The Day After: Blonde Redhead

October 22nd- Typically, I like to start at the beginning: what it was like walking into the venue, the crowd, the vibes, etc. Yes, Treefort Music Hall is a venue tailored for that undeniable Duck Club aesthetic; it is a great open space ideal for the consumer, probably pretty awesome for the performer, and stacked with those Treefort vibes galore. I’ll confess that my excitement was palpable as I anticipated catching Blonde Redhead in action, ready to unleash my inner fangirl as per usual. Ready and thrilled to witness this band whose melodies first graced my ears eons ago. So, yes, typically I start here and go step by step or set by set… but this is where I’d like to deviate and vent a little bit before getting to my true highlights of the evening.

Kazu Makino Photo by Corey Limani

There is a chance I set my expectations for Blonde Redhead a touch too high. Over the years I have built up this idea of the band: creators of intricately crafted, experimental albums that contained dissonance and harmony, blending indie vibes with a rock edge and pop sensibilities but always with this certain gritty energy that I believed was distinctive to their sound. Sure, I heard these elements at Treefort Music Hall last night… but also heard what I could only explain as backing tracks, not samples, or some expert use of a looping pedal; but some pre-programmed fillers of pre-recorded guitar parts and bass ends that didn’t translate well for me.

Amedeo Pace Photo by Corey Limani

As I like to do, I spend part of a set standing up in front, eager to see rock stars doing their thing. Sooner than usual, I made my way by the sound booth, where music typically sounds the best and I could shake off this burgeoning negative critique. Sure, it sounded just fine (even great at times), it was visually stunning (so very New York), but between the overall energy of the band and lack of rawness in the set, I felt like the experience lacked a certain intimacy and authenticity that I had expected to see from them. Drummer Simone Pace, undeniably talented, was also undeniably badass, his drumming technique and talent likely impossible to fabricate. Yes, there was good live music resonating throughout the venue, yet the moments that raised questions, where certain sounds or tracks felt more prevalent than the unfiltered essence that I craved from the ensemble, disappointed me.

Blonde Redhead, (left to right) Kazu Makino, Simone Pace, Amedeo Pace Photo by Corey Limani

Perhaps my senses were playing tricks on me? Maybe I just didn’t like their newer (less sentimental to me) music and that is how they make it now as a three-piece? I’d like to think that I’m familiar enough with how certain instruments sound when played in certain ways and maintain an awareness of the transformative nature of great effects pedals and the impact of an expert sound engineer. Yet, it also wouldn’t be the first time I’ve ever felt delusional at a rock concert before. It did seem that a good part of the crowd was really into it. So, please feel free to call me crazy, it would not be the first nor the last time I am sure. Providing some peace of mind was input from a talented, local guitarist and concert-attendee who said it was like “a Costco-brand Radiohead” and “I know what a guitar should sound like when played like that”. In my overthinking, I began to wonder if this was a polished façade created for profit and not for the sake of artistry. Usually, I leave these ‘nostalgic’ shows feeling stoked and grateful, but by the halfway point my biggest sense of gratitude came from the fact that at least it wasn’t at the Knit, despite the energy and raucousness The Garden show would’ve provided. I just really don’t like the Knit.

I want to emphasize that my primary aim for this platform is to share my deep-seated love for music, art, and community; not to disparage the efforts of any individuals genuinely trying their best. That includes bands like Teddy Bear Orchestra and Big Gorgeous, two bands that played recently in Boise to drastically smaller crowds that unabashedly and adeptly use backing tracks in a way where it translates like a charming, campy novelty, a tool in their toolkit essential to the overall machine of what they are doing. But let’s refocus and get back on track.

I genuinely believe that beneath the many performative, tailored aspects of live music often lie beautiful and innovative artists who make really good goddamn music (this is especially true in the Treasure Valley music scene). This was evident to me last night as I looked around and saw the faces of some of the best musicians in the valley many of whom were coming to show their support of the talented local three-piece, Trippy Hearts (@thetrippyhearts).

Trippy Hearts (left to right) Jenn Sutkowski, Brent Heiner, Stephen Samuelson Photo by Corey Limani

Trippy Hearts is a relatively recent addition to my musical radar here, even though they have been making music since 2013. Their longevity is understandable given the synergy amongst Jenn Sutkowski (keys, vox) Brent Heiner (guitar, harmony), and Stephen Samuelson (drums). It was evident that this is one band clearly influenced by the well-crafted studio recordings of Blonde Redhead, and their enthusiasm for sharing the stage with such a group was nothing short of infectious.

They have this soft yet poppy and hypnotic bedroom kind of energy to them, but this heartfelt music did indeed get trippy. I particularly enjoyed the jazzier approach of the guitar and drums, it is especially evident how Simone Pace has influenced the mind-boggling and talented Samuelson, who particularly shined during their set. Even with the up-tempo and avant-groove rhythms, there is something very spacious about their sound that allows Sutkowski’s vocals to truly resonate. All in all, each member performed with that essential pocket energy, clearly exhibiting a love for making music and an intuitive nature that can only be cultivated with reliable bandmates. Like any opener performing before such a big band, it did feel like it took them a moment for them to really get into their groove, but when they did I was truly impressed. Check them out here.

Stephen Samuelson Photo by Corey Limani

So yes, everything was going just the way you would want a concert to go. Good vibes, check. Solid first opener, check. And then solo act Lutalo came on stage. Firstly, I always admire the balls I think it would take to perform solo for a big-name band in a large-cap venue, I mean just think of the innovative Steel Beans opening on the Tool tour. It seems insane to me but I’m totally here for it, and I was totally here for Lutalo’s set too. In hindsight, it was a refreshing departure that made me forget that I was there to see anyone else.

Lutalo Jones Photo by Corey Limani

Solo artist, songwriter, and producer Lutalo (@lutalojones) blew me away, just him and his Fender Stratocaster. To put it simply, there Lutalo was… a poet and his guitar. This lo-fi set was a hauntingly beautiful, naked, and stripped-down performance. This up-and-coming indie artist is one to look out for, a human excelling at expressing very human emotions in a distinctly beautiful way, it was very moving. Lutalo exhibits what I could argue any musician performing for money should be doing, creating an authentic experience that honors the reason so many of us ever started listening, let alone playing music, to begin with. Which for me boils down to human connection and veritable self-expression, both of which Lutalo showed in spades.

It wasn’t just his clear mastery and ease at guitar that mesmerized me. Lutalo’s vocals are magnetic and powerful, delicate in delivery yet his low tenor vocals were enveloping, and at times reminiscent of Lou Reed, but if Lou Reed also lived sustainably in the Vermont woods as Lutalo does. Beyond that, as I listen to his August 2023 release “Again” as I write this, I find his lyrics poignant and thoughtful and am excited at the level of craft and intention coming from this young artist. If this is where Lutalo’s music career is beginning, I feel that he has the potential to become a much-needed folk artist for a new generation; capable of connecting with broader audiences outside of those seeking folk music specifically. Obviously, this is an artist I highly recommend checking out. In fact, you can do that right here.

Lutalo Photo by Corey Limani

For as much as I am griping, I am empowered by Trippy Hearts and Lutalo and maintain my faith in the power of music and the importance of a genuine connection between artist and spectator. I admit my love for good, sweaty rock and roll but I am always open to the softer side of the spectrum as well, this is not me just being a snob because there weren’t nearly enough ‘shreddy riffs’ where not even one guitar string was even close to being broken. Honestly, it does trigger my imposter syndrome to say anything negative about such an established and well-respected group. Ultimately, I’m curious about your thoughts and feelings on the use of backing tracks, but more than anything, I’m super eager to talk about music and community with our readers and what fellow music aficionados want to see from us at B-Side and the local music scene in general. And, of course, a friendly reminder to rock on.