Consequence of Sound » Ingrid Michaelson http://consequenceofsound.net Think Fast, Listen Slowly Tue, 14 Feb 2012 20:37:27 +0000 en hourly 1 http://wordpress.org/?v=3.3.1 Album Review: Ingrid Michaelson – Human Again http://consequenceofsound.net/2012/01/album-review-ingrid-michaelson-human-again/ http://consequenceofsound.net/2012/01/album-review-ingrid-michaelson-human-again/#comments http://c438342.r42.cf2.rackcdn.com//wp-content/uploads/2012/01/ingridmichaelson-200x200.jpg Tue, 31 Jan 2012 12:58:49 +0000 Katjusa Cisar http://consequenceofsound.net/?p=187726 At an Ingrid Michaelson concert in 2008, I remember being surrounded by sugar-addled 10-year-olds with “BE OK” painted on their cheeks in tribute to the singer’s latest album cover and single. I had to smile when the same little girls snapped their heads in surprise when she covered Radiohead’s “Creep”. Michaelson’s sweet singles — think “Be OK” and “The Way I Am” — have always done her a bit of a disservice in obscuring the tortured soul at the core of her songwriting. She’s self-assured as a singer and writer, but in her dark lyrics she’s constantly reassuring herself that everything will work out.

So it is again on her fifth release, Human Again, a deeply hurt and inward-looking album that ultimately swells with a sense of hope. Part of Michaelson’s charm comes her intense focus on the small details of the immediate situation (“What if there’s always cups in the sink? What if I’m not what you think?”). She’s let go of some of that here. It reaches outside, beyond the domestic closeness of albums past. Of all her albums, Human Again sounds as if it’s had the most hands on it, spackling on layers of string accompaniment and other production frosting. Some of her trademark intimacy gets lost underneath these at times seam-bursting additions. But the lush production gives other songs on the album a polished feel. On “Blood Brothers” especially, the arc of orchestral muscle swoops down and propels the melody skyward.

Fortunately, Michaelson’s voice pins the album down to earth when the song calls for it. Her vocal abilities are as strong as ever, and as always, she’s never been afraid to sound vulnerable. When she swallows the final syllable on lines like, “Told me that he’d love me from the top to the floor/Wrapped me up in ribbons then he went for the door,” it’s as if she’s singing them directly into your ear.

Essential Tracks: “Blood Brothers”, “Ribbons”, and “Palm of Your Hand”

]]> Human Again, a deeply hurt and inward-looking album that ultimately swells with a sense of hope. Part of Michaelson's charm comes her intense focus on the small details of the immediate situation ("What if there's always cups in the sink? What if I'm not what you think?"). She's let go of some of that here. It reaches outside, beyond the domestic closeness of albums past. Of all her albums, Human Again sounds as if it's had the most hands on it, spackling on layers of string accompaniment and other production frosting. Some of her trademark intimacy gets lost underneath these at times seam-bursting additions. But the lush production gives other songs on the album a polished feel. On "Blood Brothers" especially, the arc of orchestral muscle swoops down and propels the melody skyward. Fortunately, Michaelson's voice pins the album down to earth when the song calls for it. Her vocal abilities are as strong as ever, and as always, she's never been afraid to sound vulnerable. When she swallows the final syllable on lines like, "Told me that he'd love me from the top to the floor/Wrapped me up in ribbons then he went for the door," it's as if she's singing them directly into your ear. Essential Tracks: "Blood Brothers", "Ribbons", and "Palm of Your Hand"]]> 70 http://consequenceofsound.net/2012/01/album-review-ingrid-michaelson-human-again/feed/ 1 An Intimate Conversation with Ingrid Michaelson http://consequenceofsound.net/2010/06/an-intimate-conversation-with-ingrid-michaelson/ http://consequenceofsound.net/2010/06/an-intimate-conversation-with-ingrid-michaelson/#comments http://c438342.r42.cf2.rackcdn.com//wp-content/uploads/2010/06/ingrid-michaelson_l.jpg Thu, 10 Jun 2010 17:45:45 +0000 Tony Hardy http://consequenceofsound.net/?p=46811 Ingrid Michaelson touched down in the UK in late May for three shows while on a short European tour during her seemingly never ending schedule of live work. The singer-songwriter looked relaxed, if a wee bit travel weary, when Consequence of Sound caught up with her the day before her biggest London show yet.

She settles into a artily comfy sofa in the lobby of her boutique hotel and the first thing that strikes you about Ingrid Michaelson is her bright, sharp eyes, honed with their wry observational powers, behind her trademark glasses. If they had SpecSavers in the States, she’d be in all their commercials. Dressed casually and clutching a cute yet demure short skirt and top for an imminent TV appearance, she is slim, tall, and has a china doll prettiness about her.

The conversation starts up about her latest shows. “British audiences are usually respectful and a little reserved, she explains. “I just played Glasgow for the first time and expected it’d be lively, maybe noisy, yet you could hear the proverbial pin drop.”  The Germans, she goes on to say as a sting to us Brits, just want to have a good time. The artiste has a natural comic flair and great timing. She works this into her live performances but claims she tries to tone down the ‘clown dial’ a little over here. That being so, her UK shows are still full of humorous digressions and tell-it-like-it-is put-downs.

This is Michaelson’s fifth trip to the UK and she’s played progressively larger venues culminating in the 1,200 capacity Shepherd’s Bush Empire for her May show. So what’s next, Wembley or the O2? She plays down any sense of importance attached to the size of venue. “For me, it’s about talking direct to the audience, getting a rapport, creating an atmosphere, almost a one-to-one ambiance. I try to make the audience feel they come away with something worthwhile.” She likes to think of her stage projection as akin to talking to a close friend.

The singer seems touchingly surprised about the scale of her fan base. “Maybe it’s a spin-off from Grey’s [Anatomy – the TV show that featured “Breakable”, “The Way I Am” and for which she wrote the stunning series closer, “Keep Breathing”]. Possibly some ex-pats over here… perhaps MySpace?” For an artiste heading north of 33 million plays on that site, she is genuinely unassuming and you get the message that she really doesn’t know, but is not complaining about it either.

We talk about a regular set-piece on Michaelson shows. “The Chain” is a song in the form of a round, where two or more voices join in at different times singing the same lines. On stage, the singer appeals for a third vocalist to help out with the song and a member of the audience steps up and sings it word and note perfect. So has she ever invited someone up who can’t sing or forgot the words or even gives a speech about liberating Tibetans? The singer smiles and proffers an affectionate nod in the direction of her ability to connect with her audience and fan base. “Well I don’t do it at every show and it isn’t always perfect,” Michaelson claims. “But it generally works really well and I enjoy mixing it up when Chris [Kuffner] is playing. It works fine with a male voice in there, not just with the girls”. Kuffner is joined by singer-guitarist Bess Rogers with a second guitarist and drummer on this tour, giving Ingrid Michaelson the option of a full band to mix in with her solos and duets.

Another example of Michaelson’s strong audience connections is the recent “Everybody” video contest in which fans submitted home movies of themselves singing along to the title song from her latest album, Everybody. Separate competitions were run in the US and the UK with winners getting to sing live on stage with Ingrid. “The idea came to me after lots of fans had already done something like that on YouTube. It was great sifting through all the responses. I like to keep open lines of communication with my fans. I mean where would you be without them. The day you forget your fans, you’re no longer true to your art.” The singer is sincere in her appreciation and there’s no hint of cliché in her affections.

Michaelson’s close connection with her fans is ably demonstrated in her “Everybody” Video Contest Montage.

Ingrid Michaelson clearly has the ability to inspire young women especially, the world over. You can see that whenever she plays live and hear it in the decibel level. As well as her ever-expanding body of core fans, the artiste is winning over people who otherwise might never hear her. She has a new two-disc Everybody/ Girls and Boys Special Edition album out which includes her own version of “Parachute”, the song she co-wrote with producer Marshall Altman which became a UK hit for Cheryl Cole. “No I haven’t met her yet,” Michaelson says. “In fact I didn’t really know who she was. I certainly didn’t realize how big she is over here… she’s in all the tabloids and Celeb magazines”.

For those about to hit Google, Cheryl Cole (nee Tweedy) shot to fame on the back of a reality pop show, becoming a member of Britain’s biggest girl band, Girls Aloud, a mentor and judge on Simon Cowell’s X-Factor show and, more recently a No 1 selling solo artiste. She is also a bit of a people’s princess over here and got the biggest sympathy vote since Peter Andre (Aussie popster and Katie Price’s ex) when her husband Ashley (possibly Britain’s most unpopular footballer other than with Chelsea fans) cheated on her. All of which, perplexedly, sets her miles apart from Ingrid Michaelson and adds intrigue to the “Parachute” connection. Then again maybe audience popularity is a common enough bond.

Unlike Cheryl Cole, who has been groomed throughout her career by record labels and management, Ingrid Michaelson maintains a decidedly independent stance. Her manager, Lynn Grossman, runs a licensing business and only manages the one musician. Michaelson was first discovered by a member of Grossman’s staff, who found her on MySpace in 2007. The singer has turned down big money offers from major record companies and still releases her music on her own Cabin 24 label. The tie-up with Grossman led to her songs being featured in commercials and on TV shows like Grey’s Anatomy, which really kick-started her career.

Word-of-mouth marketing through ad syncs and social networking sites has served Michaelson very well and contributed to major commercial success, yet on her own terms. As she insists, “MySpace is still a great medium for bands but I like Twitter especially as it’s a great way of staying in touch with people and as instant as it gets.” As for the ads and TV shows, she sees these as helping her continue to make music and to get a better life. This is quite the reverse from any accusations of selling out and clearly here’s an artiste at work in charge of her own career, as well as making a great fist of it.

Touring always seems to be on Ingrid Michaelson’s agenda. She recently toured with Barenaked Ladies and found it a great experience. “They were really sweet and funny guys.” She is now headlining on a major US tour till mid July, taking in appearances at Bonnaroo, Basilica Block Party, and Lilith Fair. There’s then hardly time to catch a breath before she supports Keane on their 12-date US tour. She admits to being a bit of a fan of the UK three-piece.

The clock was ticking before she had to dash off for her TV appearance. The singer always seems to pack a great deal into her schedule. Did she ever tire of the touring and playing the same songs over and over? “The audience makes the difference and helps keep it all fresh,” she says. “It can be exhausting but on stage is where I can recharge. It makes it a different experience each night. I try to let the audience have a say in where it goes, like when people shout things and I can use that to feed off. If you start with a polite and respectful audience and end up making them come out of their shells, then all the better.”

From the evidence of her London show the next night, Ingrid Michaelson continues to be a past master in the art of stagecraft.

]]> Consequence of Sound caught up with her the day before her biggest London show yet. She settles into a artily comfy sofa in the lobby of her boutique hotel and the first thing that strikes you about Ingrid Michaelson is her bright, sharp eyes, honed with their wry observational powers, behind her trademark glasses. If they had SpecSavers in the States, she’d be in all their commercials. Dressed casually and clutching a cute yet demure short skirt and top for an imminent TV appearance, she is slim, tall, and has a china doll prettiness about her. The conversation starts up about her latest shows. “British audiences are usually respectful and a little reserved, she explains. "I just played Glasgow for the first time and expected it’d be lively, maybe noisy, yet you could hear the proverbial pin drop.”  The Germans, she goes on to say as a sting to us Brits, just want to have a good time. The artiste has a natural comic flair and great timing. She works this into her live performances but claims she tries to tone down the ‘clown dial’ a little over here. That being so, her UK shows are still full of humorous digressions and tell-it-like-it-is put-downs. This is Michaelson’s fifth trip to the UK and she’s played progressively larger venues culminating in the 1,200 capacity Shepherd’s Bush Empire for her May show. So what’s next, Wembley or the O2? She plays down any sense of importance attached to the size of venue. “For me, it’s about talking direct to the audience, getting a rapport, creating an atmosphere, almost a one-to-one ambiance. I try to make the audience feel they come away with something worthwhile.” She likes to think of her stage projection as akin to talking to a close friend. The singer seems touchingly surprised about the scale of her fan base. “Maybe it’s a spin-off from Grey’s [Anatomy – the TV show that featured “Breakable”, “The Way I Am” and for which she wrote the stunning series closer, “Keep Breathing”]. Possibly some ex-pats over here… perhaps MySpace?” For an artiste heading north of 33 million plays on that site, she is genuinely unassuming and you get the message that she really doesn’t know, but is not complaining about it either. We talk about a regular set-piece on Michaelson shows. “The Chain” is a song in the form of a round, where two or more voices join in at different times singing the same lines. On stage, the singer appeals for a third vocalist to help out with the song and a member of the audience steps up and sings it word and note perfect. So has she ever invited someone up who can’t sing or forgot the words or even gives a speech about liberating Tibetans? The singer smiles and proffers an affectionate nod in the direction of her ability to connect with her audience and fan base. “Well I don’t do it at every show and it isn’t always perfect,” Michaelson claims. “But it generally works really well and I enjoy mixing it up when Chris [Kuffner] is playing. It works fine with a male voice in there, not just with the girls”. Kuffner is joined by singer-guitarist Bess Rogers with a second guitarist and drummer on this tour, giving Ingrid Michaelson the option of a full band to mix in with her solos and duets. Another example of Michaelson’s strong audience connections is the recent “Everybody” video contest in which fans submitted home movies of themselves singing along to the title song from her latest album, Everybody. Separate competitions were run in the US and the UK with winners getting to sing live on stage with Ingrid. “The idea came to me after lots of fans had already done something like that on YouTube. It was great sifting through all the responses. I like to keep open lines of communication with my fans. I mean where would you be without them. The day you forget your fans, you’re no longer true to your art.” The singer is sincere in her appreciation and there’s no hint of cliché in her affections. Michaelson’s close connection with her fans is ably demonstrated in her "Everybody" Video Contest Montage. [youtube oGj1Ugaysbo] Ingrid Michaelson clearly has the ability to inspire young women especially, the world over. You can see that whenever she plays live and hear it in the decibel level. As well as her ever-expanding body of core fans, the artiste is winning over people who otherwise might never hear her. She has a new two-disc Everybody/ Girls and Boys Special Edition album out which includes her own version of "Parachute", the song she co-wrote with producer Marshall Altman which became a UK hit for Cheryl Cole. “No I haven’t met her yet," Michaelson says. "In fact I didn’t really know who she was. I certainly didn’t realize how big she is over here… she’s in all the tabloids and Celeb magazines”. For those about to hit Google, Cheryl Cole (nee Tweedy) shot to fame on the back of a reality pop show, becoming a member of Britain's biggest girl band, Girls Aloud, a mentor and judge on Simon Cowell’s X-Factor show and, more recently a No 1 selling solo artiste. She is also a bit of a people’s princess over here and got the biggest sympathy vote since Peter Andre (Aussie popster and Katie Price’s ex) when her husband Ashley (possibly Britain’s most unpopular footballer other than with Chelsea fans) cheated on her. All of which, perplexedly, sets her miles apart from Ingrid Michaelson and adds intrigue to the “Parachute” connection. Then again maybe audience popularity is a common enough bond. Unlike Cheryl Cole, who has been groomed throughout her career by record labels and management, Ingrid Michaelson maintains a decidedly independent stance. Her manager, Lynn Grossman, runs a licensing business and only manages the one musician. Michaelson was first discovered by a member of Grossman’s staff, who found her on MySpace in 2007. The singer has turned down big money offers from major record companies and still releases her music on her own Cabin 24 label. The tie-up with Grossman led to her songs being featured in commercials and on TV shows like Grey’s Anatomy, which really kick-started her career. Word-of-mouth marketing through ad syncs and social networking sites has served Michaelson very well and contributed to major commercial success, yet on her own terms. As she insists, “MySpace is still a great medium for bands but I like Twitter especially as it’s a great way of staying in touch with people and as instant as it gets.” As for the ads and TV shows, she sees these as helping her continue to make music and to get a better life. This is quite the reverse from any accusations of selling out and clearly here's an artiste at work in charge of her own career, as well as making a great fist of it. Touring always seems to be on Ingrid Michaelson’s agenda. She recently toured with Barenaked Ladies and found it a great experience. “They were really sweet and funny guys.” She is now headlining on a major US tour till mid July, taking in appearances at Bonnaroo, Basilica Block Party, and Lilith Fair. There’s then hardly time to catch a breath before she supports Keane on their 12-date US tour. She admits to being a bit of a fan of the UK three-piece. The clock was ticking before she had to dash off for her TV appearance. The singer always seems to pack a great deal into her schedule. Did she ever tire of the touring and playing the same songs over and over? “The audience makes the difference and helps keep it all fresh," she says. "It can be exhausting but on stage is where I can recharge. It makes it a different experience each night. I try to let the audience have a say in where it goes, like when people shout things and I can use that to feed off. If you start with a polite and respectful audience and end up making them come out of their shells, then all the better.” From the evidence of her London show the next night, Ingrid Michaelson continues to be a past master in the art of stagecraft.]]> http://consequenceofsound.net/2010/06/an-intimate-conversation-with-ingrid-michaelson/feed/ 1 Keane announces North American tour http://consequenceofsound.net/2010/05/keane-announces-north-american-tour/ http://consequenceofsound.net/2010/05/keane-announces-north-american-tour/#comments http://c438342.r42.cf2.rackcdn.com//wp-content/uploads/2010/03/keane1.jpg Sat, 15 May 2010 14:30:42 +0000 Winston Robbins http://consequenceofsound.net/?p=40247 Following this week’s release of its newest project, an eight-track EP entitled Night Train, Keane will embark upon a sizable U.S. tour this summer. Yes, Keane. Remember them? The English alternative boys who brought you such hits as the wildly popular “Somewhere Only We Know”, “Is It Any Wonder”, and “Everybody’s Changing”? They’re still around and still semi-brilliant relevant.

The band is branching out this time and Night Train will include collaborations from Canadian rapper K’naan and Japanese funk emcee Tigarah. In support of the release, Keane has announced 12 U.S. dates so far, as well as a performance at the Mile High Music Festival in Denver on August 14th. The tour starts in Oakland on July 20th and wraps up with the Mile High Performance. Tickets are currently on sale and can be found here.

Opening on the endeavor will be Travis frontman Fran Healy and Ingrid Michaelson. The schedule will go as follows:

Keane 2010 N. American Tour Dates:
07/20 – Oakland, CA @ Fox Theatre
07/21 – GLos Angeles, CA @ The Greek Theatre
07/23 – Las Vegas, NV @ House of Blues
07/25 – Houston, TX @ Warehouse Live
07/26 – Dallas, TX @ House of Blues
07/28 – Chicago, IL @ Chicago Theatre
08/03 – Boston, MA @ Bank of America Pavilion
08/05 – Baltimore, MD @ Merriweather Post Pavilion
08/06 – Brooklyn, NY @ Waterfront
08/07 – Philadelphia, PA @ Mann Center
08/10 – Milwaukee, WI @ Riverside Theatre
08/11 – Minneapolis, MN @ 1st Ave.
08/14 – Denver, CO @ Mile High Music Festival

]]> Night Train, Keane will embark upon a sizable U.S. tour this summer. Yes, Keane. Remember them? The English alternative boys who brought you such hits as the wildly popular "Somewhere Only We Know", "Is It Any Wonder", and "Everybody's Changing"? They're still around and still semi-brilliant relevant. The band is branching out this time and Night Train will include collaborations from Canadian rapper K'naan and Japanese funk emcee Tigarah. In support of the release, Keane has announced 12 U.S. dates so far, as well as a performance at the Mile High Music Festival in Denver on August 14th. The tour starts in Oakland on July 20th and wraps up with the Mile High Performance. Tickets are currently on sale and can be found here. Opening on the endeavor will be Travis frontman Fran Healy and Ingrid Michaelson. The schedule will go as follows: Keane 2010 N. American Tour Dates: 07/20 - Oakland, CA @ Fox Theatre 07/21 - GLos Angeles, CA @ The Greek Theatre 07/23 - Las Vegas, NV @ House of Blues 07/25 - Houston, TX @ Warehouse Live 07/26 - Dallas, TX @ House of Blues 07/28 - Chicago, IL @ Chicago Theatre 08/03 - Boston, MA @ Bank of America Pavilion 08/05 - Baltimore, MD @ Merriweather Post Pavilion 08/06 - Brooklyn, NY @ Waterfront 08/07 - Philadelphia, PA @ Mann Center 08/10 - Milwaukee, WI @ Riverside Theatre 08/11 - Minneapolis, MN @ 1st Ave. 08/14 - Denver, CO @ Mile High Music Festival]]> http://consequenceofsound.net/2010/05/keane-announces-north-american-tour/feed/ 0 Jay-Z, Stevie Wonder, Dave Matthews lead Bonnaroo 2010′s opening announcement http://consequenceofsound.net/2010/02/jay-z-stevie-wonder-dave-matthews-lead-bonnaroo-2010s-opening-announcement/ http://consequenceofsound.net/2010/02/jay-z-stevie-wonder-dave-matthews-lead-bonnaroo-2010s-opening-announcement/#comments Wed, 10 Feb 2010 02:16:26 +0000 Alex Young http://consequenceofsound.net/?p=24981 Since 6:47 AM EST this morning, when Phoenix became the first band to confirm its participation for Bonnaroo 2010, we have been glued to our computers (literally), waiting for the rest of this year’s act to take similar action. And while it proved incredibly tedious, maddening, and downright inane (at least for those who endured the 14+ hour affair), in the end, the Manchester, TN festival got what it wanted — attention and lots of it.

As for the end result of said attention? An initial lineup announcement headed by Jay-Z, Stevie Wonder, Dave Matthews Band, and Kings of Leon. Other noteworthy acts include Jack White’s The Dead Weather, Jack Black’s Tenacious D, Weezer, Norah Jones, Damian Marley and Nas, LCD Soundsystem, Phoenix, Regina Spektor, Tori Amos, John Fogerty, and Jeff Beck.

Also set to appear at this year’s edition, which runs from June 10-13, are the Dropkick Murphys, John Prine, Jimmy Cliff, Michael Franti and Spearhead, The Avett Brothers, The Black Keys, Deadmau5, Against Me!, Les Claypool, the Zac Brown Band, Steve Martin & the Steep Canyon Rangers, and Rise Against, as well as a few familiar faces, including the Disco Biscuits, Medeski Martin & Wood, and Calexico.

A number of high-profile indie acts will also perform, including She & Him, Blitzen Trapper, The Dodos, Local Natives, The Gaslight Anthem, Edward Sharpe & the Magnetic Zeros, Chromeo (who will be joined by the legendary Daryl Hall), Tokyo Police Club, and Neon Indian.

We should once again note that today’s announcement was billed as the initial lineup, and additional artists are expected to be named in the weeks ahead. We’ll of course update you when the information becomes available.

Tickets, available in the general admission and VIP varieties, are currently on sale and priced at $234.50 and $1,349.50 respectively. Payment plans are available, as are various rental packages. Hit up bonnarootickets.com for all the specifics.

Additional details regarding the festival itself can be read on bonnaroo.com. We also suggest bookmaring our Bonnaroo Outlook pages, as we’ll update it once additional lineup news is announced. Now would also be a good time to check out our recent interview with Bonnaroo co-founder Ashley Capps.

]]> http://consequenceofsound.net/2010/02/jay-z-stevie-wonder-dave-matthews-lead-bonnaroo-2010s-opening-announcement/feed/ 131 Open Thread: Bonnaroo 2010 lineup announcement http://consequenceofsound.net/2010/02/open-thread-bonnaroo-2010-lineup-announcement/ http://consequenceofsound.net/2010/02/open-thread-bonnaroo-2010-lineup-announcement/#comments Tue, 09 Feb 2010 03:06:42 +0000 Alex Young http://consequenceofsound.net/?p=24939 Well, this should be fun. The Bonnaroo Music & Arts Festival has proved to be quite the epic annual event. For its 2010 edition, the festival organizers have decided to make the lineup announcement equally epic, so for the next 24 hours or so we’ll be glued to our computer screens waiting to see who will be hitting Manchester, Tennessee from June 10-13.

As previously mentioned, the lineup announcement will work something like this. Unlike previous announcements, the 2010 bill will not be unveiled all at once, but rather throughout the day, with the goal being to “generate conversations about the lineup a few acts at a time.” Starting at 10 AM EST (barring any early leaks), bands will begin announcing their participation via various social media outlets and bonnaroo.com. It’s basically like one giant, procrastinating-inducing puzzle. Fortunately, just in case we don’t figure it out by then, Bonnaroo will end our agony by announcing the full lineup later tomorrow night.

Given all this, it only makes sense that we start an open thread, where you guys can chat, complain, and post any discoveries you find. We’ll of course keep track as well!

7:30 pm Update: 90 minutes left! LCD Soundsystem, Les Claypool, Lucero, Kris Kristofferson, Martin Sexton, and Deadmau5 among the newest additions.

5:30 pm Update: Add The Dodos, Tori Amos, Tenacious D, Damian Marley & Nas, Lotus, Blitzen Trapper, Calexico, Mumford & Sons, Aterciopelados, and John Butler Trio to the mix. Still waiting for Neil, Pavement, and Roger Waters…

3:30 pm Update: A few more worthwhile confirmations: The Dead Weather, They Might Be Giants, The Melvins, Dave Rawlings Machine, John Prine, Mew, Dr. Dog, Clutch, and The Bakerton Group. Also, a few more expected: Alicia Keys, Pavement, and Spoon.

2:00 pm Update: So far, we’ve been going at this for a good five hours and we still only know about a 1/4 of the acts. Of those however, there are certainly a fair share of early highlights, including Jay-Z, The Flaming Lips, Regina Spektor, The National, Disco Biscuits, Jeff Beck, Norah Jones, Weezer, She & Him, and Phoenix.

We can also confirm the participation of Kings of Leon, Dave Matthews Band, Stevie Wonder, Dropkick Murphys, and Zac Brown band. As for what we can expect to see in the hours ahead? Neil Young, Spoon, Broken Social Scene, and Deadmau5. Also don’t be shocked if Roger Waters (performing The Wall), Pavement, and My Morning Jacket make an appearance.

Update: Here is the initial lineup…

Against Me!, Aeroplane, The Avett Brothers, B.o.B., Baaba Maal, The Black Keys Bassnectar, Baroness, Blitzen Trapper, , Brandi Carlile, , Chromeo w/ Darryl Hall, Clutch, Cross Canadian Ragweed, Damian Marley & Nas, , , Dave Rawlings Machine, The Dead Weather, , Diane Birch, Disco Biscuits, The Dodos, Dr. Dog, Dropkick Murphys, , The Entrance Band, (w/ Stardeath and White Dwarfs) performing Dark Side of the Moon, , , , Hot Rize, Jamey Johnson, Japandroids, , Jeff Beck, , Kid Cudi, , Kris Kristofferson, Ingrid Michaelson, Isis, John Fogerty, Julia Nunes, LCD Soundsystem, Les Claypool, , Lotus, Lucero, Manchester Orchestra, Martin Sexton, Mayer Hawthrone & the County, Medeski Martin & Wood, Melvins, Michael Franti & Spearhead, , Miranda Lambert, Monte Montgomery, Mumford & Sons, The National, , Neon Indian, Nitty Gritty Dirt Band, Norah Jones, OK Go, Phoenix, The Postelles, Punch Brothers, Rebelution, , Rise Against, She & Him, , , The Temper Trap, Tenacious D, They Might Be Giants, , , Tori Amos, , Trombone Shorty & Orleans Avenue, , Weezer, The xx,

Here are other expected and rumored acts.

Now, buckle up kids! It’s going to be a long and wild ride!

Feature image courtesy of Ryan Mastro…

]]> 7:30 pm Update: 90 minutes left! LCD Soundsystem, Les Claypool, Lucero, Kris Kristofferson, Martin Sexton, and Deadmau5 among the newest additions. 5:30 pm Update: Add The Dodos, Tori Amos, Tenacious D, Damian Marley & Nas, Lotus, Blitzen Trapper, Calexico, Mumford & Sons, Aterciopelados, and John Butler Trio to the mix. Still waiting for Neil, Pavement, and Roger Waters... 3:30 pm Update: A few more worthwhile confirmations: The Dead Weather, They Might Be Giants, The Melvins, Dave Rawlings Machine, John Prine, Mew, Dr. Dog, Clutch, and The Bakerton Group. Also, a few more expected: Alicia Keys, Pavement, and Spoon. 2:00 pm Update: So far, we've been going at this for a good five hours and we still only know about a 1/4 of the acts. Of those however, there are certainly a fair share of early highlights, including Jay-Z, The Flaming Lips, Regina Spektor, The National, Disco Biscuits, Jeff Beck, Norah Jones, Weezer, She & Him, and Phoenix. We can also confirm the participation of Kings of Leon, Dave Matthews Band, Stevie Wonder, Dropkick Murphys, and Zac Brown band. As for what we can expect to see in the hours ahead? Neil Young, Spoon, Broken Social Scene, and Deadmau5. Also don't be shocked if Roger Waters (performing The Wall), Pavement, and My Morning Jacket make an appearance. Update: Here is the initial lineup... Against Me!, Aeroplane, The Avett Brothers, B.o.B., Baaba Maal, The Black Keys Bassnectar, Baroness, Blitzen Trapper, Blues Traveler, Brandi Carlile, Calexico, Chromeo w/ Darryl Hall, Clutch, Cross Canadian Ragweed, Damian Marley & Nas, Dan Deacon Ensemble, Dave Matthews Band, Dave Rawlings Machine, The Dead Weather, Deadmau5, Diane Birch, Disco Biscuits, The Dodos, Dr. Dog, Dropkick Murphys, Edward Sharpe & the Magnetic Zeros, The Entrance Band, The Flaming Lips (w/ Stardeath and White Dwarfs) performing Dark Side of the Moon, The Gaslight Anthem, GWAR, Here We Go Magic, Hot Rize, Jamey Johnson, Japandroids, Jay-Z, Jeff Beck, John Prine, Kid Cudi, Kings of Leon, Kris Kristofferson, Ingrid Michaelson, Isis, John Fogerty, Julia Nunes, LCD Soundsystem, Les Claypool, Local Natives, Lotus, Lucero, Manchester Orchestra, Martin Sexton, Mayer Hawthrone & the County, Medeski Martin & Wood, Melvins, Michael Franti & Spearhead, Miike Snow, Miranda Lambert, Monte Montgomery, Mumford & Sons, The National, Needtobreathre, Neon Indian, Nitty Gritty Dirt Band, Norah Jones, OK Go, Phoenix, The Postelles, Punch Brothers, Rebelution, Regina Spektor, Rise Against, She & Him, Steve Martin with the Steep Canyon Rangers, Stevie Wonder, The Temper Trap, Tenacious D, They Might Be Giants, Thievery Corporation, Tinariwen, Tori Amos, Tokyo Police Club, Trombone Shorty & Orleans Avenue, Wale, Weezer, The xx, Zac Brown Band Here are other expected and rumored acts. Now, buckle up kids! It's going to be a long and wild ride! Feature image courtesy of Ryan Mastro...]]> http://consequenceofsound.net/2010/02/open-thread-bonnaroo-2010-lineup-announcement/feed/ 316 On Sale: Saturday, February 6, 2010 http://consequenceofsound.net/2010/02/on-sale-saturday-february-6-2010/ http://consequenceofsound.net/2010/02/on-sale-saturday-february-6-2010/#comments Fri, 05 Feb 2010 22:30:05 +0000 Alex Young http://consequenceofsound.net/?p=24860 The following tickets are on sale beginning Saturday, February 6th, 2010. Oh, and did you know you can support CoS simply by buying through the links below? Talk about an added incentive!

Alicia Keys:

What: Dates for Atlantic City, NJ; Washington, DC; Tampa; and Atlanta

When: March – April

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EST

Allman Brothers Band:

What: Dates for New York residency at United Palace Theatre

When: March 20-27

Tixs: $60.99 – $150.99

Buy: Ticketmaster.com at 12:00 PM EST

Broken Social Scene:

What: Dates for New York & San Francisco

When: May

Tixs: $30.00

Buy: Ticketmaster.com at 12:00 PM EST

Daughtry:

What: Dates for North American tour

When: April – June

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EST

The Dead Weather:

What: Dates for North American tour

When: April – May

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EST

Drive-By Truckers:

What: Dates for North American tour

When: April – May

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EST

Eagles:

What: Dates for Phoenix; Anaheim, CA; Sacramento, CA; San Jose, CA; and Vancouver

When: April

Tixs: $52.00 – $200.00

Buy: Ticketmaster.com at 10:00 AM EST

Ingrid Michaelson & Mat Kearney:

What: Dates for North American tour

When: March – April

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EST

My Morning Jacket & Preservation Hall Jazz Band:

What: Dates for North American tour

When: April – May

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EST

Paramore:

What: Dates for North American tour

When: April – May

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EST

Ringo Starr and His All Starr Band:

What: Dates for North American tour

When: June – August

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EST

]]> What: Dates for Atlantic City, NJ; Washington, DC; Tampa; and Atlanta When: March - April Tixs: Price varies depending on location Buy: Ticketmaster.com at 10:00 AM EST Allman Brothers Band: What: Dates for New York residency at United Palace Theatre When: March 20-27 Tixs: $60.99 - $150.99 Buy: Ticketmaster.com at 12:00 PM EST Broken Social Scene: What: Dates for New York & San Francisco When: May Tixs: $30.00 Buy: Ticketmaster.com at 12:00 PM EST Daughtry: What: Dates for North American tour When: April - June Tixs: Price varies depending on location Buy: Ticketmaster.com at 10:00 AM EST The Dead Weather: What: Dates for North American tour When: April - May Tixs: Price varies depending on location Buy: Ticketmaster.com at 10:00 AM EST Drive-By Truckers: What: Dates for North American tour When: April - May Tixs: Price varies depending on location Buy: Ticketmaster.com at 10:00 AM EST Eagles: What: Dates for Phoenix; Anaheim, CA; Sacramento, CA; San Jose, CA; and Vancouver When: April Tixs: $52.00 - $200.00 Buy: Ticketmaster.com at 10:00 AM EST Ingrid Michaelson & Mat Kearney: What: Dates for North American tour When: March - April Tixs: Price varies depending on location Buy: Ticketmaster.com at 10:00 AM EST My Morning Jacket & Preservation Hall Jazz Band: What: Dates for North American tour When: April - May Tixs: Price varies depending on location Buy: Ticketmaster.com at 10:00 AM EST Paramore: What: Dates for North American tour When: April - May Tixs: Price varies depending on location Buy: Ticketmaster.com at 10:00 AM EST Ringo Starr and His All Starr Band: What: Dates for North American tour When: June - August Tixs: Price varies depending on location Buy: Ticketmaster.com at 10:00 AM EST]]> http://consequenceofsound.net/2010/02/on-sale-saturday-february-6-2010/feed/ 1 Ingrid Michaelson wins over London at Scala (11/23) http://consequenceofsound.net/2009/11/ingrid-michaelson-wins-over-london-at-scala-1123/ http://consequenceofsound.net/2009/11/ingrid-michaelson-wins-over-london-at-scala-1123/#comments Wed, 25 Nov 2009 18:45:46 +0000 Tony Hardy http://consequenceofsound.net/?p=22319 Things are looking up for we Brits. Twice when native New Yorker, Ingrid Michaelson, hopped across the pond for some European dates, she managed one-off shows in London at Water Rats and Bush Hall respectively. This time around she warmed up with gigs in Manchester and Birmingham for her London show, now at a larger venue, Scala. Not that the singer ever requires a jump-start. She seems to be gigging endlessly and had just completed an exhaustive US tour before heading to Europe.

Built around the time of the First World War, Scala is a grand, imposing building which has spent most of its life as a cinema and in the early 70’s became a live music venue, famous for its all-nighters until 1974 when it lost its late-night license. After some unsuccessful makeovers, Scala finally staged live music again in 1999 after a radical transformation and now hosts gigs, club nights and multi-media events. It’s a spacious venue but tonight was way too full for comfort, meaning many people must have found it hard to see anything as they streamed into the back of the auditorium only to find the steps down to the main floor crammed with people who were there for the duration. The numerous and ever so zealous security men might have been better employed keeping a path open so that latecomers could reach the said floor, rather than pacing the labyrinth of outer stairwells, bitching about wrist bands.

The difficulties getting in to the building meant missing most of the support act, Greg Laswell. Like the headliner, the LA based singer-songwriter ought to have shares in the TV show, Grey’s Anatomy, which has featured his songs several times. Laswell delivered an interesting version of “This Woman’s Work” by Kate Bush, one of the songs on his recent Covers EP and enjoyed a packed, hushed audience for his set. It was a dream gig for any solo performer, a captive audience too scared to leave their posts in case they never made it back into the hall. From what we saw, the singer left with plenty of new fans from the experience.

The main event was almost like a homecoming for Ingrid Michaelson. The Staten Island songstress was greeted by a full-on, rapturous crowd, most of whom knew her songs backwards. Michaelson attracts a mixed bag, ex-pats and Brits, different ages, suits, indie chicks and a definite young girl-screamer element. Screams and whelps hit out as red light turned the drapes crimson and the stage momentarily resembled that bizarre cabaret set from Mulholland Drive. What seemed like dry ice blew thinly and apologetically onto stage right. Or maybe this was the cooling system mentioned by the singer later in her set? Taking the stage alongside her trusty sidekick, the redoubtable and highly talented, Allie Moss, on guitar and backing vocals, Michaelson was relaxed and chatted with the audience in her inimitable style. Who else could extract more laughs from her opening comments than your average comedian and immediately divides the audience into two halves of ‘awesome’ and ‘sexy’ people to provide the chorus for her opener, the quirky take on finding love, “Die Alone”.

I’ve scarcely seen a performer more at ease with an audience than Ingrid Michaelson. The girl is genuinely funny, combining kookie charm with indie chic and the rare ability to make the rehearsed seem totally improvised. She invites you into her world and gives you the most comfortable seat. “The Chain” is a set piece at most Michaelson shows, a composition for two or more voices in which each joins at a different time with the same melody, known as a round. The singer appeals for a third vocalist to help out with the song and a member of the audience steps up and, blow me, sings it pretty damn perfectly. It should be a set-up but it isn’t and it is a little phenomenon that speaks volumes about Michaelson’s connections with her audience and fan base.

Michaelson treated her devotees to an extended set of 15 songs and three encores with lots of chat in between. The material spanned all three studio albums with the focus on her August release, Everybody, which has pitched the artiste closer to the mainstream while retaining much of her core indie allure. She mentioned that she’d recently been ill but you wouldn’t have guessed this from the singer’s consummate performance, which grew stronger as the night wore on. You are struck by the power and range but also the subtlety of her voice. She is at ease in high and low registers, her voice cracks but never gives way.

High spots are hard to pick as there’s not a dud song in her repertoire, period. Michaelson threw in two new untitled songs, which impressed on first hearing, confident enough to close the show with one of them. This followed the stunning “Keep Breathing” and, joy of joys, her version of Radiohead’s “Creep”. There’s a hot duet with Greg Laswell on another new joint offering and a tender, heartfelt version of “Can’t Help Falling in Love”, from her Be OK album. The singalong “Everybody” and the single “Maybe” from the new record also impress. Her wicked introduction to the breakthrough song “The Way I Am” was as priceless as the song delivery itself. Her lyrics are always intelligent, wryly observed and accessible. That enough highlights for you?

I would have loved to hear “Breakable” or “Masochist” from her astonishing debut Girls & Boys and the divine “Sort Of” from the latest album but that’s being picky. There were quite enough riches to gorge on. Ingrid Michaelson may still be relatively unknown here in Britain but a packed Scala was left in no doubt that they had just witnessed a true star. She returns to these shores on May 26, 2010 for her biggest UK show yet at the Shepherd’s Bush Empire. Get your tickets early, this will be a sell-out.

Set List:
Die Alone
Once Was Love
The Chain
You And I
Be OK
Can’t Help Falling in Love
Duet (with Greg Laswell) as yet untitled
New Song (as yet untitled)
Mountain & the Sea
Everybody
Locked Up
The Hat
The Way I Am
Maybe
Far Away
Encores:
Keep Breathing
Creep (Radiohead cover)
New Song (as yet untitled)

]]> Grey’s Anatomy, which has featured his songs several times. Laswell delivered an interesting version of “This Woman’s Work” by Kate Bush, one of the songs on his recent Covers EP and enjoyed a packed, hushed audience for his set. It was a dream gig for any solo performer, a captive audience too scared to leave their posts in case they never made it back into the hall. From what we saw, the singer left with plenty of new fans from the experience. The main event was almost like a homecoming for Ingrid Michaelson. The Staten Island songstress was greeted by a full-on, rapturous crowd, most of whom knew her songs backwards. Michaelson attracts a mixed bag, ex-pats and Brits, different ages, suits, indie chicks and a definite young girl-screamer element. Screams and whelps hit out as red light turned the drapes crimson and the stage momentarily resembled that bizarre cabaret set from Mulholland Drive. What seemed like dry ice blew thinly and apologetically onto stage right. Or maybe this was the cooling system mentioned by the singer later in her set? Taking the stage alongside her trusty sidekick, the redoubtable and highly talented, Allie Moss, on guitar and backing vocals, Michaelson was relaxed and chatted with the audience in her inimitable style. Who else could extract more laughs from her opening comments than your average comedian and immediately divides the audience into two halves of ‘awesome’ and ‘sexy’ people to provide the chorus for her opener, the quirky take on finding love, “Die Alone”. I’ve scarcely seen a performer more at ease with an audience than Ingrid Michaelson. The girl is genuinely funny, combining kookie charm with indie chic and the rare ability to make the rehearsed seem totally improvised. She invites you into her world and gives you the most comfortable seat. “The Chain” is a set piece at most Michaelson shows, a composition for two or more voices in which each joins at a different time with the same melody, known as a round. The singer appeals for a third vocalist to help out with the song and a member of the audience steps up and, blow me, sings it pretty damn perfectly. It should be a set-up but it isn’t and it is a little phenomenon that speaks volumes about Michaelson’s connections with her audience and fan base. Michaelson treated her devotees to an extended set of 15 songs and three encores with lots of chat in between. The material spanned all three studio albums with the focus on her August release, Everybody, which has pitched the artiste closer to the mainstream while retaining much of her core indie allure. She mentioned that she’d recently been ill but you wouldn’t have guessed this from the singer’s consummate performance, which grew stronger as the night wore on. You are struck by the power and range but also the subtlety of her voice. She is at ease in high and low registers, her voice cracks but never gives way. High spots are hard to pick as there’s not a dud song in her repertoire, period. Michaelson threw in two new untitled songs, which impressed on first hearing, confident enough to close the show with one of them. This followed the stunning “Keep Breathing” and, joy of joys, her version of Radiohead’s “Creep”. There’s a hot duet with Greg Laswell on another new joint offering and a tender, heartfelt version of “Can’t Help Falling in Love”, from her Be OK album. The singalong “Everybody” and the single “Maybe” from the new record also impress. Her wicked introduction to the breakthrough song “The Way I Am” was as priceless as the song delivery itself. Her lyrics are always intelligent, wryly observed and accessible. That enough highlights for you? I would have loved to hear “Breakable” or “Masochist” from her astonishing debut Girls & Boys and the divine “Sort Of” from the latest album but that’s being picky. There were quite enough riches to gorge on. Ingrid Michaelson may still be relatively unknown here in Britain but a packed Scala was left in no doubt that they had just witnessed a true star. She returns to these shores on May 26, 2010 for her biggest UK show yet at the Shepherd’s Bush Empire. Get your tickets early, this will be a sell-out. Set List: Die Alone Once Was Love The Chain You And I Be OK Can’t Help Falling in Love Duet (with Greg Laswell) as yet untitled New Song (as yet untitled) Mountain & the Sea Everybody Locked Up The Hat The Way I Am Maybe Far Away Encores: Keep Breathing Creep (Radiohead cover) New Song (as yet untitled)]]> http://consequenceofsound.net/2009/11/ingrid-michaelson-wins-over-london-at-scala-1123/feed/ 2 Album Review: Ingrid Michaelson – Everybody http://consequenceofsound.net/2009/09/album-review-ingrid-michaelson-%e2%80%93-everybody/ http://consequenceofsound.net/2009/09/album-review-ingrid-michaelson-%e2%80%93-everybody/#comments Thu, 03 Sep 2009 07:15:21 +0000 Gillian Rosheuvel http://consequenceofsound.net/?p=19299 Everybody finds Michaelson confident and assured in both her singing and songwriting, expanding her sound, but maintaining her indie spirit.]]> On the triumphant opener to her sublime new album, Everybody, Staten Island native Ingrid Michaelson sings, “I don’t believe in anything but myself.” She’s not throwing down a gauntlet on the anthemic and exquisitely orchestrated “Soldier,” merely inviting listeners to sing along as to her song about the persevering spirit who survives the loss of love (“This soldier knows the battle with the heart isn’t easily won”).

After spending two years touring in support of 2007’s Girls and Boys (and seeing her tunes featured on Grey’s Anatomy and in Old Navy ads), Michaelson returns with the same winning melodic sensibility found on that album (and the 2008 EP, Be Ok), but this time marries it to a fuller sound. Throughout the album’s 12 tracks, strings, layered guitar, and acoustic rhythm piano dance with double-tracked harmonies, expanding the singer’s sonic palette. The irresistible “Mountain and The Sea” chugs along with furious guitar strumming and a big chorus that’s layered with Michaelson’s double-tracked vocals. The upbeat, piano-driven “Once Was Love” also features drum machine percussion. “Locked Up” is propelled by a stop-start piano and an R&B-inflected chorus. And don’t be surprised if you hear the musically crisp title track –- a hand clapper propelled by strummed ukulele and the chorus “everybody, everybody wants to be loved” –- in an earnest film or television show.

Meanwhile, lyrics of love, loss and the perseverance in the aftermath of both permeate this release. On “Men of Snow” Michaelson laments, “one day you’ll know, we’re men of snow/we melt,” with acoustic instrumentation swelling in the background.

Indeed, the ballads that made her debut a success form the heart of Everybody. Lyrical piano opens “Sort Of,” which boasts perhaps the album’s best line: “I find you stunning/but you are running me down.” As the song builds to a crescendo, harmonies weave in and out of each other to truly stunning effect. The sultry, bluesy feel of “Incredible Love” marks another departure for Michaelson, with her yearning lyrics (“Everything says it’s time to go, but the smell of your skin makes me stay”) brought to life by an almost gospel-like chorus.

The album’s best song is one familiar to fans who have seen Michaelson live. “The Chain” has been a staple of her concerts, and appeared on Be Ok in live form. This version expands the song into a majestic sound collage before ending on Michaelson’s crystalline vocal.

Everybody finds Michaelson confident and assured in both her singing and songwriting, expanding her sound, but maintaining her indie spirit.

Check Out:

Buy:
Everybody

]]> Everybody, Staten Island native Ingrid Michaelson sings, “I don’t believe in anything but myself.” She’s not throwing down a gauntlet on the anthemic and exquisitely orchestrated “Soldier,” merely inviting listeners to sing along as to her song about the persevering spirit who survives the loss of love (“This soldier knows the battle with the heart isn’t easily won”). After spending two years touring in support of 2007’s Girls and Boys (and seeing her tunes featured on Grey’s Anatomy and in Old Navy ads), Michaelson returns with the same winning melodic sensibility found on that album (and the 2008 EP, Be Ok), but this time marries it to a fuller sound. Throughout the album’s 12 tracks, strings, layered guitar, and acoustic rhythm piano dance with double-tracked harmonies, expanding the singer’s sonic palette. The irresistible “Mountain and The Sea” chugs along with furious guitar strumming and a big chorus that’s layered with Michaelson’s double-tracked vocals. The upbeat, piano-driven “Once Was Love” also features drum machine percussion. “Locked Up” is propelled by a stop-start piano and an R&B-inflected chorus. And don’t be surprised if you hear the musically crisp title track –- a hand clapper propelled by strummed ukulele and the chorus “everybody, everybody wants to be loved” –- in an earnest film or television show. Meanwhile, lyrics of love, loss and the perseverance in the aftermath of both permeate this release. On “Men of Snow” Michaelson laments, “one day you’ll know, we’re men of snow/we melt,” with acoustic instrumentation swelling in the background. Indeed, the ballads that made her debut a success form the heart of Everybody. Lyrical piano opens “Sort Of,” which boasts perhaps the album’s best line: “I find you stunning/but you are running me down.” As the song builds to a crescendo, harmonies weave in and out of each other to truly stunning effect. The sultry, bluesy feel of “Incredible Love” marks another departure for Michaelson, with her yearning lyrics (“Everything says it’s time to go, but the smell of your skin makes me stay”) brought to life by an almost gospel-like chorus. The album’s best song is one familiar to fans who have seen Michaelson live. “The Chain” has been a staple of her concerts, and appeared on Be Ok in live form. This version expands the song into a majestic sound collage before ending on Michaelson’s crystalline vocal. Everybody finds Michaelson confident and assured in both her singing and songwriting, expanding her sound, but maintaining her indie spirit. Check Out: Buy: Everybody]]> 80 http://consequenceofsound.net/2009/09/album-review-ingrid-michaelson-%e2%80%93-everybody/feed/ 2 Watch: Ingrid Michaelson – “Breakable” http://consequenceofsound.net/2009/02/watch-ingrid-michaelson-breakable/ http://consequenceofsound.net/2009/02/watch-ingrid-michaelson-breakable/#comments Fri, 13 Feb 2009 17:00:42 +0000 Alex Young http://consequenceofsound.net/?p=12004 Seeing as that tomorrow is Valentine’s Day, perhaps it’s only appropriate that Ms. love song herself, Ingrid Michaelson, is out with a brand new video. Ironically however, “Breakable”, a song off 2007′s Girls and Boys, isn’t something you’ll want to be playing for you significant other this time tomorrow. But hey, it’s catchy and pleasant, and at the very least, provides some nice background music as your trudging through your Friday.

Much like 2007′s smash hit, “The Way I Am”, the video for “Breakable” is fairly low key, mostly featuring the Brooklyn based singer/songwriter walking around town as she sings about obtainable love, though considering how gorgeous Michaelson is – sorry Regina! – I’m not sure the topic and theme at hand are all that realistic.


]]> Girls and Boys, isn't something you'll want to be playing for you significant other this time tomorrow. But hey, it's catchy and pleasant, and at the very least, provides some nice background music as your trudging through your Friday. Much like 2007's smash hit, "The Way I Am", the video for "Breakable" is fairly low key, mostly featuring the Brooklyn based singer/songwriter walking around town as she sings about obtainable love, though considering how gorgeous Michaelson is - sorry Regina! - I'm not sure the topic and theme at hand are all that realistic. ]]> http://consequenceofsound.net/2009/02/watch-ingrid-michaelson-breakable/feed/ 1