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Music

Discover Salt Lake magazine’s music section. Here you’ll find previews and reviews of upcoming local concerts and performances in Salt Lake City, along the Wasatch Front and Back, and around Utah to help you discover great live music and events.

Salt Lake magazine

Idomeneo

By Arts & Culture, Music
Idomeneo doesn’t have the performance history in the United States that many of Mozart’s other operas do. But it’s nevertheless an exquisite work that goes far beyond the confines of opera seria and shows Mozart’s innate genius for bringing emotional depth, passion and subtle characterizations to his stage works.

Local opera lovers had a rare opportunity to see Mozart’s 1781 masterpiece last week when the University of Utah’s Lyric Opera Ensemble and the Paradigm Chamber Orchestra joined forces once again and collaborated in the Utah premiere of Idomeneo. The costumed and staged production was under the baton of Joel Rosenberg, and stage director Anthony Buck made good use of the limited physical resources in Libby Gardner Concert Hall in his well conceived and executed staging.

For years, Robert Breault’s opera ensemble has been a remarkable pool of young talent. And year in and year out, these versatile singers haven’t disappointed, no matter what they’ve performed. And they certainly outdid themselves in many ways with Idomeneo.

The story of Idomeneo takes place in Crete immediately after the Trojan War and deals with Idomeneo’s dilemma after vowing to sacrifice the first person he sees upon his safe arrival home, not knowing, of course, that it would be his son Idamante who first greets him.

The leads were double cast. At Friday’s show, David Sauer gave a thoughtful account of the title character. His singing and acting brought depth to his role. He has a fine voice that’s well suited to Mozart; he brought lyricism and, when needed, power to his portrayal.

No less impressive was Kelly Southworth as Idamante. She imbued her characterization with heartfelt sincerity. She, too, possesses a voice that is made for Mozart, and her singing Friday was expressive and tempered with finely crafted lyricism.

Whitney Kimball, as the Trojan princess Ilia, was also in fine voice, singing with clarity and wonderfully drawn phrasings.

Particularly impressive was Daysha Lassiter in the role of Elettra. She has a dramatic voice with power and depth that is also gorgeously expressive. And her acting talent is on the same level as her vocal chops. She gave a stunning and memorable portrayal that truly stood out.

The large chorus was also magnificent, and added much to the overall success of the production, as did Garrett Medlock, Keanu Netzler and Seth Keeton in minor roles.

The Paradigm Chamber Orchestra had another fine outing, playing with clarity and depth.

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Review: Avett Brothers at Park City Live

By Music

It’s not everyday that a band is welcomed to the stage by musical kingmaker T Bone Burnett. But Thursday night at Park City Live was no ordinary night.

Burnett was in town for the Sundance premiere of a film he co-produced with Jack White (of the White Stripes) and Robert Redford (of Sundance, obviously).American Epic is a documentary the started with the discovery of a vintage American recording device and follows the device around the country while modern artists from Merle Haggard to Alabama Shakes record with it.

One of the bands in featured in the film is the massively popular Avett Brothers. And so, in a little bit of Sundance magic, the Avetts played the afterparty. And at 10:35, after Burnett called them “a great American band,” the party really started.

 

Opening with “Satan Pulls the Strings” the band hit the stage with their trademark energy and didn’t slow down, not even during a charming if not a little confusing kazoo medley. The Avetts don’t talk much during their shows, preferring to go from one song to the next at exhausting speed. And because of that, they were able to rip through 17 songs not counting the encore in about an hour and a half.

During the show the room seemed to be divided into to groups. The fans who were close to the stage knew every word and jumped and danced along, and then there were those who stayed in the back of the room and, apparently, paid a hefty $125 to chat with their friends. Ah, Sundance.

In the hour and a half they were onstage the band played lots of crowd favorites, including “Talk on Insolence,” “Murder in the City,” “Head Full of Doubt/Road Full of Promise,” and “Slight Figure of Speech.” They played a song from a new album, expected this fall, “Divorce, Separation Blues.” But the highlight of the night, for this reviewer was a rollicking take on George Jones’ “The Race Is On.”

That was my favorite until the encore, that is. The band came back onstage for one song, a long version of “Kick Drum Heart” complete with a jam-band musical interlude that included Seth Avett walking through the crowd as members of the audience held the cables attached to the guitar above their heads.

In the end, I can’t tell you if American Epic is a good movie. I didn’t go to the premiere. You can find out yourself when it airs on PBS later this year.

But I can tell you this: American Epic can throw one heck of an afterparty.

Preview: Avett Brothers at Park City Live

By Music

There aren’t a lot of bands like the Avett Brothers.

The North Carolina natives are one part rootsy indie, one part country and one part rollicking good time. Call it bluegrass with a cello. Or Rock with a banjo. Or both at the same time.

Whatever you call them, the band has proven over a slew of Salt Lake City tour dates that they’re the real deal. In fact, they’ve sold out every show they’ve played in Utah in recent memory.

Their scheduled stop in Zion this Thursday is different. This time the boys are playing Park City Live, a much smaller (and much more indoor, thankfully) venue than their usual Red Butte Garden gigs. The evening promises to be a stop unlike any other Utah show to date.

And, perhaps because of that, or perhaps because it’s in Park City during Sundance, their faithful fans are going to pay the price. $125-$250, to be exact.

The hefty price by Utah standards is because the show is part of a premier party for the Robert Redford, T-Bone Burnett and Jack White produced American Epic, a film that rediscovers an early American recording device and commissions modern-day artists (including the Avetts) to record with it.

The film’s premiere is sold-out, but it will be coming to your television this fall on PBS. Tickets for the after party (including the Avetts and, one might guess, other artists featured in the film) are still available, at the above mentioned steep price. But, as any music fan will tell you, some things are worth it.

This show may well be one of them.

Review: Ann Wilson at The Eccles Center

By Music
Ann Wilson’s still got it.

The Rock & Roll Hall of Fame member might be 65 but her voice hasn’t skipped a beat in the years since she belted out  the lyrics to the hard rocking “Barracuda”. Her instantly recognizable sultry sound was in full effect on New Year’s Eve at Park City’s Eccles Center.

She’s got a new band, The Ann Wilson Thing—and unlike the groundbreaking Heart—this time Wilson was the only woman onstage.

She wore a short sequined dress with a long, black damask jacket over it and shoes that tied at the ankle with pom-poms at the end as she and the band worked through a selection of the American songbook, notably without playing a single Heart song.

 

“We’re going to visit some really wonderful music with The Ann Wilson Thing,” she told the crowd. “It’s very different that the other thing.” And indeed it was.

She covered Creedence Clearwater Revival, Screamin’ Jay Hawkins, Bob Dylan, John Lennon, Neil Young and Led Zeppelin. She only picked up the guitar once all night—for “Permission” a song she wrote with a bandmate.

Wilson didn’t say much as she moved across the stage oozing sex appeal and gyrating to the music. Someone shouted “Play some Heart!” from the crowd, but she just smiled and kept on singing other people’s songs.

In the end, the Eccles Center, with their comfortable chairs and sometimes stuff Park City patrons, didn’t feel like the right venue for Wilson and her band. This is a show that needs to be seen in a smoky club (if they even exist anymore) or at the very least a venue that can sell alcohol.

Wilson told the crowd her new year resolution before her one-song encore, “I’m going to open up and let love hit me. I’m not putting up any walls in 2016.”

The quiet and almost reflective nature of the show might have surprised people who came expecting Wilson to scream out the lyrics to “What About Love” but it was still a nice bookend to 2015.

 

Photos by Stuart Graves

Review: Lower Lights at Kingsbury Hall

By Arts & Culture, Music
Last night, hoards of families and hipsters alike filed into Kingsbury Hall bundled in warm coats and carrying umbrellas on a rainy Monday night, looking to be filled with Christmas cheer—courtesy of the Utah supergroup The Lower Lights.

The Lower Lights, a large group of local musicians of varying fame and fortune, have hosted a Christmas music concert each year for the last 6 years, and each year it has grown—primarily through word of mouth. It has grown so much, in fact, that the Lower Lights moved this year from the Salt Lake Masonic Temple to new digs at Kingsbury Hall, while still selling out all of their shows. The move was a detail that did not go unmentioned by the band.

“How’s everyone feel about the padded seats?” one member of the twenty-something-member group asked early in the show. Another mentioned how relieved he was that he didn’t have to put rows of metal folding chairs like in years past at their former Christmas show home. Another said, “We had many apprehensions, as I’m sure you do, about us moving here.” But still, all who spoke from the stage on the subject mentioned that it was a dream come true to be playing the venue.

And so the band played. Sometimes all at once, sometimes in shifts, and often making sure everyone got their moment to shine. But they seemed to have trouble connecting with the crowd. Maybe it was because it was the first night, or maybe the room was a little too big for them. But, often they paused for audience reaction, and got none.

Songs varied from traditional Christmas tunes (“I Saw Three Ships”, “Silver Bells”, “Away In The Manger”), to gospel standards with a folksy bluegrass touch (“When The Roll Is Called Up Yonder”, “God’s Gonna Trouble The Water”, “Just a Closer Walk With Thee”). The crowd seemed to liven up a bit at the more upbeat tunes, clapping as if they were at an actual revival.

At the introduction of a song by the great Louvin Brothers the crowd fell silent (gasp!), but made noise again as soon as the song, “River of Jordan”, started.

The band shined more during the gospel songs than the Christmas standards, led in part by an outstanding fiddler. A detail that makes this reviewer wonder why The Lower Lights tradition seems to be only a Christmastime one.

Review: Hank Jr. – Last Confederate

By Arts & Culture, Music
 “Are you sure Hank done it this way?”

The words of Waylon Jennings ran through my head more times than I could count during Hank Williams, Jr.’s Red Butte set last night.

Sure, it’s not fair to compare a man to his legendary daddy under normal circumstances — but these aren’t normal circumstances. Junior has made his entire career out of name-dropping his father, who died when he was just three years old, covering his father’s songs and dumping on the rest of country music while stroking his own ego with self-referential songs.

The ego was in full effect at Red Butte on Tuesday night, when Bocephus hit the stage in a back ball cap with the word “ICON” written on it in big gold letters following a medley of shitty new country songs that reference him (Gretchen Wilson, Kid Rock, etc.).

His chatter throughout the evening seemed to serve two purposes: 1) To remind people that Hank Williams is his father and 2) To remind people that Hank Williams, Jr. really thinks that Hank Williams, Jr. is great, the best, better than everyone else.

At one point, he dumped on both Kris Kristofferson and Willie Nelson by declaring, “Kris is a movie star and poor Willie hangs out at Taco Bell and smokes weed all day.” But right after he propped himself up by invoking his “Dear friend Waylon Jennings” who allegedly said of Junior, “I guarantee you one thing, that son of a gun is not adopted.” (That’s double points, for a name drop and a slick reference to Daddy, for those keeping track at home.)

He also reminded the Red Butte crowd that June Carter Cash was his godmother before singing, to the tune of “I Walk The Line”: “I keep my pants up with a piece of twine … Just say you’re mine, baby yank the twine.” Yes, Hank Williams, Jr. believes he still he has sex appeal, which he attempted (and failed) to prove to the crowd by referencing his Salt Lake City groupies, air humping, stroking a fiddle at his waist and attempting to play the piano with his ass.

There was music, of course. His voice wavered and was off-tune through most of them; some were his daddy’s songs, some were his own songs, some were covers, some were vaguely racist, some were overtly so. He hit on many favorites with the crowd, “If Heaven Ain’t a Lot Like Dixie,” “Move It On Over,” “All My Rowdy Friends Are Coming Over Tonight,” “Kaw-Linga,” “A Country Boy Can Survive,” “Your Cheating Heart,” and of course, “Family Tradition.”

He played a few love songs, but they, like the rest of his songs, are really just about him. The crowd favorite may have been “Keep the Change,” a conservative Christian call to arms that he wrote slamming Obama, socialists and everything else this writer holds near and dear to her heart.

Speaking of the crowd … At a time when our country appears to be collectively moving away from the Confederate flag, there was no sign of that at Red Butte on Tuesday night. Junior’s merchandise table was selling the old Confederate battle flag emblazoned with his logo (of course) and the man himself wore a hat for part of the show with it on the bill (it is worth noting that Williams changes hats during shows like Cher changes outfits).

It was a much more blue-collar crowd than one will usually find in the east benches, but seriously, this crowd hooted and hollered every time a dirt road or a country girl was mentioned like they knew what the hell he was talking about. When Junior rolled out an Al Jolson-esque impersonation of a black musician, oh, how they laughed.  I’m certain that they drove home to Herriman in their Ford F-350’s with their Confederate flags still wrapped around them high fiving over the awesome night they just had. I left Red Butte angry at the insensitivity of the crowd in a state that can’t even claim heritage as the reason to continue waving the symbol of hatred and intolerance.

Williams covered Run DMC’s “Walk This Way,” in the most inexplicable moment of the night. “I play with black bands, white bands, yellow bands, red bands. I’ve even rocked out with two Yankee bands!” he declared in the same way racists claim to have black friends before seguing into Ted Nugent’s “Cat Scratch Fever.”

He signed off for the night after playing “Family Tradition,” but not before an incomprehensible rant about a Sandra Bullock soundtrack and how people should kiss his ass (I tried to Google it, I still don’t know what the hell he was talking about) and this: “If you don’t like Ludacris, if you don’t like ZZ Top, if you don’t like Waylon Jennings, if you don’t like Run DMC, if you don’t like my boys Kings of Leon, if you don’t like Ray Charles, if you don’t like Fats Domino, if you don’t like Flatt and Scruggs, if you don’t like Hank Williams, you can kiss my ass!”

And then the creepiest thing I’ve EVER heard, “I know you’re going to go home and make love and I’m going to be right there with ya.”

No, Hank. Please. Your daddy didn’t do it this way.

Velour Homecoming for Soul Sisters Jenn Blosil, Mia Grace and Jude

By Arts & Culture, Music
Last Saturday, Sept. 27 marked soul songstress Jennifer Blosil’s return to the music after having served 18 months on an LDS mission. The show was billed modestly as her “Homecoming,” but hip Provo joint, Velour (the starting grounds for Imagine Dragons), was packed to the brim with old friends, as well as her devoted Utah followers.

Pre-show, Blosil and openers Jude and Mia Grace were backstage, passing around a honey mouth spray that supposedly soothed the vocal chords, and alternately wincing at the taste. It was Jude’s first-ever show, and after some pep-talk and a group prayer, the demure singer-songwriter took the stage. Her songs, while of the understated variety, showcased a maturity and oftentimes painful self-awareness well beyond her 17 years.

Mia Grace splashed the stage (which was eccentrically adorned with a huge Japanese silk fan and faux-stained glass windows) dressed in goth-chicwear. Electric guitar strapped in place, the bluesy balladeer channeled Alanis Morissette circa Jagged Little Pill with slick songs about sweet talkers and could-have-been lovers.

The theme for the night was set: These young, female up-and-comers have written songs that adequately match wits with their pop contemporaries, and then some. Consider a more earnest, substantial take on the Taylor Swift phenomenon, whose predominantly young female fanbase has found a personal connection with words on singular experiences (a particularly moving moment came with Jude’s performance of a tender song she had penned following her parents’ divorce).

By the time Blosil came to the fore, the crowd had sat itself down stageside with their DSLRs and excited chatter over what new material she had up her sleeve for the occasion. The Orem native had her own plans, though. The night’s serious mood was instantly dispelled with an anecdote about a wardrobe malfunction: “So my mom had actually sewed me a dress for the show,” says Blosil, “and just as I was putting it on, the zipper broke.” She reenacted the scene, shuffling sideways and assuring passersby that all was well. With this, she excused herself for the oddity of her chosen outfit—a shirt with her own face on it—as it was the only thing she had at her disposal.

With the crowd chuckling, she broke into her set, which included tracks from her EP, “Enemy” and “Make it Better.” The contrast from her lighthearted, self-deprecating stage banter to her impassioned soulful belting was transcendent. She emoted almost as though directly to her subjects: her audiences were simply caught in the intimate moment as voyeurs.

Show highlight, “Sweet Talk” had quite the amusing backstory. The sassy track begins, “You say you’ve been to Paris, well I couldn’t care less” and the attitude doesn’t relent. “It was [a few months] before my mission started, so I thought it would be fun to go on some dates before I left. After this first one, I decided, ‘I’m never doing this again,’” Blosil laughed. To paraphrase, the song was a delicious kiss-off to a hot-shot who was so busy recounting his own glory; he only later found out Blosil was a singer—and a rather good one, at that.

The encore was poignant, and judging by the expressions in the audience, seemed to strike a strong cord. “I am not this hair, and I’m not these clothes,” Blosil sang on the ukulele. The reflection on self-worth and self-love was a simple and fitting closure for a night of introspective, coming-of-age music, and the flood of fans who sought to give the singer a hug afterwards was evidence that great things were in store for the blossoming (or, shall we say,Blosiling) musician.

Click here for more concert photos by Charissa Che.

Karaoke Night in Utah Valley

By Arts & Culture, Music

Photo courtesy of Rock the Mic Entertainment.

Tired of the usual movie night? Karaoke and open-mic nights proliferate Utah Valley, so snag a hot date or some friends, grab the mic and sing your heart out.

And all you first timers, don’t be shy. Have a little sump’m sump’m first if you need to, but don’t let stage fright keep you from a cathartic, confidence-building experience. You’re going to love it.

Here are the best karaoke nights in Utah Valley, where you can sing to your heart’s content (and some recommendations on what you should eat while you’re building up courage).

Applebee’s Neighborhood Grill
290 W. University Pkwy., Orem (and all locations)
Tuesdays from 9 p.m. to midnight
Quick tips: best time to go is around 9:30 p.m., appetizers are half off during karaoke night
Tasty eats: Marsala mushroom sirloin, all of the appetizers

Callie’s Café & Sports Bar
466 N. State Street, Orem
Fridays and Saturdays from 7 p.m. to 2 a.m.
Quick tips: cash only, a no-frills bar and grill, not a place for yelling a Top 40 song with your hyper girlfriends
Tasty eats: French dip, Pitcher’s Mound with garbage hash browns

Wing Nutz
1054 S. 750 East, Orem
Wednesdays from 9 p.m. to midnight
Quick tips: hosted by Rock the Mic Entertainment, more than 35,000 songs to choose from
Tasty eats: wings, wings, wings and wild wraps

Guru’s Cafe
45 E. Center Street, Provo
Saturdays from 8 to 10 p.m.
Quick tips: people love event host DJ Brady Mac from Rock the Mic Entertainment, karaoke night has been going for four years here
Tasty eats: Marco Polo pasta, sweet potato fries with Southwest fry sauce, cilantro-lime quesadillas

Pizza Pie Cafe
2235 N. University Pkwy., Provo
Tuesdays from 9 p.m. to midnight
Quick tips: the $6 entrance fee covers the buffet, a drink and karaoke; go right around 9 p.m. if you want a good seat, also hosted by Rock the Mic Entertainment
Tasty eats: “Cinnamon Stix” dessert pizza, Hillbilly and barbecue pizzas

More of the open-mic type? Grab your guitar and you can perform your covers and originals at these places.

Velour
135 N. University Ave., Provo
Tuesdays from 8:30 to 11 p.m. (doors open at 8 p.m.)
Quick tips: $3 for general public, $2 for open-mic performers, all ages can sign up at the door to perform (start lining up an hour before), acoustic—no full bands
Tasty eats: candy and snacks available, large selection of canned and bottled sodas

Muse Music
151 N. University Ave., Provo
Wednesdays from 8:30 p.m. (doors open at 8 p.m.)
Quick tips: $1 to get in, 10 performance slots, comedians and poets also welcome, performers get up to eight minutes
Tasty eats: café always open during shows, get the grilled cheese and edamame

The Deerhunter Pub
2000 N. 300 West, Spanish Fork
Wednesdays from 8 to 11 p.m. is open-mic night with Brother Chunky
Sundays from 8 to 11 p.m. is karaoke/open-mic night
Quick tips: this is a 21+ bar
Tasty eats: grill is closed, because they don’t have a cook right now—sorry!