Live Gypsy Punk Pandemonium

If you were to ask me how long it’s been since Gogol Bordello has colored my music consciousness, I honestly couldn’t tell you. I know that they have not always been there, with their high energy gypsy anthems, but at the same time, I can no longer imagine a world where “Start Wearing Purple” and “Immigraniada (We’re Coming Rougher)” don’t exist.

Photo by Erica Head/Andrea Martin
Photo by Erica Head/Andrea Martin

Last night I finally got to see Gogol Bordello throw down, and I can faithfully attest to the fact that a Gogol Bordello show isn’t a show….per se. It’s an EVENT. It doesn’t matter where you are in the venue–even if you’re not on the floor getting elbows thrown at you or shoved aside because a pit has broken out near you, you’re still involved. I know, because I was on the balcony of the venue they performed at In the Venue and I could not contain the energy that comes with a Gogol Bordello show. I was as involved as much as anyone on the floor, I just happened to be able to leave in one piece….and I got a few moments to check out the crowd to boot. Oh, and did I mention an amazing view of the band? No, I probably didn’t. Well anyway. Let’s back this blog entry up a few steps, and go to the beginning:

August 5, 2013.

A day that could’ve been like any other, except there was something exciting waiting at the end of the work day. I’d bought my tickets to see Gogol Bordello a week or so in advance, and even though the tickets were on my fridge and a constant reminder of what was to come–it hadn’t really hit me till the night before that I was really, ACTUALLY going to see the band that brought the term “gypsy punk” to the forefront. The band responsible for some of my favorite songs of all time, the band that went into an NPR Tiny Desk Concert and reminded the NPR staff that they cannot be contained in small spaces. THAT band. Gogol Bordello.

So work happened. Then off to the venue. Where I met up with some friends who were already there, and then another group of friends joined us. I had the fortune of going to the show with people already familiar with Gogol Bordello and friends who were not as familiar, but open to experimentation. I’m happy to report that the friend unfamiliar with Gogol Bordello was acknowledging their brilliance by the end. Anyway. We stood in line for a VERY long time. Doors–according to the tickets–were at 6:30. We didn’t get into the venue until an hour later, around 7:30. Which would’ve been fine….if it wasn’t August in Salt Lake City. For those not from here: August is blisteringly hot. And we were intimately reminded of this fact last night as we waited. I am grateful that we got there early though, even as much as we ended up wilting. Salt Lake City turned out in full force last night, the venue was packed.

Photo by Erica Head/Andrea Martin
VIZA ROCKS THE STAGE Photo by Erica Head/Andrea Martin

The opening band of the night was Viza, who describes themselves (accurately) as an international rock band from Los Angeles. I was rather unfamiliar with the band, though I’d looked up a song prior to the show and had quickly fallen in love with that particular track (“Breakout the Violins”). The band is made up of the charmingly charismatic leader, K’noup, the mustachioed madman who has a way with the electric guitar, Orbel Babayan, and bassist Alex Khatcherian, guitarist Shant Bismejian, percussionist Chris Daniel, drummer Hiram Rosario, and Andrew Kzirian on the oud.

Look them up and you’ll likely find them described as Gogol Bordello meets System of a Down. I’m here to tell you–that description is fairly accurate. Especially if you give their album Carnivalia a listen. They immediately impressed upon me the fact that they are heavy: the rock elements are strong with this band, but it is all very tight and controlled. The band opened with a cover of the Doors “Alabama Song (Whisky Bar)” which may be one of my new favorite drinking songs. They brought great energy to the stage, and each of the musicians were captivating. K’noup has a strong stage presence, and couldn’t help but win much of the audience over. As an aside: A friend I was with was totally into the music and we were on the balcony overlooking the stage and she’d been reaching her hand out over the railing. K’noup happened to look up and reached back. Accident? I think not.

Viza was an amazing pick for opener for Gogol Bordello: they definitely helped get some of the crowd’s energy up, plus did that super important thing that a good opener should do: Introduced the audience to music worth looking into after the fact. I’ve spent much of this morning listening to Viza’s discography on Spotify and am planning on buying some merch when I have the funds, that way when I run across them again, I can get some autographs!

A few tracks for you, then we’ll move onto the part of the evening that may easily have made my entire year: Gogol Bordello.

VIZA:

Alabama Song [Whisky Bar]

bizarre video. Great song. Especially live. Next time I see Viza live, I will absolutely be singing along to this song. If you’re familiar with the Doors track….this version is way more manic and awesome. 

Breakout the Violins

Vaudeville Rock at its finest. One of the best entry points into Viza’s music. 

Fork in the Road

I love his vocals in this track. And his intro to the song. Viza is made up of some amazing musicians altogether, and I fully expect they are well on their way to taking over the world. 

Trans-Siberian Standoff

turn it up. play it loud. rock the fuck out. You’re welcome. 

So Viza was great.

But of course, they weren’t the feature.

The headliner was Gogol Bordello.

Photo by Brian Bonell
Photo by Brian Bonell

And like I said earlier, Gogol Bordello has been part of my consciousness for a while now.

So what do you expect when you’re about to see a band for the very first band that you are completely and utterly enamored with? A band who put out a documentary like Gogol Bordello Non-Stop and whose live shows are reputed to be EPIC and part of why the band is so revered across the globe?

Frankly, you don’t expect anything….other than to be blown away and to have one of the best times of your life. Which is exactly what happened.

From beginning to end–it was one of the most amazing concert experiences I have ever been a part of. Eugene Hutz is an energetic leader, and with vocalists Elizabeth Chi-Wei Sun and Pedro Erazo backing him up and interacting with the crowd, it was impossible not to get excited.  The musicians were perfect, and had some incredible stage dynamics. The set list was extensive, and covered everything from “Start Wearing Purple” to “Malandrino”, one of the tracks off of their brand new album, Pura Vida Conspiracy. I have to say that the moment the experience got surreal for me was a few songs in, when the band launched into “Immigraniada (We’re Coming Rougher)”. At that moment the realization that I was really there and in the presence of one of my favorite bands.

Reader: I don’t know if you’ve had similar experiences in your concert going experiences, but if you have you’ll know what an intense, overwhelming feeling that is.

Photo by Brian Bonell
Photo by Brian Bonell

Back to the music: Despite the fact that Gogol Bordello has been on the road pretty much non-stop since July 20th, they took the stage with frenetic energy and kept it up till the very end. The great thing about a Gogol Bordello show is not just the music and the crazy party vibe, it’s the reminder that this band is more than just a simple gypsy punk band. Gogol Bordello’s performances of “Break the Spell” and “Undestructable” reminded the audience just how powerful music can be to a movement. As Hutz said, just before the final song of the night, “Undestructable”, music is one of the real freedoms we have. And one of the most communal things we have to bring people of the world together. The fact is, the Gogol Bordello fan base is more than a fan base. It’s a familia. And I’m ridiculously happy to be part of this global music family.

I’m going to end this with a suggestion. If you’ve made it this far in my entry, congratulations. This was probably much longer than it needed to be. But the evening was one of the most amazing shows of my life. If you love Gogol Bordello and have not seen them live–make sure you change that. If you love Gogol Bordello and you’ve already seen them live–go see them live anyway.

And go buy their new album.

And here are some more pictures for you, provided by some of Gogol Bordello’s super talented Salt Lake familia: Andrea Martin, Erica Head, and Brian Bonell.

Photo by Andrea Martin/Erica Head
Photo by Andrea Martin/Erica Head
Photo by Andrea Martin/Erica Head
Photo by Andrea Martin/Erica Head
Gogol Bordello 01 Brian
Photo by Brian Bonell
Gogol Bordello 02 Brian
Photo by Brian Bonell
Photo by Brian Bonell
Photo by Brian Bonell
Photo by Brian Bonell
Photo by Brian Bonell
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Punk Rock Wisdom

This week couldn’t have had a better kickstart than seeing Girl in a Coma live. I saw them a few years ago shortly after Trio BC had been released and the song Static Mind had quickly become one of my favorite songs. They were at Burt’s Tiki Lounge and it was amazing. Small-ish crowd, but I was near the stage and I remember having the time of my life, jumping up and down as you do at shows where the energy can’t be contained. I remember Nina Diaz’s performance being especially stellar. So when I realized that Girl in a Coma was going to be in town and reminded myself that it would be ridiculously stupid to miss them, I got excited. I convinced a friend who wasn’t too familiar with the band to join me on a night that promised to be full of great music and she went with it, intrigued.

The night turned out to be better than expected. I hadn’t been following the tour, so I had no idea that Girl in a Coma was traveling with some amazing musical support. My friend and I actually got to the venue late, so we walked in in the middle of Sara Radle’s set. Until that evening, I had never heard of Sara Radle, but I was immediately impressed.

 This is a woman who knows her guitar, knows how to mix catchy pop hooks with great songs, and has a beautiful voice and stage presence. Her backing band worked well with her songs, and even threw in character antics of their own (at the end of the set, the drummer stood up on the drum kit, freaking out my friend who happens to be a drummer herself). It turns out Sara Radle is no stranger to the music industry. She’s been working out of San Antonio, TX since the 90s and was a member of several bands in addition to her solo work.

One of those bands happened to be the reunited Rentals in 2005, where she had the opportunity to work with Matt Sharp (ex-Weezer bassist). Radle recently released her fifth solo album, Same Sun Shines, which is fully hers. Every instrument on the album was done by her, and she even went so far as to own the process of engineering and mixing. What better way to get exactly what you want to hear than through making something yourself?

If you are not familiar with Radle–I definitely recommend checking her out. She is an amazing musician and well worth spending some time with. Or better yet….money. You can buy her newest album or other albums in her discography online.

The band that followed Sara Radle was completely different. Once again, this was not a band I was prepared for, but whoa, they were absolutely incredible. If you’ve read my previous blog entry, then the name Piñata Protest should already register for you. At that moment in time, I had NO idea who they were, but oh was it impossible not to be affected by their intense, frenzied accordion powered punk/rock/tejano/pop music. Oh you don’t speak en espanol? Neither do I, but this is a band that continues to prove that good music is recognizable, even when you don’t understand the words. They are a band that is in your face, and living proof that musical cultures can combine to create something powerful. And live they are impossible to resist. If you’re not dancing, then you can’t be in that room, because the energy is just that intense. Another reason a band like Piñata Protest is so important is they are part of a cultural revolution in the United States and within the punk scenes. This is a band that not only refuses to apologize for its heritage, but embraces it, and creates a continuous evolution of what that traditional sense was. This is a band that is unapologetic and completely revolutionary. To catch you up to speed if you missed my earlier blog entry: Piñata Protest is a band originally brought together by  Álvaro del Norte–a self taught punk-rock accordion player with mad skills-and drummer JJ Martinez. They play tight, fast accordion fueled punk and are wonderfully humble. If you have a chance to catch a Piñata Protest show–GO. Support this band. Share this band with your friends. These guys are onto something amazing.

After everything I’d seen before it was hard to be overwhelmed by Girl in a Coma. My mind had already been blown a few too many times over, and I had such a blast, especially while Piñata Protest was onstage. Dancing while they are onstage is not an option, it’s pretty much mandatory. Girl in a Coma was unquestionably amazing. My only disappointment during their set had absolutely nothing to do with them, and absolutely everything to do with what was wrong with the audience. If you’ve ever seen Girl in a Coma you know that lead singer/guitarist Nina Diaz is a showstopper. Once she is on the stage, music is more than just another experience, it’s a sacred ritual. Her energy high and you can’t help but to feel that she is giving you everything. Music is not a thing she does, it is THE thing. It’s intense. 

And you don’t respond to that by standing there. The amount of people in the audience that just stood, maybe nodding a little, and barely smiling blew me away. Girl in a Coma has been making great music since day one, and continuously growing and developing as musicians, and their show was incredible, and here were people in the audience barely acknowledging the power that was being given to them.

As an audience member and as a longtime fan of the band, I was disappointed. And it leads me to the point of this entry, which many of you probably saw on facebook or twitter. I know rules are terrible and restrictive and limiting and all that stuff….but this one isn’t. This one is a real piece of what I’ll call punk rock wisdom learned here at this Girl in a Coma show at Kilby Court. It’s a rule that I’ve had to come to terms with, just because of the way I am, but it’s something that I think is about as undeniable as breathing.

If you’re at a concert where the band is giving their everything to you, and if it’s a band you like/love or even just a band that is moving you in some way–musically, lyrically, whatever–SHOW YOUR APPRECIATION. Let the band know that they are up on that stage for a reason. Let go of your inhibitions. Give into the music. And dance. Jump. Mosh if it’s allowed or that kind of show. Do something.

And if you don’t leave as sweaty as the band….then you’re doing it wrong.

And on that note–I’ll call this entry good and leave you with a few videos and links so that you can explore the bands and their music in more detail. Also remember how I mentioned the friend I went with to the show with was not actually familiar with Girl in a Coma? Well. I’m happy to report she left a convert, believing fully in the power of Girl in a Coma.

With no further ado….a few links for your perusal:

Sara Radle:

Piñata Protest

Girl in a Coma

(If you’re a fan of GiaC you’ll notice there’s one song from each of their albums here…. : )

JUNE OPEN MIC

When She Speaks I Hear the Revolution is super proud to be a part of Salt Lake City’s Ladyfest 2011!  And this month’s open mic will be a super special evening of awesome. How so, you ask? This month’s open mic we will have a special theme (should you want to bring themed works!) which will be:

Rock’n’Roll.

For some, rock and roll is fun. Good background noise. For others, rock and roll is LIFE. It’s the breath that is required to exist.

What does music mean to you? Who are your favorite musicians and why? What makes a song matter/what songs have changed your life?

We will be taking donations (not required!) to help fund Ladyfest SLC 2011! Hope to see ya’ll there! (costumes are super encouraged!!)

As always, When She Speaks I Hear the Revolution is an open mic that is dedicated to focusing a light on the voices of women and the trans community in Salt Lake City! This open mic is intended to be a safe and inclusive event for everyone. All are welcome to attend and be a part of When She Speaks I Hear the Revolution.

All Hail the Rock Revolution

This weekend was so full of live music that I feel like I could crash right now and wake up next week. It was intense.

Friday night I went to see BugGiRL and Adrian and the Sickness rock the fuck out like there was no tomorrow and it was everything I could have asked for. I love the energy and the feel of rock and metal. There is just nothing like the sound of blazing guitars and the heavy drums. It’s like an aural shot of adrenaline. And both bands delivered everything I’d hoped for and more. Amber, of BugGiRL is a pure shot of rock-n-roll energy. Her influences are definitely classic rock, from AC/DC to Mötley Crüe and beyond. She wields her guitar like the cock-rock instrument it’s been immortalized as, full of that incredible dirty, sexual energy that makes rock-n-roll the genre that it’s supposed to be. Her energy is frantic and fun to witness and be a part of.

And Adrian, of Adrian and the Sickness? oh my. You have not lived until you’ve seen a guitar goddess in action. Her fingers flew over the fretboard of her wireless guitar and she was in fact a woman possessed by the spirit of the music. It’s no wonder that she’s named her band Adrian and the Sickness. Anyone with a connection to music knows that it is powerful, and a force that can be all consuming–in other words: a sickness. A disease that grabs hold of you and doesn’t let go. Adrian proved that. Her technique and her energy was impossible to resist. Part of me wonders how many guys she has made feel incompetent (or at least uncomfortable) due to her incredible mastery.

Between BugGiRL and Adrian & the Sickness, it was hard not to be inspired. Why fear the guitar when you’ve got women onstage proving that the instrument itself is not gendered. Anyone can make it their own. And if you know a woman who wants to get into learning the guitar (or are one yourself!) I suggest you look into both of these bands. They’ll get ya on the right track.

Saturday I went to an all day concert put on by a local rock radio station, 97.5 The Blaze. Saturday was wonderful. It was an outdoor concert in the heart of Salt Lake City (known as Gallivan Plaza) and I’m sun burnt. The music was great, especially the local bands. Believe it or not, SLC has a damn good rock scene. While a few of the names are well known to the local music community (the most notable being Royal Bliss, who really owned the stage–their reputation is well earned), I was familiar with none of them. Which on one hand is exciting, because you’re in the best place to discover new bands and musicians. The day was well spent, I enjoyed the music, the bands, the crowd, and the station’s effort throwing this incredible bash, but after spending the night before with talented/bad ass women musicians I couldn’t for the life of me shake this nagging feeling that….well…

….there was something missing.

97.5 has a good relationship with women. They’ve brought in acts like Halestorm into Utah, so it’s not like their ignoring the women who’re paving their way into the rock/metal scenes. The lineup for 2011’s Viva Salt Lake, well…it’s just what it is, right? It’s who they could get. Chill out, it’s not a big deal…Can we move on now?

But see, this right here, this very attitude, is exactly why women–especially in the rock/metal scene–aren’t getting the same respect the boys are getting. This attitude has been in place since June Millington picked up a guitar and started the band Fanny with her sister and some friends in the 70s. This is the same attitude that saw laughing record executives look at Joan Jett post-Runaways and say “Ohhh no, we’re not signing you.” Joan Jett had to go it alone and release her music independently. Today she’s still going as a musician and she’s still running her label Blackheart Records, where she’s making sure she’s signing acts like Girl in a Coma (3 piece alt/rock) and the Dollyrots (awesome pop/rock). It’s unquestionably a women-forward label.

Women have been a significant part of every music scene, from the blues, to jazz, to alternative, to rock to punk….WE’VE BEEN THERE. Yet women musicians are constantly left out of the rock picture despite the fact that more and more women are taking up instruments with the help of Rock’n’Roll Camps for Girls and other supportive parents and friends. The 90s saw a grrrl revolution in punk. With the leadership of musicians like Kathleen Hanna, Allison Wolfe, Carrie Brownstein and so many others, women finally found themselves represented in boy dominated scenes in a real way. Suddenly women could kick ass. Suddenly women could go to the local punk rock venue and actually HAVE a space to scream out their frustrations.

And yet, despite the progress, despite the work of musicians such as Courtney Love, Kat Bjelland, Otep, Kittie, Tairrie B., and so many others, women are still marginalized in a system that is happy stuck in the status quo. Women fronted bands are still regulated mainly to the rock magazine “hottest women in rock” issues instead of being a real and balanced part of the rockpages. This is NOT OKAY. This cannot continue to be the case. We’ve been fighting this war in different stages since the 60s and 70s, and it’s bizarre to think that as much accomplishment that we’ve had, you can still listen to a local rock radio station for more than an hour and not hear women represented. It’s bizarre to look at the rock charts and see no women-fronted acts represented. A quick glance at the Billboard rock charts reveals that the only act on the top 10 for the past couple weeks with a woman is Sick Puppies, which has Emma Anzai on bass. Thank goodness we have some representation. It’s better than none. But one woman among a male dominated field is not enough.

It’s hard to find faith in a system that is clearly broken. At the same time, the fact that the system is as broken as it is gives me a chance to do what I do, and bring amazing women artists to public attention. I’m happy to keep that gig. That said, I would like to see a balance in the mainstream rock world. I would like to see more women recognized without the feminist journalists/critics reminding people why it’s important that the musician is recognized for MORE than her looks. I’d like to see artists profiled in Bust/Bitch profiled equally in Rolling Stone/Spin. This disconnect is not okay.

I’m going to end this blog with a challenge. It’s a challenge to myself and it’s a challenge directed at anyone who reads this and who feels similarly.

It’s simple in essence. The challenge is to speak up. To pay attention. To request, request, request music on radio stations you listen to. Send music suggestions to music magazines/radio stations and if their coverage of women musicians is scarce or sexist, call them out on it. Don’t let that magazine/radio station be anything less than the best. You are a consumer of that media and as such, you have some power. Use it. Speak up.

Do you like a band? Join their street team. Support the hell out of them. Get them heard in whatever way you can. Write about them. Talk about them. Go to their gigs and bring friends. Buy their albums.

Don’t. Be. Silent.

Do. Be. Persistent.

The women-in-rock revolution is still ongoing, and the only way to make it real is to be part of it, and to own your role in it. So whether it’s as a musician, a writer, a radio host, OWN IT.

 

BugGiRL & Adrian and the Sickness: The SLC Invasion

There’s something amazing about women in rock. and I’m not talking the pop/rock, the alt/rock, I’m talking pure balls to the fuckin’ wall ‘old school’ drugs, alcohol, sex and take no survivors kinda rock.

The word fierce covers it. Wiktionary defines fierce thusly:

(US Slang) Of exceptional quality, exhibiting boldness or chutzpah.

This weekend is pretty exciting for me. A couple weeks ago, thanks to the infinite powers of the internet, I stumbled upon the page for BugGiRL, a rock-n-roll band from Australia. Let’s take the song “Dirt in a Skirt.” From the very beginning the song grabs you and won’t let go. It’s driving, it’s aggressive, and Amber’s got the perfect rock vocals. Think…The Donnas, but imagine that they’ve had a lot more to drink (and by the way, the local dude who prides himself on his ability to drink anyone under the table….I’m pretty sure Amber’s standing over him as he’s lying on the floor, passed out, laughing her ass off) and they don’t mind the groupies.

BugGirl is a sister/brother act made up of Amber (guitar and vocals), Clinno (drums) and their bassist Heather Webb. If you like rock-n-roll that is pure in sound (but not so pure in intention) then this band is absolutely for you. It’s fun and perfect for headbanging.

And the best news of this entry thus far? Well. If you live in Salt Lake City and surrounding areas, they’re gonna be here, at one of my personal favorite venues, Burt’s Tiki Lounge. If you like rock-n-roll, this is absolutely a show that you SHOULD NOT MISS. Why? Well, because they’re awesome. They are THE definition of the rock sound.

And they’re traveling with another kickass rock band–Adrian and the Sickness– from Austin, TX that is made up of bassist Heather Webb (yep, same one in BugGiRL), lead guitarist Adrian Conner. Adrian Conner is no stranger to the rock genre. She’s part of one of the most infamous AC/DC cover bands, Hell’s Belles (wait, you haven’t heard of them? Well Angus Young has, according to the band’s page, and he loves ’em. So if you haven’t heard of ’em….well, you just ain’t listening hard enough, are ya?) and has been recording with Adrian and the Sickness since 2004 and are working on their 5th album. Their music has been described as an undeniable front of infectious pop concoction wrapped around electric, bombastic rock and roll. Hard hitting, infectious riffs are a staple, and Adrian’s ability as a musician has been described as “exciting, rambunctious and kinda scary” in Guitar Player Magazine (2007).

If you like rock then this gig at Burts (6/10/11) is a MUST-SEE. Here, have a few videos to tide you over. And I’ll see ya there.

BugGiRL: Dirt in the Skirt

Adrian & the Sickness: Listening

On the eve of an anniversary

This is an impossible entry to start. For one thing, where do I even start? Knowing that is difficult. Do I start with how much I’ve wanted to be in a group like Radar productions in SF, with an intricate network of awesome writers? Do I start with how terrified I was at the very concept of ME being in charge of an open mic? How far off such a vision was for me? When you see open mic hosts, you usually see dedicated writers with a huge amount of stage presence, something that I have yet to truly acquire (though I am getting there!).

Adria covers a song by the Waifs, much to the delight of the audience.

Seriously. Where do you start?

How about just this:

WOW.

It’s been one year. A whole year. I started When She Speaks I Hear the Revolution open mic last May, thanks to the persistence of friends who told me that the idea was great, and it needed to be more than just an idea. It needed to be realized. I thought for weeks before the kick off of where would be a good place to host it? When? What kind of format? What do I need to know? How do I get people involved? I tried to contact organizers of women’s open mics to see how they ran theirs and, while we’re at it, do you have any advice?

Turned out things weren’t as hard as I was making them. Running an open mic is easy, because really, it’s not about you. It’s about the community that builds around the open mic. It’s about the poets and writers and musicians who find your open mic and stay, about the poets and writers and musicians who find your open mic and stay for a time, but when their time is done, they go. It’s a transient thing, on one night you could have 15 people, on another night, 6. Yet that very nature is what makes it so fucking magical.

In one year of running the When She Speaks Open Mic (once a month, every fourth Saturday!), I’ve seen so much talent that it’s just mind blowing. And the scary thing is: the amount of talent and heart that I have seen at these open mics is just a tiny portion of the insane amount of talent that you could find on any night in this city, or this state!

When I think about the fact that it’s been a year since When She Speaks I Hear the Revolution got off the ground, I feel a deep sense of happiness. I’ve been lucky to be part of a revolutionary but small open mic that has a lot of potential to grow and become bigger and better. I’m so excited to be a part of this and I’m so excited to develop it into a force for a real creative community, one that will continue to be revolutionary in its mission to acknowledge and encourage women and the transgender, bisexual, and queer community to stand up and speak out. There is nothing more important than finding and embracing our voice, and one year later, this is still the biggest lesson.

“When we speak, we are afraid our words will not be heard or welcomed. But when we are silent, we are still afraid. So it is better to SPEAK.” Audre Lorde

I’m going to end this with four final words, dedicated to everyone that has supported and continues to support this, and I mean every syllable from the depths of my soul:

Thank you. You’re amazing.

PS: If you’re interested in being a part of the magic of this open mic, we will be meeting for the When She Speaks I Hear the Revolution Birthday Party/Open Mic at Cakewalk Vegan Bakery, 434 S 900 E, Salt Lake City on Saturday May 28, from 7pm-9pm! And yes, there will be cake!)

Riot Not Quiet! The Week Ahead in SLC

Keep in mind that this list is far from comprehensive and may well be updated as more information is forthcoming!

Tuesday April 5

  • The Kills “Blood Pressures” released in stores! Get your copy today.
  • Beats Antique and Mount Kimbie at the Depot (400 W South Temple)8pm; $10/$15 Day of
    Middle Eastern and Gypsy music meet electro-acoustic hip hop breakbeats when Beats Antique and Mount Kimbie perform live April 5th

Wednesday April 6

Thursday April 7

  • Friday April 8 Lenka at In The Venue (219 S 600 W) Doors @6; $13 adv/$15 day of
    Lenka‘s music evokes primal emotions, unblemished by pretense or cynicism and unashamed of cracking a smile occasionally.

Saturday April 9

  • Cat Palmer exhibit “Revisited” at Jed’s Barbershop, 212 S 700 E. 8:30-10:30
    Cat Palmer is a local photographer whose work focuses on the strength of women. To say her work is powerful is an understatement. Her work has been featured in a variety of local galleries including the Hive as well as the Utah Arts Festival.
  • The Joy Formidable at Kilby Court (741 S Kilby Court) doors at 7pm; $12
    With a sound that melds the huge expanses of their native Mold countryside to the hectic nature of their new domicile, The Joy Formidable create a music that is by turns sublime and gothic, punctuating passages of sheer beauty with shards of dissonance and anger, a new loud quiet dynamic for a new decade.

Have something you want to see on the Riot Not Quiet calendar event listing? send your tips to rebelgrrrl.theblog@gmail.com or find When She Speaks I Hear the Revolution facebook page!