and insinuated themselves. The former was a chilled atmosphere that sought warmth; the latter, a sultriness that contained an edge. The keyboards of Roads closed in behind us after the bass had led us in; the guitar solo of Glory Box refracted light, giving us a brief glimpse of mayhem inches away.
Sydney Morning Herald
5 days ago
- Entertainment
- Sydney Morning Herald
Japanese Breakfast beats Melbourne cold with warm presence and irresistible performance
MUSIC | Rising Festival Japanese Breakfast ★★★★ PICA, June 5 'It's so cold here! What's going on?' says Michelle Zauner, driving force behind indie darlings Japanese Breakfast. Yes, it's cold in Melbourne right now, and especially in PICA, a big empty shed in Port Melbourne with uneven concrete floors and unlit portaloos. Everyone's wearing massive coats and basking in our collective body heat, while cursing our friends at the Jessica Pratt show in the warm, acoustically luxuriant recital hall. But I'm at a Japanese Breakfast show and thrilled about it. It's been eight years since they last visited, and since then they've put out the breakthrough hit album Jubilee and this year's literate, almost baroque For Melancholy Brunettes (& Sad Women), and Zauner has written a bestselling memoir, Crying in H Mart. She writes songs dense with emotion and pathos, and performs them irresistibly. The six-piece opens with three songs from the new album, all dripping with Zauner's great lyrics and the band's rich instrumentation. She's in a frilly shirt and torn tights. Saxophone dances with flute as the lights play with the stage smoke. 'The breeze carries salt / And sipping milky broth / He cast his gaze towards the sea out / The Winnebago,' she sings on Orlando in Love. It's dreamlike. The sound bounces around indie genres. Honey Water leans into shoegaze. Slide Tackle – which she introduces with a cry of 'No more melancholy!' – plays with disco. The guitar finger slide comes out for the country-tinged Men In Bars, with drummer Craig Hendrix sharing the vocals, a part originally performed by Jeff Bridges. Throughout, Zauner's voice is so expressive and full of intent, and her presence is tirelessly warm and breezy. She introduces Winter in LA as being about 'being miserable in lovely places', a contrast that could apply to the whole set. It's not easy to tour to Australia in the '20s. As Zauner tells us, it's so far away and expensive ('IT IS EXPENSIVE!' someone validates from the crowd). But even with high overheads, Zauner wasn't skimping on the massive gong at the back of the stage, used only for the chorus of Paprika in the encore. Correct decision.
The Age
5 days ago
- Entertainment
- The Age
Japanese Breakfast beats Melbourne cold with warm presence and irresistible performance
MUSIC | Rising Festival Japanese Breakfast ★★★★ PICA, June 5 'It's so cold here! What's going on?' says Michelle Zauner, driving force behind indie darlings Japanese Breakfast. Yes, it's cold in Melbourne right now, and especially in PICA, a big empty shed in Port Melbourne with uneven concrete floors and unlit portaloos. Everyone's wearing massive coats and basking in our collective body heat, while cursing our friends at the Jessica Pratt show in the warm, acoustically luxuriant recital hall. But I'm at a Japanese Breakfast show and thrilled about it. It's been eight years since they last visited, and since then they've put out the breakthrough hit album Jubilee and this year's literate, almost baroque For Melancholy Brunettes (& Sad Women), and Zauner has written a bestselling memoir, Crying in H Mart. She writes songs dense with emotion and pathos, and performs them irresistibly. The six-piece opens with three songs from the new album, all dripping with Zauner's great lyrics and the band's rich instrumentation. She's in a frilly shirt and torn tights. Saxophone dances with flute as the lights play with the stage smoke. 'The breeze carries salt / And sipping milky broth / He cast his gaze towards the sea out / The Winnebago,' she sings on Orlando in Love. It's dreamlike. The sound bounces around indie genres. Honey Water leans into shoegaze. Slide Tackle – which she introduces with a cry of 'No more melancholy!' – plays with disco. The guitar finger slide comes out for the country-tinged Men In Bars, with drummer Craig Hendrix sharing the vocals, a part originally performed by Jeff Bridges. Throughout, Zauner's voice is so expressive and full of intent, and her presence is tirelessly warm and breezy. She introduces Winter in LA as being about 'being miserable in lovely places', a contrast that could apply to the whole set. It's not easy to tour to Australia in the '20s. As Zauner tells us, it's so far away and expensive ('IT IS EXPENSIVE!' someone validates from the crowd). But even with high overheads, Zauner wasn't skimping on the massive gong at the back of the stage, used only for the chorus of Paprika in the encore. Correct decision.
Scoop
29-05-2025
- Entertainment
- Scoop
Phoebe Rings Joins Japanese Breakfast As Support For The Auckland Winter Series
Press Release – Live Nation Entertainment TĀMAKI MAKAURAU AUCKLAND (MAY 29, 2025) – Live Nation is proud to announce local act Phoebe Rings will join Japanese Breakfast at the Auckland Winter Series line up at the Auckland Town Hall this June. Tickets to their June 7 show are on sale now. Well known for their signature blend of Jazz-inspired dream-pop sounds Phoebe Rings formed in 2019. Having created a loyal fanbase since opening for The Beths, and releasing their self-titled EP last October, Phoebe Rings will be debuting their forthcoming LP Aseurai, out June 6. Made up of lead singer/synthesist Crystal Choi, drummer Alex Freer, guitar/synthesist Simeon Kavanagh-Vincent, and bassist Benjamin Locke, they join U.S. band Japanese Breakfast who will perform for the first time ever in Aotearoa next month as part of the Auckland Winter Series. After a decade making the most of improvised recording spaces set in warehouses, trailers and lofts, Japanese Breakfast 's fourth album, For Melancholy Brunettes (& sad women), marks the band's first proper studio release out on March 21st. Produced by Grammy Award winner Blake Mills — an innovator of uncommon subtlety, known for his work with everyone from Bob Dylan to Fiona Apple and quietly regarded as many a legacy artist's favorite guitar player — and tracked at the venerable Sound City in Los Angeles — birthplace of After The Gold Rush, Fleetwood Mac and Nevermind among other classics — the record sees front-woman and songwriter Michelle Zauner pull back from the bright extroversion that defined its predecessor Jubilee to examine the darker waves that roil within, the moody, fecund field of melancholy, long held to be the psychic state of poets on the verge of inspiration. The result is an artistic statement of purpose: a mature, intricate, contemplative work that conjures the romantic thrill of a gothic novel. For Melancholy Brunettes follows a transformative period in Zauner's life during which her 2x GRAMMY nominated breakthrough album Jubilee and her bestselling memoir Crying In H Mart catapulted her into the cultural mainstream, delivering on her deepest artistic ambitions. Reflecting on that success, Zauner came to appreciate the irony of desire, which so often commingles bliss and doom. ' I felt seduced by getting what I always wanted,' she says. ' I was flying too close to the sun, and I realized if I kept going I was going to die.' The plight of Icarus and other such condemned ones lends For Melancholy Brunettes its most persistent theme, the perils of desire. Like light dispersed, its spectral parts take the album's characters through cycles of temptation, transgression and retribution. On the album's lead single ' Orlando in Love ' — a riff on John Cheever's riff on Orlando Innamorato, an unfinished epic made up of 68 ½ cantos by the Renaissance poet Matteo Maria Boiardo — the hero is a well meaning poet who parks his Winnebago by the sea and falls victim to a siren's call, his 69th canto (even in the lofty realm of classical myth Zauner has a soft spot for innuendo). Sadness is the dominant emotional key of this record, but it is sadness of a rarified form: the pensive, prescient sadness of melancholy, in which the recognition of life's essentially tragic character occurs with sensitivity to its fleeting beauty. Zauner finds space enough inside it for glimmers of hope. They are the consolations of mortals that poets before her have called out to and that poets after will continue to rediscover: love and labor, and though they run like tonic resolutions through the record's many episodes. Japanese Breakfast performs The Melancholy Tour for one night only at Auckland Town Hall in June 2025 as part of Live Nation's Auckland Winter Series.
Scoop
28-05-2025
- Entertainment
- Scoop
Phoebe Rings Joins Japanese Breakfast As Support For The Auckland Winter Series
TĀMAKI MAKAURAU AUCKLAND (MAY 29, 2025) – Live Nation is proud to announce local act Phoebe Rings will join Japanese Breakfast at the Auckland Winter Series line up at the Auckland Town Hall this June. Tickets to their June 7 show are on sale now. Well known for their signature blend of Jazz-inspired dream-pop sounds Phoebe Rings formed in 2019. Having created a loyal fanbase since opening for The Beths, and releasing their self-titled EP last October, Phoebe Rings will be debuting their forthcoming LP Aseurai, out June 6. Made up of lead singer/synthesist Crystal Choi, drummer Alex Freer, guitar/synthesist Simeon Kavanagh-Vincent, and bassist Benjamin Locke, they join U.S. band Japanese Breakfast who will perform for the first time ever in Aotearoa next month as part of the Auckland Winter Series. After a decade making the most of improvised recording spaces set in warehouses, trailers and lofts, Japanese Breakfast 's fourth album, For Melancholy Brunettes (& sad women), marks the band's first proper studio release out on March 21st. Produced by Grammy Award winner Blake Mills — an innovator of uncommon subtlety, known for his work with everyone from Bob Dylan to Fiona Apple and quietly regarded as many a legacy artist's favorite guitar player — and tracked at the venerable Sound City in Los Angeles — birthplace of After The Gold Rush, Fleetwood Mac and Nevermind among other classics — the record sees front-woman and songwriter Michelle Zauner pull back from the bright extroversion that defined its predecessor Jubilee to examine the darker waves that roil within, the moody, fecund field of melancholy, long held to be the psychic state of poets on the verge of inspiration. The result is an artistic statement of purpose: a mature, intricate, contemplative work that conjures the romantic thrill of a gothic novel. For Melancholy Brunettes follows a transformative period in Zauner's life during which her 2x GRAMMY nominated breakthrough album Jubilee and her bestselling memoir Crying In H Mart catapulted her into the cultural mainstream, delivering on her deepest artistic ambitions. Reflecting on that success, Zauner came to appreciate the irony of desire, which so often commingles bliss and doom. ' I felt seduced by getting what I always wanted,' she says. ' I was flying too close to the sun, and I realized if I kept going I was going to die.' The plight of Icarus and other such condemned ones lends For Melancholy Brunettes its most persistent theme, the perils of desire. Like light dispersed, its spectral parts take the album's characters through cycles of temptation, transgression and retribution. On the album's lead single 'Orlando in Love' — a riff on John Cheever's riff on Orlando Innamorato, an unfinished epic made up of 68 ½ cantos by the Renaissance poet Matteo Maria Boiardo — the hero is a well meaning poet who parks his Winnebago by the sea and falls victim to a siren's call, his 69th canto (even in the lofty realm of classical myth Zauner has a soft spot for innuendo). Sadness is the dominant emotional key of this record, but it is sadness of a rarified form: the pensive, prescient sadness of melancholy, in which the recognition of life's essentially tragic character occurs with sensitivity to its fleeting beauty. Zauner finds space enough inside it for glimmers of hope. They are the consolations of mortals that poets before her have called out to and that poets after will continue to rediscover: love and labor, and though they run like tonic resolutions through the record's many episodes. Japanese Breakfast performs The Melancholy Tour for one night only at Auckland Town Hall in June 2025 as part of Live Nation's Auckland Winter Series.
