Tag Archives: Beirut

Sharon van Etten signs with a new label

Sharon van Etten at the Music Hall of Williamsburg in April. (Photo © 2011, Steven P. Marsh)

Powerful singer Sharon van Etten, whose great strength is in the directness of her lyrics and singing, has signed a new recording deal with Jagjaguwar Records, her publicist has announced.

Congratulations are in order. It’s a great career move for one of the best, most honest singers active today.

The move puts Sharon in the company of top indie acts such as Bon Iver, Okkervil River, Black Mountain and Dinosaur Jr. Jagjaguwar will release her third album, being produced by The National‘s Aaron Dessner, in early 2012.

The National's Aaron Dessner performing with Sharon Van Etten at the Northside Festival in Brooklyn in June.

Sharon is the second hot artist to part ways with Brookyn’s Ba Da Bing label in recent months. Ba Da Bing released Epic, an album that really boosted her profile, last year. Her connection with the label is even deeper, though. Will You Miss Me When I’m Gone? first met Sharon as a Ba Da Bing publicist, who was representing noise-rock duo WOOM.

Longtime Ba Da Bing labelmate Beirut announced in June that its next album would be self-released rather than on Ba Da Bing. The band is  continuing under Ba Da Bing’s management aegis, however. It’s unclear whether Sharon will do the same.

It looks like Sharon, an amazingly talented and genuinely nice person, is living up to our early expectations. This year alone she’s already played Bonnaroo, Sasquatch, and MusicNow. And she has dates scheduled later this year at  Bumbershoot, Musicfest NW and at the Hollywood Bowl with The National and Neko Case.

We’re thrilled to see Sharon’s continuing success.

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Beirut comes home, joined by Sharon Van Etten and Yellow Ostrich

Beirut at the 2011 Northside Festival. (Photos © 2011, Steven P. Marsh)

Zach Condon of Beirut.

The Northside Festival in Williamsburg, Brooklyn, brought one of our favorites, Beirut, back home on Friday night, June 17. It was a great evening of music that came off beautifully. Early downpours that threatened the whole night cleared just in time for the first of the three bands to hit the stage and stayed away.

Yellow Ostrich and Sharon Van Ettenplayed amazing sets. But most people in the audience were there for one thing only: Beirut. And they were not disappointed.

Here’s a taste of the touching, musically nuance performance, with a solo number at the encore by bandleader Zach Condon.

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At long last: New Beirut confirms new disc this summer

Beirut

Hear a brand-new Beirut track, East Harlem, by clicking here.

Wonder where Beirut has gone? Well, the band is finally back with a new album. The band’s publicist just announced that Beirut’s first full-length album in four years, The Rip Tide, is due for release Aug. 30. Bandleader Zach Condon is putting it out on his own label, Pompeii Records, “so as to keep total creative control.”

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Beirut and WOOM play The Music Hall of Williamsburg

With his rotary valve flugelhorn (no, it's not a trumpet!) slung jauntily over his shoulder, Beirut frontman Zach Condon is a devil-may-care showman. (Photos copyright 2010, Steven P. Marsh)

If you felt old at last night’s Beirut show at The Music Hall of Williamsburg, there was a reason. Elise, a fan in the crowd at my side pointed this out, saying that she felt like the oldest person in the room, even though she appeared barely older than the band’s 24-year-old frontman Zach Condon.

The boys of Beirut.

The explanation is simple: The first night of the two-night, sold-out stand at Beirut’s home venue was essentially designated youth night. Beirut’s record label, BaDaBing, arranged for Monday night’s show as an 18-and-older gig and a block of tickets was sold at the box office only for the bargain price of $9.99 to give young fans a chance to see what one critic has dubbed “the best indie rock band of the 19th century.”

BaDaBing head Ben Goldberg, explains:

Hey everyone, the first show on July 5th is an 18+ show, the second is 21+. We wanted to make sure all those of you without credit cards of your own or superspeed internet connections are able to potentially get tickets, hence why the $9.99 is only available at the box office and won’t carry any handling fees.

Looking forward to seeing all you pale skins’ post-Independence day sunburns!

–ba da ben

Last night’s show was simply amazing. Beirut played a solid 90-minute set, kicking things off with “Elephant Gun” and romping through a sing-along set of all the band’s best-loved songs. It seemed far too short, but satisfying all the same. (And selling out @MusicHallofWB for two nights in a row seems like quite an accomplishment for a band that hasn’t released a proper album since 2007 and probably won’t have the next one ready until Spring 2011!)

Zach exudes a charm and confidence that belies his age. He appears comfortable onstage and has the swagger of a latter-day Sinatra. He’s not so much electrifying as he is charming and seductive. His warm style and the band’s tightness won a lot of love from the audience.

If I had ever imagined that flugelhorn and trumpet would someday become this hip, I might have thought twice about giving up playing brass after high school. Zach and his bandmates are among a number of influential young musicians who have managed to make the rock world safe for old-school instruments — French horn, trumpet, flugelhorn, accordion, ukulele and trombone.

We didn’t shoot any video last night, but lots of other concertgoers had video cameras. Here’s one of “The Penalty” posted by a fan known on Twitter as @projectnrm. The sound quality doesn’t really do the performance justice, but no matter, the enthusiasm is there:

WOOM is always in motion. The band's scrappy, bare-knuckled sound is irresistible.

Openers WOOM, a silly but joyous husband-and-wife band, charmed the crowd with a nice set of DIY beats coupled with Sara Magenheimer‘s vocals and Eben Portnoy‘s scratchy guitar riffs.

In addition to their usual repertoire, they debuted their version of Elizabeth Cotten‘s folk tune “Freight Train” last night. Though it had some rough edges, it was an intelligent and entertaining deconstruction of a song that’s been covered by many artists over the years, including Joan Baez, the Grateful Dead and even Laura Veirs, with the highly recognizable chorus: “When I die, Lord, bury me deep/Way down on old Chestnut Street/So I can hear old No. 9/As she goes rolling by.”

WOOM’s first full-length album, Muu’s Way, is out today on BaDaBing. It’s available from Amazon.com and other music outlets.

Click through to the jump for more photos from last night’s show. Continue reading