Blondfire
The Colourist
Daniel Bedingfield
Mon, June 11, 2012
Doors: 8:00 pm / Show: 9:00 pm
Bootleg Bar
Free
This event is 21 and over
http://www.foldsilverlake.com/event/113231/
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Blondfire - (Set time: 11:00 PM)
Blondfire is an Brazilian/American indie pop band composed of the brother-and-sister duo Bruce and Erica Driscoll. The band have found early supporters at KROQ, 98.7, Rolling Stone, Filter Magazine, MTV and they are riding a wave of online support as they begin to make their songs available. The song "Where The Kids Are" has been heard on ESPN Tennis programming, in several network television shows and in the new Rebecca Cutter film "Besties".
The Colourist - (Set time: 10:00 PM)
Fresh off of show dates with Grouplove. Eve 6, and Dale Earnhardt Jr. Jr., The Colourist is made up of Adam Castilla (vocals, guitar), Maya Tuttle (drums, vocals), Kollin Johannsen (guitar, bass), and Justin Wagner (bass, keys). The pop-fueled, indie-bred rock band (who, ironically, are not from the UK) first came together in the off-hours of an industrial warehouse in Orange County, where guitarist Adam Castilla and drummer Maya Tuttle made a last-minute decision to take on vocals -- a choice that led to unintentionally discovering the guy/girl harmonic chemistry that would shape the band's bright, anthemic signature sound.
Daniel Bedingfield - (Set time: 9:00 PM)
You’re going to love the new Daniel Bedingfield. And you’re going to hate the new Daniel Bedingfield.
But you will want to hear him — every style-shifting, genre-splicing, pulse-pounding note. Because seldom has an artist with such broad-ranging talents operated with so few constraints.
“I like the idea that someone who hears one of my new songs might simply want me to quit everything else I’m doing,” says the resurgent (and recalcitrant) songwriter who rocketed to the top of the pop world with “Gotta Get Thru This” a decade ago and spent much of the past eight years getting through the frustrations of the record industry.
“There are a million ways of self-expression, and I can’t hold to one sound. There isn’t one sound in my head, there are thousands.”
So Bedingfield moves adroitly between dance-floor bangers and R&B-spiked rock, between freak-funk and chilling piano ballads, between effects-heavy electro and sunny island reggae. All brim with his distinctive melodic sense and arching romanticism.
Free of record-label obligations, Bedingfield has struck out on his own, mounting a campaign through PledgeMusic that has reconnected him with his still-ardent fans and fostered a spate of new releases — each seemingly springing from a different creative impulse.
His percussive new single “Rocks Off” and its accompanying video offer a whimsical argument that “nothing, not even the hottest girls in the world, can distract me from my music,” he says. Its B-side, the disco-funk “It’s Not Me, It’s You” only hints at the spectrum of music to come.
Next up is Bedingfield’s deliriously catchy EP, “Stop The Traffik — Secret Fear,” the proceeds from which in part benefit Bedingfield’s global charity Stop The Traffik, an organization that fights to prevent human slavery and works to prosecute the traffickers.
Two more EPs will follow in 2012, each showcasing a different facet of an artist who is eager to make up for lost time, who is “absolutely unafraid to suffer the consequences of my own mistakes” and who, he points out wryly, does his best studio work stark naked. “Except when people are around,” he says with a smile. “Then I wear boxers.”
The best expectation, he warns, is to have no expectations at all. Which is what Bedingfield started with so many years ago before “Gotta Get Thru This” elevated him from church singer to U.K. garage hero.
The son of New Zealand social workers who relocated to London to work in the areas affected by the Brixton riots, Bedingfield and his two talented sisters, Natasha and Nikola Rachelle (The Golden Phoenix), were reared in a musical household surrounded by the diverse sounds of the time — the Police, Rage Against the Machine, Nirvana, Michael Jackson, Stevie Wonder and Bob Dylan — as well as the reggae embraced by his family’s many Jamaican friends.
His debut album, which bore the name of his first hit song, spawned five Top 10 singles and helped him earn the 2004 BRIT Award for Best British Male Artist. Bedingfield’s follow-up album “Second First Impression” did not fare as well.
“The record company simply wanted me to keep repeating the same formula,” he says. “If I’d done that, it would have sounded massively dated the moment it came out. Music has to be dangerous. You have to be mortally terrified of everyone hating it, or you’re not doing the right thing. So I don’t mind failure. What I do mind is being stuck in a cage for eight years.”
While working to be freed from the ties that bound him artistically, Bedingfield became an untiring do-it-yourselfer. His new material, recorded on his M Box in studios all over the world, draws from a sonic palette as vast as the planet itself.
“When I sit down to write a song, it appears to me like a bodily function — I must give birth to it. And it has a core sound that demands I follow,” he says. “Which is why I’m not good at co-writing and why I’ve had to get rid of most musicians and producers and play all the instruments myself.”
The arrival of Bedingfield’s music comes in similar DIY fashion. His PledgeMusic campaign and direct-to-consumer strategy boldly promise to take his new work to his still-loyal legion of fans and open the door to new audiences.
“What I’ve created sounds all over the place,” he says. “And that’s actually very exciting to me.”
You could very well love it. And you might hate it. But you won’t want to ignore it.
But you will want to hear him — every style-shifting, genre-splicing, pulse-pounding note. Because seldom has an artist with such broad-ranging talents operated with so few constraints.
“I like the idea that someone who hears one of my new songs might simply want me to quit everything else I’m doing,” says the resurgent (and recalcitrant) songwriter who rocketed to the top of the pop world with “Gotta Get Thru This” a decade ago and spent much of the past eight years getting through the frustrations of the record industry.
“There are a million ways of self-expression, and I can’t hold to one sound. There isn’t one sound in my head, there are thousands.”
So Bedingfield moves adroitly between dance-floor bangers and R&B-spiked rock, between freak-funk and chilling piano ballads, between effects-heavy electro and sunny island reggae. All brim with his distinctive melodic sense and arching romanticism.
Free of record-label obligations, Bedingfield has struck out on his own, mounting a campaign through PledgeMusic that has reconnected him with his still-ardent fans and fostered a spate of new releases — each seemingly springing from a different creative impulse.
His percussive new single “Rocks Off” and its accompanying video offer a whimsical argument that “nothing, not even the hottest girls in the world, can distract me from my music,” he says. Its B-side, the disco-funk “It’s Not Me, It’s You” only hints at the spectrum of music to come.
Next up is Bedingfield’s deliriously catchy EP, “Stop The Traffik — Secret Fear,” the proceeds from which in part benefit Bedingfield’s global charity Stop The Traffik, an organization that fights to prevent human slavery and works to prosecute the traffickers.
Two more EPs will follow in 2012, each showcasing a different facet of an artist who is eager to make up for lost time, who is “absolutely unafraid to suffer the consequences of my own mistakes” and who, he points out wryly, does his best studio work stark naked. “Except when people are around,” he says with a smile. “Then I wear boxers.”
The best expectation, he warns, is to have no expectations at all. Which is what Bedingfield started with so many years ago before “Gotta Get Thru This” elevated him from church singer to U.K. garage hero.
The son of New Zealand social workers who relocated to London to work in the areas affected by the Brixton riots, Bedingfield and his two talented sisters, Natasha and Nikola Rachelle (The Golden Phoenix), were reared in a musical household surrounded by the diverse sounds of the time — the Police, Rage Against the Machine, Nirvana, Michael Jackson, Stevie Wonder and Bob Dylan — as well as the reggae embraced by his family’s many Jamaican friends.
His debut album, which bore the name of his first hit song, spawned five Top 10 singles and helped him earn the 2004 BRIT Award for Best British Male Artist. Bedingfield’s follow-up album “Second First Impression” did not fare as well.
“The record company simply wanted me to keep repeating the same formula,” he says. “If I’d done that, it would have sounded massively dated the moment it came out. Music has to be dangerous. You have to be mortally terrified of everyone hating it, or you’re not doing the right thing. So I don’t mind failure. What I do mind is being stuck in a cage for eight years.”
While working to be freed from the ties that bound him artistically, Bedingfield became an untiring do-it-yourselfer. His new material, recorded on his M Box in studios all over the world, draws from a sonic palette as vast as the planet itself.
“When I sit down to write a song, it appears to me like a bodily function — I must give birth to it. And it has a core sound that demands I follow,” he says. “Which is why I’m not good at co-writing and why I’ve had to get rid of most musicians and producers and play all the instruments myself.”
The arrival of Bedingfield’s music comes in similar DIY fashion. His PledgeMusic campaign and direct-to-consumer strategy boldly promise to take his new work to his still-loyal legion of fans and open the door to new audiences.
“What I’ve created sounds all over the place,” he says. “And that’s actually very exciting to me.”
You could very well love it. And you might hate it. But you won’t want to ignore it.
