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Published October 25, 2018

On Friday, October 19th, I had the pleasure of seeing The Breeders live at the Fillmore in Miami. I had seen them once before in the midst of their incredibly successful second album, Last Splash, but this time there were no waves of young, sweaty festival goers but rather a rag-tag group of 40-year-olds. The Fillmore in Miami has a rich history spanning from the 1950s. The iconic auditorium can hold upwards of 2,700 people but on this night there were no more than 200. I initially thought I was missing out on something. Were they starting late or had the opening band not gone on yet? But then the band walked out and we clapped and cheered and questions regarding the low attendance drifted away with the opening notes of Saints.

 

The set was a collection of songs from all their albums including several new songs from All Nerve which was released on March 2nd of this year. Bassist, Josephine Wiggs sang on MetaGoth, an appropriately named dark-anthem that could have easily found a home on a Portishead album. Of course, they also played Cannonball. The catchy bass line seemed to draw applause from the younger crowd and groans from the older ones.

 

The rest of the show was incredible. It was personal. It was intimate. There were several instances where Kim spoke with her sister Kelly about their childhood and about writing songs together. But it wasn’t until an hour into the show, right around the time where that edible I had earlier started working its magic, that Kim started strumming the first notes of Off You and I began to feel that familiar soft-headache that informs me when I am about to shed some tears. It’s a beautiful song that conjures up feelings of loneliness and friendship and sanity. And there she was, on a dark stage with her familiar raspy voice, crooning metaphors that I honestly don’t fully understand. The point is, this fucking song was making me lose my shit and I was trying really hard not to embarrass myself.

 

Off You instantly made me think of the movie Her (2013) and Joaquin Phoenix’s character roaming the near-future streets of Los Angeles, his soul empty and aimless. And what an appropriate song selection by director Spike Jonze. And I thought of other movies and the songs that I  associated with them. The Virgin Suicides (2000) and Air’s Playground Love. Trainspotting (1996) and Iggy Pop’s Lust For Life. Drive (2011) and Kavinsky’s retro-synth masterpiece Nightcall.

 

Some movies have great scores, some have great soundtracks, but very few films have the ability to claim a song as their own.

 

And that’s about it… left the show, went over to Yard House and pigged out on poutine and tacos.

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