Skip to main content

Stuck On You

Living in Dallas, I'm well aware of some great musical acts that only come to the biggest cities in America. If I could deal with the crowded living found in New York, Los Angeles, and Chicago, then I could see even more bands that come around only once in a lifetime. But I love living in Dallas, and I've never thought about getting on a plane to see a band. (I have done a roadtrip and it was worth it.)

When a band like Failure reunites, I'd expect them to only play a handful of shows, mainly tied in with festivals like Coachella or Lollapalooza. I don't begrudge the bands who do this; the money's way too good.

Failure did do a special one-off show earlier this year in Los Angeles, but they decided to mount a national tour. Seeing Dallas on the itinerary, I jumped at the chance to do anything I could with press coverage. That resulted in a show preview, an interview with Greg Edwards, and a live show review. That's a lot of Failure, but being a Failure fan and knowing quite a few fans, this was huge.

I keep thinking of a wonderful quote by Keith Phipps:

Like so much of life, music is best appreciated while it’s happening, and without the bittersweet tug of missed chances and things that might have been.

As someone who missed his fair share of shows, I completely concur with what Keith wrote. I've seen many shows that I never thought I'd see and cherish their memories forever. While I decided to skip Pavement on their Brighten the Corners tour, I saw At the Drive-In twice, Hum and Swervedriver, and whole bunch of other shows that I'm glad I didn't skip.

My attitude is, if I really think I should go, I should go, because there's no guarantee a band will come back. No matter how healthy a band might be, a band can break up at any time. If there's little or nothing to be lost in seeing this show (even if it's sleep), I should go.

Still thinking about Failure's excellent set last night, I'm quite happy I went. As much as they hope to keep working together, I will always have the memory of finally seeing them. (I would definitely be up for seeing them again.)

Comments

Popular posts from this blog

It's a Long Way Down

There was a time when I listened to Ryan Adams' music practically all the time. Back in 2001, as I finished college and tried to navigate post-college life, the double dose of Whiskeytown’s Pneumonia and Adams’ Gold led me to everything else he had made before. It was countrified rock music that spoke to me in a deep way, mainly on the musical front. I don’t tend to really pay attention to lyrics, but I connected with Adams’ lyrics about being young and perpetually heartbroken. I thought some self-inflicted mental pain about awkward and failed attempts at relationships put me in the headspace to relate to songs by Adams, as well as Bright Eyes. There was so much time and energy spent on anger and sadness directed at myself for things not working out, so I found solace in songs like “Harder Now That It’s Over” and “The Rescue Blues.” As it turned out, there was a pattern in my life: if I had a little taste of a feeling of sadness or anger, I could relate to those who had it

I ain't got no crystal ball

I've never been a big fan of Sublime's reggae-punk-ska, but I feel bad for their hardcore fans. Billboard reports that a four-disc box set featuring previously released and unreleased material is on the way. How is this a bad thing? Well, the number of posthumous vault-raiding collections greatly outnumber the band's proper releases. That usually isn't a problem, but the quality of them is very suspect. When they were together, the band recorded three proper albums, Robbin' the Hood , 40 Oz. to Freedom and Sublime . Sublime would be the band's breakthrough record with the mainstream, but that success was very bittersweet. Shortly before its release, frontman/guitarist/songwriter Bradley Nowell died of a heroin overdose. In the following years, the effects of apparently a bad record deal have yielded compilation after compilation. Here's the rundown so far: Second Hand Smoke (1997) Stand By Your Van -- Sublime Live in Concert (1998) Sublime Acoustic: Br

Best of 2021

  Last year, my attention span was not wide enough to listen to a lot of LPs from start to finish. Too much went on in 2020 to focus on 10-15 albums, so I went with only a couple to spotlight. Well, 2021 was a little better, as I have a list of top four records, and a lot of individual tracks.  (I made a lengthy Spotify playlist ) So, without further ado, here’s my list of favorites of the year: Albums Deafheaven, Infinite Granite (listen) Hands down, my favorite album of the year. I was not sure where Deafheaven would go after another record that brought My Bloody Valentine and death metal fans together, but they beautifully rebooted their sound on Infinite Granite. The divisive goblin vocals are vastly pared-down here, as are the blast beats. Sounding more inspired by Slowdive, the band has discovered a new sonic palette that I hope they explore more of in the future. It’s a welcome revelation. I still love their older material, but this has renewed my love of what these guys do.  J