Concert Review: DJ Lucas, Papo2oo4 and Subjxct 5 at Farewell

Original image of Sujxct 5, DJ Lucas and Papo2oo4 by There Stands the Glass.

I made "Strange Art Rap Decisions" on Wednesday, November 22. A friend with compatible taste encouraged me to attend a rap show at Farewell headlined by DJ Lucas. I’m glad I took his advice even though it meant spending $20 on cover charges ($10 at Farewell and $10 for a rock show next door at Howdy) and standing on cold cement for almost four hours.

Supported by the dynamic Subjxct 5 and Papo2oo4, Lucas’ outlandish raps referenced Emily Dickinson, Sylvia Plath, Carrie Underwood and Eminem. The insular Dark World crew “from out the woods” of Western Massachusetts is reminiscent of Kansas City’s Black Clover and the Twin Cities’ Doomtree collectives.

Standing amid three dozen people, I wondered why the immensely talented trio isn’t better known. Are the literary references too brainy? Is its musicology (Papo2oo4 shouted out the Kansas City cult figure Rich the Factor) excessively geeky? Maybe the crew’s overt drugginess is a barrier.

Also at Farewell: Paris Williams (pop-rap with guitar and drums), Lil Heavn (Lil Peep-er) and N1n4 Freakquency (industrial footwork). And at Howdy: The Blast Monkeys (Tonganoxie pop-punk), Ivory Daze (grunge revivalists) and Island Policy (Topeka’s Puddle of Mudd).

Concert Review: Oz Night at Farewell and Howdy

Original image of Citric Dummies by There Stands the Glass.

A handful of the 100 punks at the companion venues Farewell and Howdy on Thursday, October 5, propped themselves up with canes and walkers. The people half my age might have suffered their debilitating injuries in precisely the sort of mosh pits that made the concurrent shows dangerous.

Like the decrepit concertgoers, I deliberately put myself in harm’s way for three hours during performances by six bands. I felt fortunate to stumble to my car with only a wrenched wrist, a few bruises and ringing ears. I paid $15 admission for each show. A chronological rundown follows.

1. Konrad Hell and the Highwaters (Farewell) A friend’s description of the Kansas City group’s concept as spiritually akin to Sid Vicious’s cover of “My Way” is close to the mark.

2. C-Krit (Howdy) Even though the obnoxious miscreants are musically inept, their ultraviolent spewing was my favorite set of the night.

3. Citric Dummies (Howdy) The Minneapolis trio are Hüsker Dü hooligans.

4. Vintage Crop (Farewell) Shouty Australian indie-rock.

5. Alien Nosejob (Howdy) The Australians’ myriad variations of punk and garage rock exhausted me.

6. Jackoffs (Farewell) Punk fatigue and an aching wrist compelled me to surrender after 15 minutes of fury.

Concert Review: Ghais Guevara, Tricky Youth, Student 1, Midwestern, Tabby, Defo, Laaee Uzumak and Young Mvchetes at Farewell and Howdy

Original image of Midwestern by There Stands the Glass.

JPEGMAFIA, the cult artist responsible for the possible album of the year, performed at the Granada in Lawrence, Kansas, on Wednesday, March 29.  I opted for a different rap show.  Two rap shows, actually.

I paid $15 for admittance to the serendipitously titled Farewell to Rap tour at Farewell.  The cover charge for a bill of noise-rappers a few steps away at Howdy was $10.  My quick impressions of all eight acts in the order of their appearances:

• Young Mvchetes- Good ideas. Iffy execution.

• Laaee Uzumak- Mainstream Kaycee rap.

• Defo- Even before he told me he was from Minneapolis, I detected Doomtree vibes from the rapper.

• Student 1- Ingratiating Minnesotan.

• Tricky Youth- Industrial shock rapper replete with an incense incantation and a literal blood ritual.

• Tabby- Slick pop.

• Midwestern- The only act I’d previously seen and a factor in my decision not to go to Lawrence, the duo’s manic performance floored me.

• Ghais Guevara- The leftist Philly rapper merits consideration from Top Dawg Entertainment.

Four rap enthusiasts drove 50 miles from JPEGMAFIA’s concert to catch the final 20 minutes of Ghai Guevara’s gig.  Their dedication inspired me.  Yet no matter how good Peggy was, I’m confident I made the right choice.

Concert Review: Algara, P.S.Y.W.A.R. and New Obsessions at Farewell

Original image by There Stands the Glass.

A music industry powerbroker heard me whine about the multitude of touring acts passing over Kansas City at recordBar six weeks ago.  He mockingly reminded me of my complaint when I saw him at Farewell on Thursday, September 1.

Late-arriving punk fans were turned away at the door of the sold-out, cutting-edge show.  I was among the last of the several dozen people to pay the $10 cover charge allowing admittance into the small venue to hear three disparate bands.

The ostensibly anarchist politics of the Barcelona band Algara were lost on me, but I adored the voluble delivery of the headliner’s vocalist.  The quartet’s timeless attack was accompanied by small-scale crowd surfing and stage diving.

The response to P.S.Y.W.A.R. was even more frenetic.  I later initiated a pointless argument by insisting the Kansas City band plays metal rather than punk, but each participant in the debate agreed the band’s martial-themed noise is effective.

An exhilarating blend of no wave and industrial music, the sound of Kansas City’s New Obsessions is more complex.  As indicated by the accompanying photo, the duo of local notable Jorge Arana and his brother Luis also makes a striking visual impression.

I don’t regret busting the chops of the owner of the new venue on Thursday, but I hope he knows I’m appreciative of his endeavor.  He and his associates at Farewell have dramatically improved the quality of Kansas City’s music scene in recent months.

Concert Review: Escuela Grind at Farewell

Original image by There Stands the Glass.

Attending musical performances involves a lot of standing around.  Late starts, technical delays and enduring the occasional wretched opening act are part of the ritual.  I was elated, consequently, when I heard Escuela Grind open its set at Farewell on Monday, August 15, as I parked my car a block away in the industrial district.

A scrum of about 50 people forced me to remain pinned to the door next to the stage as the quartet from New England raged.  Front person Katerina Economou proclaimed her group played nothing but death metal amid the brief but cathartic set.  The brutal noise was belied by a room full of smiles.

Headbangers knew they were experiencing something extraordinary as they took in ferocious renditions of songs like "All Is Forgiven" and "Cliffhanger".  The ecstatic antics of a large man in the mosh pit embodied the gobsmacked response to Escuela Grind.  No one was seriously hurt, and at least one soul was partially healed.