http://www.cmj.com/live/taiwanbrazil-night-showcase-dominion-october-19-2011/
(有5張照片，還有熊寶貝與回聲的)
Taiwan/Brazil Night Showcase @ Dominion: October 19, 2011
By Kerry McNeil
The Taiwanese Grammy Award-winning pop-rock four-piece 1976 played song
after song to its excited and singalong-happy crowd Wednesday at the
Dominion. The mid-30s rockers explained toward the end of the showcase
that the band’s name comes from each member’s shared birth year, and
the group has obviously been busy since its formation back in the summer
of ’96. Having released six studio albums, it’s no wonder the band’s
success in Taiwan followed it to the U.S. for CMJ, as the packed venue
suggested.
The group’s first track was full of chill, laid-back guitar melodies
and had the crowd screaming along to the chorus, which sounded like “
Love/Hate/Want/Need,” though the rest of the band’s lyrics were in
Taiwanese. Lead singer Raykai Chen’s crooning vocals delighted the crowd,
though he started the show with a very muted stage presence, holding his
hands behind his back and showing off his Morrissey/Smiths T-shirt. The
second song was a bit heavier on reverberating guitars, smashing cymbals
from the drummer, and as the song settled into a groovier vibe, so did
Chen. Sounding a bit like a Taiwanese version of the Strokes or Bloc Party,
guitar licks as spiraling as the staircase onstage behind the band quickly
led into an intricate guitar solo to close out the song. Channeling a
garage-rock vibe but still sticking to the band’s pop qualities, 1976
busted out crescendo upon crescendo of screaming guitar solos and crashing
drums on its third song of the night, slowly ending the track with the
same happy pop melody with which it. In between songs, Chen animatedly
spoke to the crowd members, who were quick to giggle at the banter. The
fourth song 1976 performed had a faster pop-punk four-to-the-floor rhythm,
heavy drumming and an instrument-driven chorus with Chen singing quickly
in between, as the crowd busted out some dance moves. One of the group’s
last songs began a bit more softly, but it quickly built up with help from
the bass drum into a chorus of passionate “Whoa-oh-oh-oh”s from Chen,
inviting the audience to chant along.
During a quick, translated Q&A session after the set, Chen explained that
most of 1976′s songs are about love, which was clear from the mood of
the music and the tone of Chen’s singing. Ending the Q&A session with
the promise of a new album release some time next year, the crowd asked
for one more song to no avail as 1976 left the stage.
Even with a late arrival and technical difficulties, singer/songwriter
Beatriz Azevedo pumped the Dominion full of sensual jazz, tipping her
hat at famous fellow Brazilian songwriter/composer Antonio Carlos Jobim,
as well as performing her own take on one of his pieces. Backed by a group
of musicians on grand piano, upright bass, drums and more, Azevedo filled
the small venue with her vibrant stage presence and samba-friendly vocals.
A booming bass drum beat, as well as the tapping of a drum stick against
the snare drum, started Azevedo off on a strong note once the technical
difficulties were aside as she moved across the stage effortlessly in her
flowing purple dress, fishnets and red Mary Jane-style shoes. Incorporating
many hand movements and gestures, Azevedo was easily able to engage with
the small audience. Picking up an acoustic guitar during the set, Azevedo
flaunted her instrumental skills as well as her vocals, bursting into
shouted lyrics and jumping around as she played the guitar perfectly in
time with the other musicians. Bringing two more musicians to the stage
for added percussion, Azevedo’s voice became as velvety as the maroon
coat she wore over her dress, and the red stage lighting suited the steamy
atmosphere her songs created. Ending with her take on a Jobim standard,
Azevedo’s take was meant purely for the most seductive of tangos, complete
with a red rose going back and forth between dancers.
Azevedo, with the help of her backing instrumentalists, was a strong
choice for Brazil Night as she captured the essence of traditional
Brazilian rhythms without making them sound old and rehearsed, always
making sure to heat things up with her own personal style.
All photos by Keeyahtay Lewis.
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