It’s been a little while since I last told the Interweb about a live music experience within the frame of this blog’s ARM feature, thus what better occasion to make up for it than trying to narrate the inhuman and all-encompassing energy usually brought forward by L.A.-based punk/post-hardcore band letlive.? Yes, I know, despite what you’re thinking that is indeed the actual way to spell their name, one word with period, go check that out if you don’t believe it. The four-pice outfit is currently performing a short leg of European dates before returning home for the official release of their highly-anticipated fourth album If I’m The Devil…, due on 6th June and wonderfully previewed by the politically-fuelled single “Good Mourning, America“, a track that many people already define as punk’s response to Kendrick Lamar’s socially aware hip hop undertones. In fact, letlive.’s been experiencing some certain kind of hype since their sophomore record Fake History, released in 2010 and widely praised by fans and critics ever since. Not necessarily the most melodically and lyrically accessible band, letlive. has seen developing an extreme cult following over the years, largely propelled by their general avoidance of commonly traditional marketing/promotional methods, rather investing almost all of their efforts in pushing word of mouth propaganda among their existing and new fans and delivering radical live experiences for their audience.

Yesterday’s concert was my second time seeing them live, though I must say the two occasions are practically incomparable, for many reasons. My first witnessing of their disruptive and inspiring live performances was in Zurich back in September 2011 when they were supporting UK anthemic rockers Enter Shikari. I didn’t know them at the time and incidentally also came a little too late to their set as I in fact probably only got to see half of their show, obviously reinforcing the thesis that at the time I was there merely because of the British headliners. However, those 25 minutes I experienced with letlive. on stage – or rather more offstage I would say as eclectic and energetic frontman Jason Aalon Butler kept backflipping and crowdsurfing most of the time – were no short of a premonition of their promising potential, and if their live stage presence was to be any kind of a sign of their musical force on the records too then it quickly became clear that I had to engage with the band at some point. And so I did, catching up with Fake History after their re-release under Epitaph Records  and most importantly witnessing the relevance and intensity of their third record The Blackest Beautiful in real time, albeit needing a little while to grow on me. The time had slowly come to experience them live as headliners, hence changing a whole lot of perspective compared to when I first shared a room with them in 2011.

Fast forward a couple of years and here I was at their first London show in quite some time at Tufnell Park’s The Dome North of town. Unsurprisingly supported by raw and violent Birmingham-native trio Youth Man, letlive. was once again nothing short of amazing. Taking the stage with British precision at 9pm o’clock, the L.A. punks filled the small capacity venue with dances, mosh, sweat and positive energy for over an hour. The buzz and wilderness between the four walls was extremely intense, testified by yours sincerely as someone who’s always been into punk live shows and who could only physically coexist in the front rows for about half of the 15-song set, before backing up a little and resting a heavily sprained ankle (here’s lookin’ at you, “The Sick, Sick, 6.8 Billion”). The vibe was unlike most of nowadays’ gigs: almost no one bothered to pick up smartphone and record a thing (my bad for the one attached below…), the mosh pit was completely real, relentless and dope, boys and girls of all age embracing each other bro-fisting, smiling and screaming at the top of their lunges angst-filled lyrics with rare liberation. All this back backed with an impeccable performance on the part of letlive. – incidentally backed by a additional touring guitarist Mishka Bier after the departure of legacy member Jean Nascimento less than a year ago – with Jason Butler’s singing at this best on tunes such as “The Dope Beat”, new single “Good Mourning, America” and emotional encore-opener “Pheromone Cvlt”.

The band’s rhythm section was no different, it just worked perfectly without ever overdoing while at the same time arguably being the driving force behind groovy and flowy tracks like “White America’s Beautiful Black Market”,  “Casino Columbus” and, according to Jason’s intro to the song, live rarity “Lemon Party”. The whole thing simply sounded rad – acknowledging that the backing rhythm guitar is in this regard essential and much needed to complement and thrive a proper wall of sound – while the physical and visual addition of infinite crowd-surfing, stage invading and high jumping just rendered the whole occasion a true rarity. Again, this appears particularly true if compared to the majority of shows in this day and age (and I consider myself a heavy-concert goer thus with some degree of legitimacy in claiming this), that unfortunately seem to manifest themselves more within the screens of smartphones than in the body and souls of the attendees. For real though, who really looks back at all the shitty and low-fi pics and videos recorded during gigs?

However, if I were to spot a flaw during yesterday’s performance – come on, in the end this is indeed a review feature – I must say, with the exception of the aforementioned “Good Mourning, America”, I was slightly disappointed by the lack of further new material showcased at the gig. That is, with just over a month to go before the release of the new album, it’s probably not too far off to expect a bit more previews into what the new output really holds for us. In fact, I initially thought that whole reason for this short pre-release European tour was to actually present some new tunes satisfying a long-lasting appetite from truly devoted fans. Yet, nothing new except for what’s already out there. Though I guess this must have a more than valid reason, and probably I dare to say that to some degree letlive. understandably wants to enjoy as long as possible the overwhelmingly positive reaction to their latest single, which last night had Jason shouting the following in the middle of song: “Fuck, this came out two weeks ago and everyone knows all the words already!”. Word of mouth really does work for them, I guess.

This is the rad setlist letlive. performed:

Banshee (Ghost Fame)

That Fear Fever

The Dope Beat

White America’s Beautiful Black Market


Casino Columbus

Good Mourning, America

Le Prologue

The Sick, Sick, 6.8 Billion


27 Club

Day 54


Pheromone Cvlt

Lemon Party

Renegade ’86

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.

Listen to letlive. ll.ove.





I haven’t stated anywhere that the ARM column would have been limited only to actually recorded music or album releases in general. Therefore, I’m now totally exploiting the opportunity to share some lasting emotions and perennial thoughts I’m currently experiencing derived from the show I attended last Friday night, namely Ryan Adams’s Londoner stop at a sold out Hammersmith Apollo supported by the lovely and extremely talented Natalie Prass. Not only was the venue itself fabulous and breath-taking, but also the overall experience provoked by the magic force of the US alt-country rocker was truly one of a kind. I won’t forget it anytime soon for sure.

I gotta say, this was the first time seeing him live for me. It’s also fair to say that it’s only recently, let’s say the past two or three years, that I’ve really gotten into him and his repertoire. Also, I’ve been literally obsessed with his last self-titled album having it on repeat since last December. It just encapsulates everything modern rock music should be about: from the widest range of transmitted emotions to a large variety of incredible and good-sounding melodies, harmonisation, and songwriting. With that said, I was obviously extremely delighted to notice how Ryan played a good six songs off of such newest effort, including amongst them Grammy-nominated rocky intro “Gimme Something Good”, personal favourite and emotionally intense “Stay With Me”, as well as the delicate and fragile ballad “My Wrecking Ball”, which all appear to me as very good examples of how stunning this last album really is. But there was a lot more to it than a wonderful set-listed focus on his most recent self-titled output, which I undoubtedly took as a personal gift arranged relying on the fact that I was in the audience. Jokes aside, with over two hours of live performance and an overall amount of 23 songs played (see setlist below), Ryan had the chance to navigate through his immense and highly-prolific catalogue spanning over more than 15 years and ranging from intimate tunes such as “Dear Chicago”, “My Winding Wheel”, and “Oh My Sweet Carolina” (performed as a wonderful duet with opening act Natalie Prass), going through more well-known tracks like “New York, New York” and “When the Stars Go Blue”, all the way until the more recent “Kim” (probably one of the greatest songs of 2014) and the Springsteenian “I Just Might”.

Another element that made Friday night unforgettable was the spectacular choreography that was set up as background to Ryan and his backing band The Shining (by the way, very convincing), showing a rather minimal design composed of many fragmented light bulbs attached across the whole surface that worked just perfectly. Moreover, yet another highlight of the evening occurred as the North Carolina-native successfully improvised a brand new song out of a random line shouted at him by a member of the audience (“I Ate Something Off The Street”), which not only received massive praise from the whole public and was in fact as pretty great as it was hilarious, but it also warmed up well Ryan and his guitar before jumping into the aforementioned “Kim”.

Yet, I must say the best moments for me were both the absolutely touching “This House Is Not For ‘Fucking’ Sale” (as introduced by Mr Adams himself), to which for a fair amount of reasons I can relate so much, and the last two songs of the evening, the forte-piano-driven “I See Monsters”, which took whole new forms and dimensions  performed live, and the classic folky tune as well as fans-favourite “Come Pick Me Up” (also accompanied by a lovely vocal dialogue with Prass). The closing track is probably his most famous recorded one, and for that matter it really didn’t disappoint live either, as much as the overall show in general. Moreover, acting as a sort of almost surreal glue keeping the gig together, there was a deep sensation of emotional involvement experiencing on the part of all of the audience members, without any kind of social compromising camouflage. That is, before last night I’d never had the sensation of being among a crowd of over 8000 people all keeping unbelievably quiet and standing literally still for Adams’s most delicate solo performances in order to enjoy them as intensively as possible. You really almost couldn’t hear any kind of noise coming from the audience, and still if you’d looked around, there’d have been an overwhelming wave of other companions coming from all directions simply looking at The Man and sipping from bottles of beer or cheap glasses of wine. In fact, it was something unique, rare, intimate, and shared among many fellow-attendees at the same time. It showcased a beautifully inspired Ryan, who didn’t step back when it was time to joke around with the mic and interacting with the audience, but who also took care of taming the stage with just his emotional voice and the help of six strings on an acoustic guitar. Everything worked out so perfectly well. Everything from the music, through the choreography, to the fans’ reaction. Unsurprisingly, after all, since it’s Ryan Adams.

This is the rad setlist he performed:

Gimme Something Good

Let It Ride

Stay With Me

Dear Chicago

This House Is Not For Sale

Everybody Knows

My Winding Wheel (acoustic solo)

Dirty Rain

Magnolia Mountain

New York, New York

I Ate Something Off The Street (improvisation)



My Wrecking Ball

I Just Might

I Love You But I Don’t Know What To Say

Your Fool (Natalie Prass cover)

Oh My Sweet Carolina (w/ Natalie Prass)

La Cienega Just Smiled


When the Stars Go Blue

I See Monsters

Come Pick Me Up (w/ Natalie Prass)

I’d like to thank you sincerely for taking the time to read this and I hope to feel your interest again next time.


Source: Gigwise

Source: Gigwise