Check out the new visual from Leon Bridges for his song “Bad Bad News” featuring writer and model, Paloma Elsesser, directed by Natalie Rae.
Pre-order and pre-save his forthcoming album GOOD THING – out May 4: http://leonbridg.es/GOODTHING
Since the 1970’s Bumbershoot has been a cultural celebration for viewers near and far. The festival not only provides music but food, art, comedy, spoken word, and film. This year we were lucky enough to make the trip to Seattle to see the long established event for ourselves.
Rocker babes Deap Vally started off our weekend full force with heavy guitar riffs. Having been introduced at the Rino Festival here in Denver, we were happy to run into them again. We scurried over to the main stage next for one of our faves Foster The People. Stoked to see their new album live in action and they truly didn’t disappoint. Lead singer Mark Foster made a similar sweeping inclusive declaration as he did at Lollapalooza and wet eyes were seen throughout the crowd. (Castro write about Big Sean) Again we got to see a lot of musical favorites we’ve never seen live before and Friday saved the best for last. Watsky was next at the Fisher Green stage and took over his hour set! His hip hop stylings are rapid and the content is intellectual and real (aside from that being said he basically started his set with a “Fuck Donald Trump”). Key Arena in the city center was host to Die Antwoord and holy shit, kids. They were about as weird and awesome as you’d expect. Ninja and their back-up dancers hyped us up while the techno blared and Yolanda rolled around on a vaulted stage above chirping her alien sex voice. Their live production/gigantic dance party was truly the best of the weekend. Confetti explosions erupted as the set was brought to a climax. Kelly is still finding confetti momentos throughout unpacking her luggage...Not mad. The festivities didn't end without the electronica brilliance of Flume who turned the main stage into his own dance party.
Big Sean brought the hip hop vibe on day two (Photo Credit: Robert Castro)
Flume headlined night one of Bumbershoot (Photo Credit: Robert Castro)
Saturday morning we planned on hitting the Corepower yoga set at 2pm doors open. Yeah nope. We couldn't muster the energy to sit in the muggy Seattle heat before 4pm. Blaming Die Antwoord. We made sure to head over to Tacocat at the Fisher Green. Epitomizing grungy angsty rock, Tacocat made for a bouncy start to the day. Visually pleasing with their bubble gum colored hair and bright, chunky anime style. Kaleo was next on main stage. He brought us back down. Maybe a little too down for Saturday. He resembled Hozier with his deep bluesy voice and guitar riffs. Let's just say it was good music to sit down, relax and eat a sandwich to. Meanwhile alt rock legends Weezer took to the main stage to make sure we all knew the hits as the crowd often was caught singing word to word to songs such as "Hashpipe", "Island In The Sun", and "Beverly Hills". Kelly caught E-40 at the Key Arena where all the classics were brought. The Key Arena was transformed into a high school dance auditorium. We fled back to the main stage to catch queen Lorde in the flesh. Retable and real she addressed Melodrama's romantic heartbreak influence. Her recent flu symptoms reflected in her "Homemade Dynamite" VMA dance were no longer. She sounded better than ever. Hail Lorde. As with all music festivals we ran into our first scheduling conflict of the weekend. As Lorde was slaying on the main stage, the legendary The Roots crew were causing havoc at The Fisher Green stage, flanked by one of the most amazing array of musicians Black Thought and company swept us off our feet with their unique legendary sound that has been a staple for the Philadelphia band.
Tacocat was amazing and colorful. (Photo Credit: Robert Castro)
The last day of the festival had us enjoying some of the smaller acts on the bill such as Léon from Sweden and Ellie Mae from the Third Man Records label. Both impressive in their own style and sure to be commanding bigger headline status in the near future. We also got a chance to catch one of or=ur favorites Spoon who managed to play a longer set due to HAIM cancelling. We weren't complaining as the band played more of a studio session with what seemed an impromptu setlist. The final act of the night was more of a homecoming show for Odesza who just released a new album this past week. Always a plus as a listener as we got many new songs including a few surprise guest appearances including Naomi Wild who sang their newest hit "Higher Ground", as well as R&B crooner Leon Bridges to sing "Across The Room". It definitely felt like a homecoming show as the band seemed to be having the time of their life. A perfect ending to a successful music festival, until next year Bumbershoot.
The incredible and talented Mr. Leon Bridges. (Photo Credit: Robert Castro)
The shaky frame of The Paramount Theatre was not ready for the funk Leon Bridges was laying down this past Wednesday night. Everything from the velvet seats cushioning your back to the swagger and excitement emblazoned on each band member’s face transported you back to the soulful era of our past. Bridge’s oversized collars jutting out to his shoulders and suit pants resting above his bellybutton were just the cherry on top of a 1960’s New Orlean’s dream.
Since the debut of his first album Coming Home which was immediately embraced by the masses as a fusion-jazz cult classic, Leon has been on tour catering to the demands of cities from east to west. With Bridge’s spring tour throughout North America being his largest headlining tour to date. Due to the pandemonium surrounding each performance we think it only heralds more of what’s yet to come for the Texas bred soul singer.
Singing and Dancing were in full effect. (Photo Credit: Robert Castro)
The Paramount was greeted by RnB experimentalist Solo Wood prior to Bridge’s performance. Many did not know how to react to the rhythm of the bongo drums accompanied with distorted electric guitar and manic, soulful vocals emanating from the duo. But Wood’s unbuttoned blouse, coy smile and buttery voice lulled us into the night on a new age RnB cloud. At times the performance ranged from smooth, soulful, romantic tempos but then quickly escalated to hyper electric guitar and falsetto vocalism. A truly unique and thought provoking performance - something we would not have expected to experience at a Leon Bridges show, but something we are definitely glad that we did.
The always dapper Leon Bridges mesmerizing the crowd (Photo Credit: Robert Castro)
I am R&B. (Photo Credit: Robert Castro)
It did not take more than a minute after the lights dimmed and the first note danced out of Bridge’s mouth to bring the audience up out of their chairs. A sort of taboo act given the pastoral atmosphere that surrounds the Paramount. Despite the unwritten rules of sitting in sequestered silence, the audience raised their metaphorical middle fingers high in the air and danced and swayed to the sweet euphony emanating from center stage. The buoyant and jazz centric harmonies had even the smuggest of audience members up and singing along. Opening with the saxophone heavy crowd favorite, Smooth Sailin’ set the tone for what was to be a amazing evening, complete with swooning ladies and a zoetic performance by Bridges.
In between songs the soulful lead of the 7 piece would sermonize about calling your mother and his expeditious rise to fame. Coyly introducing Coming Home as a “little song that he wrote in 2012 that changed his life forever” he held a humble yet confident stage presence. Throughout his 16 song set he played the crowd favorites and teased us with new doo-wopish dance numbers from what we’re all hoping will be tracks off a new 2016 release. During his performance Bridges traipsed the line of 1960’s heart throb and 2016 “cool-kid” so carelessly that it transcended time and societal normalities. Each time we see Bridges live we are left in awe of his idiosyncratic stage presence and ability to turn each show into a unique personal experience.
Nathaniel Ratliff and Leon Bridges performing together at The Paramount Theatre (Photo Credit: Robert Castro)
Although Bridges played for a little over two hours, when the spotlight evaporated and the fog smoke cleared no one was ready to let him leave the Mile High City. And to our good fortune, neither was he. Bridges ended his stint in Denver with a bluesy and gospel like rendition of River with talented back up singer, Brittni Jessie. The Paramount stood in silent disbelief as we took it all in as one breathing, sentient being. The silence after the song was quickly filled as Bridges began introducing his band members, pausing briefly to look to the side of the stage at a familiar bearded face. And to the bemusement of everyone involved out walked Nathaniel Ratefliff and acclaimed Denver horn blower, Wesley Watkins. Together they coalesced into one giant blues band jamming out in their parents garage after school - a fangirl inducing sight for even the macho-est of audience members.
Although only equipped with one album, each time we see Bridges it is a truly unique and metamorphic experience. A true testament to his unwavering talent as a multidimensional performer. Wednesday night will not soon be forgotten - but we wouldn’t mind if Bridges came back soon to jog our memory.
Words - McClain Morris // Photos - Robert Castro
One four favorite artist of 2015 Leon Bridges graces us with his video for "River" today one of our favorite tracks from his debut album Coming Home.
Filmed on location in Baltimore, the video draws heavily from the Baltimore Uprising and includes an extended vigil scene. That footage was only possible due to the support of the members of the West Wednesday movement, a bedrock of the Baltimore protest movement, which was created by the family of Tyrone West, who died while in custody of the Baltimore police department in 2013. Also featured in the “River” video is footage captured on a television screen of teenager Allen Bullock striking the windshield of a car with a cone, which has come to be viewed as one of the most iconic images from Baltimore Uprising.
In a written statement, shared on Bridges’s social media accounts, he states:
“A river has historically been used in gospel music as symbolism for change and redemption. My goal was to write a song about my personal spiritual experience. It was written during a time of real depression in my life and I recall sitting in my garage trying to write a song which reflected this struggle. I felt stuck working multiple jobs to support myself and my mother. I had little hope and couldn’t see a road out of my reality. The only thing I could cling to in the midst of all that was my faith in God and my only path towards baptism was by way of the river.
When thinking about how to best visually represent this universal battle, I reflected on the depiction of black communities in our media and particular experiences within my own life. This video showcases the unique struggle many black men and women face across this country. However, unlike the captured images which tend to represent only part of the story, I wanted to showcase that through all the injustice, there's real hope in the world.
I want this video to be a message of light. I believe it has the power to change and heal those that are hurting.”
