Words:

Adam Wilson - www.AudibleThoughts.co.uk

Photos:

Chris Poots - http://www.flickr.com/photos/thirdeyephotographyuk/

Tony Jupp - http://www.tonyjupp.com/

The second day of our Sofar Sounds experience at The Great Escape had a slightly slower start…from both the team and the crowd. As the mics, cameras, decorations and assorted technical equipment were organised around the room, several people nursing quite obvious hangovers showed that its a good job we’d done it all in this room once before. But with six acts lined up to play, several large set ups to accommodate and co ordinate and some seriously frazzled brains, it was perhaps useful that we were situated so close to both Starbucks and Costa. Although its worth noting the few absolute troopers who kept their own personal parties going, drinking right on through the Saturday too.

With this atmosphere in mind, and several patiences tested during the set up of the equipment, it was perhaps fortunate that the second day of bands began with Hjaltalin, hailing from Iceland. Gently warming the tired heads of the Sofar flock with an opening piano ballad, Axel Haraldsson showed us how far he was willing to bear his entire soul to a room full of strangers in the service of his songs. The arresting intensity of his performance moving from English into Icelandic flooded the stage with high expectations, easily met as the rest of the band joined him and began to add their own instrumental talents throughout the remainder of the set. There were influences from as far away as Hip Hop, providing a slight bounce to the booming drum noises that form solid drum grooves and perfect accompaniment for the epic, stoical melancholy of their songs. Their ballad to the moon brought something of a 3am insomnia, the psychic stillness of the early morning atmosphere awakening a wistful longing for rest, even as the sound awoke memories of our own most contemplative moments in life.

Next: Tribes. Two bedraggled indie pub rock figures sat in front of us, clearly still recovering from the Brighton nightlife and the effects of good clean sea air. To call Island record’s brit rock signing untidy would be to miss the point. They were as they are, completely unashamed, perhaps aware of the zero possibility of judgement from the crowd. Kicking off with The Kink’s ‘Sunday Afternoon’, they played it with an authentic familiarity I swear can only be achieved by a certain class of hungover British rock musician. And then; they changed. If there had been headaches before, they were long gone now. The rest of the set jumped right across The Atlantic, starting with ‘Dancehall’, a Tom Petty style Americana number that completely took me by surprise… making ears prick up with the sudden kick of energy. They ended a short set with the highly danceable ‘How the Other Half Lives’. Delivered with the same passion that has defined their career in music up until now.

Stripped back from the much larger sound they usually employ, Secret Son graced us with “pretty much” their first ever acoustic gig. We’ll let them off the odd acoustic moment brought on by amps dying mid-set, and just call it the first. And I bet these guys break a lot of amps in their normal guise. The set they gave us on Saturday kicked off “The Way I’m too used to” - guitar supporting a twinned male harmony brushed along by the insistent rhythm of a tambourine and shaker. A tight live unit considering most of their songs are written across great distances - facilitated by the information superhighway. 

Next up was the angelic Josh Record. Watching his set progress in the squeezed setting of Sofar completely demonstrates how well he earns the description. And that’s leaving out the impressive acts of altruism he’s partly famous for and just focussing on the music. Short cropped hair, twinned with a beaming smile and an approachability that frees everyone in his immediate vicinity from any awkwardness. His aura carries through to the sound, blessed with a voice somewhere between Jack Johnson and the Ben Gibbard of Death Cab for Cutie.

Every layer in a Josh Record song is perfect in and of itself - the vocals, the instruments, the percussion; all slotted together like modular origami. The interaction between the layers, the persona of the songwriter, the voices and the work gives so much to recommend in one artist who has already made such a positive impact on the world that it can only be ongoing ascension from now on.

Continuing the near magical mood that had descended upon the room by this point was John Smith. Ruining the near magical mood was… someone sitting on an iPhone, which suddenly and loudly informed the whole room that it had no idea what it’s owner’s bum had just said. But the spell didn’t break for long, and another expectant hush descended on the room, so we could all hear as John started playing again. As someone who spent my teenage years confusing musical progression with increasing volume, it’s hard to fully explain the effect John Smith’s playing can have on you. He plays so quietly, barely stroking the strings as he effortlessly draws from an inner pool of creative colours to provide you with a moment’s contemplation. A carefree tour through the mind of a man who pulls your ear along so gently you lose all sense of time, and place. You cannot resist being drawn inside his imagery, adopting his guise for the three minutes you listen as his almost whispered delivery means that no one moves; no one fidgets; and no one forgets.

Being the final act on a two day bill is a bit of a double edged sword. While it can seem as though the whole two days were building towards this point, the fact that it came to a close mid-afternoon gives everyone a reason to day dream about what they’ll do next. Your own personal restless musings don’t really cut it when you’re listening to Sweet Baboo though.

As his songs progress, poetic patterns and rhythmic consistencies are established and unexpectedly smashed, constantly waking you from the contented trance, induced by the repetition of arpeggiated simple chord patterns that give an overriding sense of structure to everything. He seems to have literally built his songs line-by-line out of all the unique quirks in his own personality, leading to imagery regarding squishing brains together as he sings in conversation with a special girl he likes (using the word ‘lover’ to describe her just feels wrong for some reason). The open guitar case lying obediently behind him also helped to create the image of the busker, playing music not because he expects to be rich, but because he needs someone to hear his poetry. Which is really the best way to understand him - as both a riveting poet and musician combined.

Words: Adam Wilson - www.AudibleThoughts.co.uk

Photos: Chris Poots - http://www.flickr.com/photos/thirdeyephotographyuk/

Tony Jupp - http://www.tonyjupp.com/

Experiencing a Sofar Sounds gig is slightly different to a regular musical performance. The potency of the air has become the main sticking point for those of us involved, which is not solely the result of squashing a lot of people into one small boiling hot room. There’s atmosphere, a dramatic presence that’s impossible to define completely, but nevertheless it’s something a lot of performers seem to notice and fight in different ways, as their brains traitorously insist that everyone in the room can read their inner thoughts and insecurities that must surely be obvious to everyone in the room. But no one fights this battle alone at Sofar. As though by sheer force of psychic will, we all rally round each musician as they overcome their subconscious and reach the revelation that this space has been transformed for their benefit. It’s become a meeting place for those who love music, for those who love life and for those disenchanted with standard gig formats. Each performer faces their own personal battle with their perceived transparency, and every performer receives the same support from the audience.

Kicking off the line up of 11 bands across just 2 days were Casimir. Clearly born from the tradition of groups of friends forming musical units, immediately obvious was the closeness of the friendships in the band. Playing light indie rock padded with accomplished vocal harmonies and what seemed like a developing thirst for creative arrangements, Casimir were no soon-to-be-forgotten support act. Often, the bass guitar was molded with pedals into the ghostly impression of a marimba and tasked with carrying the lead melody, while the guitar and drums gave us the groove. As their set progressed, the trust each member had for their compatriots was immediately obvious. The troops constantly rallied around their lead singer, supporting him in the potent Sofar sounds air as the songs rose up, and bringing their volume down and out of the way as the mood dropped back down. To finish, their cover of Sexy Senorita lifted the mood of our first morning and gave us a taste of what they can do when they really cut it loose.

Gavin James is one of those acts who really knows how to take the Sofar atmosphere and run with it. Relying equally on his musical ability and sunny disposition to carry him through his performances, Gavin on stage was as charmingly funny as he was captivating; a natural born entertainer with a skill for understanding how to best use his voice. I’m sure there were hundreds of cover versions of Daft Punk’s ‘Get Lucky’ over The Great Escape weekend, but none so delicately endearing as Gavin’s, quietly arranged and practised two nights previously in a small hotel room at 2am. Easily recommended to fans of Ed Sheeran (minus rapping) or Ben Howard (with better hair), with an additional nod towards the traditions of Irish singer songwriters, Gavin has every chance to continue building on his impressive success and filling the world with gorgeous music.

Making the transition feel like everyone’s favourite boat based romantic movie, our next act was a stylishly chic figure, embracing the traditional look of European vogue and speaking in a soft Australian accent. Supported by Brigitte, providing the only accompaniment and confidently harmonising Sophia’s melodies.

Together, the two women weaved a haunting performance out of thin air. Without the slightest outward indication of effort, Sophia concocted an otherworldly presence, painting the room with an elegant air of opulence and commanding an intrigued respect from those of us looking on. Even so, underneath her composure, seems to lie an artistic fire and a dedication to the perfected performance of her compositions.

Many artists have found inspiration travelling across America, and anyone looking to follow in their footsteps would be wise to use the next band to soundtrack their travels. Like the name of their album, Houndmouth are “From the Hills and below the cities” and play with a barely perceptible swing, allowing their light southern accents to place the lyrics right in the pocket of every melody and beat. The laid back grooves and harmonies put me most in mind of The Band, and there’s an uncomplicated and reassuring warmth to the whole ensemble.

Bringing the first day of our Great Escape Festival to a close were Canadian band Royal Canoe. Stripping their sound right back to its bare bones for us (no room for a six keyboard set up with backing tracks at a Sofar gig!) they were forced to demonstrate the skill and disciplined musicianship that underpins their music. The band played out their post-punk/dream pop inspired indie as a tight musical unit, made up of the sum of even tighter individual groups. As the two drummers break their parts up to increase the rhythmical interest, the bass ploughs through, driving the song forward and creating its own solid foundation. Without the additional electronics, the spaces in their sound created an intricate rhythm of silence, like the sun shining through the gaps in the trees. These gaps and the Sofar sounds code of silent respect allowed us to hear just how tightly every part locked into and supported every other part, like something between a Canadian Everything Everything and Alt-J.

Great Heat - No GPS or Earplug In | Sofar Creative

Beans On Toast - Harry In A Helicopter | Sofar London (#314) 

Fimber Bravo ft. Alexis Taylor - Sinnerman | Sofar London (#363) 

9mary - L’Amour Est Bleu | Sofar Paris (#348)

Sofar Minneapolis (#337), featuring Bad Bad Hats, The Hummingbirds and FireFlyForest

Sofar Alumni #2, featuring King Charles, The Staves, Walmir Borges, Meg Myers and Hudson Taylor.

Meg Myers - Monster | Sofar Los Angeles (#271)

John Smith - The Perfect Storm | Sofar Brighton (#292) 

Leif Vollebekk - When The Subway Comes Above Ground | Sofar New York (#321) 

The Staves - The Motherlode | Sofar Austin (#311) 

Finding a home for our increasing fan base isn’t always simple, so we were ecstatic when Jon Morris of the Windmill Factory offered up his live-in workspace for April’s gig.

Perhaps best known for the Hudson River installation “Reflecting the Stars,” the Windmill Factory is a unique interactive design and art initiative that seeks to “spark a sublime moment for the public”—a mission not unlike that of Sofar. And so it came to be that our diverse range of performers sang, stomped and improv’ed their way through a screen-printed forest, complete with astroturf rug.

First up was Charly Bliss, a newcomer to Sofar, who came to us (thank you college!) through a friend of an NYU friend. Made up of siblings Sam and Eva, along with their pals Spencer and Kevin, the quartet grew up together in Westport, CT, but are relatively new to the NYC music scene. Led by Eva’s quirky vocals—a tone both pinched and soulfully rough—their distinct mix of indie pop offers cut-to-the-chase, upbeat originals and addictive covers alike.

Next up was Sofar veteran F. Stokes, a spoken word/hip hop artist who transcends both genres and expectations. Having literally just jumped off his bike, Stokes launched straight into a reminiscent flow, crafted on his very first NY job as a bathroom attendant. The experience was a veritable Ph.D in social tendencies, the likes of which pervade his uniquely perceptive verse. He instantly wowed the crowd, including Spencer of Charly Bliss, whom he recruited to spontaneously spar guitar with his in-the-moment verse.

After a brief interlude that introduced the audience to Candy, the Windmill Factory’s “saber tooth” mascot, we succumbed to the soothing sounds of Lovely Liar. Infused with a coolly jaded, 1960s storytelling vibe (recalling the likes of Serge Gainsbourg), the group’s lead singer, Tatiana Pajkovic, seduces with a wise, lived-in voice that spans more octave than expected. Yet, it’s in her lower range that Pajkovic resonates most clearly, as on the song “Glorious Hollywood”.

And then came a surprise performance by Leah Siegel of “Firehorse”, a favorite of Sofar NYC organizer Jodie Belman and girlfriend (yet another asset of the location) of Windmill Factory founder Jon Morris. Though she claimed acoustic guitar might render her song a bit of a dud, the stripped down sound proved how beautifully raw and brave Siegel is in her upper register. Barely whispered notes, thick with emotion, revealed why many before me have described her as akin to the late Jeff Buckley.

Closing the set was Woolly & the Mammoth, the perfect companions for our indoor woodland setting. Falling within the “folk revival” movement, this budding young band layered percussion—from the buckles on their boots to tambourine and an expertly played cajon— under fiddle, guitar, and co-ed vocals. Their casual tone and round-the-campfire vibe was an upbeat end to yet another incredible night of intimate Sofar Sound.

                                                      Carly Defilippo 

For more information about Sofar Sounds New York go to: http://nycsofar.wordpress.com/ or like our Facebook Page: Sofar Sounds New York

Sofar Houston’s show on Saturday, March 2 was filled with stars on the rise in the middle of a city on the rise. White enjoying complimentary from Buffalo Bayou Brewing Co. in the backyard of an unconventional residence that could easily double as an art installation, music fans were treated to intimate, innovative performances from some of the music’s “next big things.”

Austin Smith, one-fifth of the band A Sea Es, kicked off the night with four songs of beautiful, electro-pop genius. Throughout his set, Smith used a looper to layer seemingly disparate sounds into cohesive, soulful melodies. Up on stage, surrounded by an impressive array of equipment on loan from KTRU, Smith built music out of what began as beatboxing, two seconds of vocals and a guitar riff. A Sea Es will be performing at Houston’s Free Press Summer Festival at the beginning of June, and you can download their album here.

Austin Smith of A Sea Es. Photo credit: Amy Carl

The second act was a riotous acoustic duo comprised of Austin, Texas-based Jordan Laz of the band Locksley and his ukulele, Junior. Laz got the crowd energized and dancing with his stripped down songs, that were, for lack of a better word, jammin’. His and Junior’s voices merged perfectly, and when his last song took a more soulful turn, the audience couldn’t help but be captivated by his charisma and vulnerability. You can download Laz’s album here and purchase any of Locksley’s three albums here.

The final act, Chin Xaou Ti Won, was the perfect way to conclude the evening. Marcus Cone and Ian Travis transported listeners to a different time and place with their synth-infused, atmospheric melodies – ideal music to warm attendees against the cold night. Chin Xaou Ti Won will also be performing at the growing Free Press Summer Festival, and their most recent album is available for purchase here. You can also find some of their older material here.

Thanks to the incredible generosity of our host and the efforts of Sofar Houston’s coordinators and volunteers, guests were treated to a sneak peek of some of Summer Fest’s finest and an emerging solo artist. Sofar fans around the world should keep their eyes peeled for these local acts on much bigger stages. To share a little bit of the musical magic, check out the official Sofar Sounds SoundCloud to hear the night’s performances.

Winter was scratching at my cheeks like sandpaper as I made it to the front door of the April Sofar Sounds gig on Chalmers St. Looking for something to warm me up, I cracked a coopers longneck (how cliché), meandered upstairs and firmly planted my arse down on the floorboards, trying to hide my excitement at the beautiful night of music I knew was installed.

 
First to play was Packwood, whose reputation as one of Sydney’s best folk musicians was one that I was well aware of. Armed with a beautiful old banjo (he specified age but I forgot!) and a two-piece band of oboe and violin, Packwood began to serenade us with a set that was truly unique. His music ranges across an amazing dynamic and emotional spectrum from delicate and fragile melodies, to broad and powerful banjo strums. It has hints of country, folk and oriental sounds. Packwood is truly one of a kind. He moved through tracks from his self-titled debut EP and gave the audience a sneak peak at a new track he’d expects to be on his debut album. The highlight was his track “Charlotte” which showed his knack for clever melodies and quirky arrangements.

Following Packwood were the Melbourne based bluegrass group Mustered Courage. For me, and many others, they were the highlight of the night. Their harmonies were tight, there musicianship was…well, it was bloody incredible. Every fast mandolin lick, each vocal melody, every single aspect of their performance was energetic, exciting and a whole lot of fun! These guys had the crowd eating out of the palm of their hands and rightly so. They delivered a truly unique performance and are definitely a band to look out for!

The night then turned back to a more simple and gentle folky sort of sound with Newcastle’s Riley and Donna. A softly spoken three piece, Riley and Donna provided a much more chilled out atmosphere for the crows with their simple harmonies and honest songwriting. The highlight by far was their beautiful cover of Bon Iver’s “Wolves Act I and III”. Donna who provides percussion and vocals for the band belted out the lead vocal with a voice showing maturity beyond her years. It was powerful and delicate at the same time and had the crowd divided amongst those who were stunned by this beautiful sound and those who couldn’t help but join in and sing along.

To end the night the crowd was moved from up stairs, down to the courtyard where Papa Pilko and The Binrats (easily the best band name ever!) were set up and ready go. They were a sultry explosion of country and blues. Each sexy song they delivered had the whole crowd twisting and shouting, oblivious to the ice-cold night air. It was such a great way to finish the night; knees knocking, feet stamping and heads bopping to the sound of this incredible band screaming, “There’s some kind of evil…”  

Get down to the next Sofar Sounds Sydney for a live music experience like no other. You will not be disappointed!

Words by Callum Wylie

Photography by Martin Nester Photography and Design

Words: Peter Pawan

Editor: Adam Wilson

A 10 minute walk from the station, slightly removed from the hustle and bustle of the city centre and somewhere along a terrace of beautiful white stone buildings, the local Sofar Sounds crew had been busy for a few hours carefully moving furniture in our wonderful host’s home, and setting the stage for 5 incredible artists and about 60 music lovers.

This was the first Brighton Sofar gig since the clocks changed and we officially entered that ambiguous period known as British Summer Time - for tonight, a great sunny vibe was in the air.

From the street, a small A4 piece of paper with the word Sofar printed on it, replaces the balloons that herald the venue of a birthday party. Most walk on by, but for those in the know, this is the entrance to a magic world. On entering the apartment, the master bedroom was turned into a green room and music equipment storing area - piles and piles of instruments; ‘twas a beautiful sight.

Up first were Black Black Hills - at least that was the plan, until there was a keyboard malfunction (if you don’t keep water and other liquids a long way away from equipment, accidents happen).

Whilst one of the band drove home to get a replacement, the running order changed and Danny Green from Laish, stepped up to the plate. He performed a killer 4 track solo set including audience participation where we all provided a backing orchestra of coo-ing birds. We came in on cue - whether the result was exactly what Danny had in mind or not, you’d have to ask him - he was charming though and said we all did a great job!

Black Black Hills were back in the house and with new keyboard in hand, took to the staging area for 4 tracks.

The voice is extraordinary - so powerful and expressive… and the percussion rhythms were energetic and just fantastic.

The Melodic closed the first half of the night with their 4 track set. Having just signed to Anti Records in the US, that was a real treat.

The Self Help Group kicked off the 2nd half of the night and with a range of instruments, a great tight groove, mixed with beautifully intricate melodies and harmonies, they stunned the crowd

Josh Record has just signed to Virgin Records - he will be playing The Great Escape Festival on Saturday 18th May. Along with his band, he raced from the studio in London to treat us to a selection of tracks and to close the night.

At the start of the evening, no-one knew who would be performing, and a great majority of the people in the living room had never been to a Sofar gig before.

Throughout the night, the vibe was amazing, the music was incredible, new friendships were being made. By the end of the night, the place was buzzing, our host was beaming, the artists had new fans, and the whole night was pure magic.

Tuesday 16th April was another glorious evening in Brighton. Kick off was 8.30pm.

Do get in touch with us at brightonsofar@gmail.com if you would like to be involved and think you could help the local team.

We’re always hunting for great venues across Brighton and Hove. If you have a home which you think could work and you would like to host one of our secret gigs, let us know!

We’ll be back for The Great Escape!

On April 16th in the Uptown area of Minneapolis, people gathered from around the Twin Cities for the second local Sofar show of 2013. Yanna had kindly offered to host at her beautiful home after hearing about Sofar from a friend, and the space turned out to be perfectly suited for an event like this.

The evening opened with a band called FireFlyForest. This group was certainly a unique experience when compared to a lot of the previous bands we’ve hosted here in Minneapolis, which have been a large amount of gentle folk acts with some variation here and there.

They set themselves apart immediately when they stepped onstage with an accordion and several different woodwind instruments. This really sunk in after they had introduced themselves and began to play, utilizing very interesting sounds such as slapping cheeks. Listening to them, it might be difficult to try and fit the sound into any one musical category. One song was very gentle and utilized amazing harmonies between the accordion and clarinet, while the next jumped back and forth between a chaotic sound and a steady rhythm.

I don’t want to use the word “inconsistent” because I feel like it may carry a negative connotation, and that’s definitely not what I’m trying to express here. FireFlyForest was incredibly varied even within their own genre (however you would choose to describe it), and this made listening to them a really great experience.

The next band to step up in front of the crowd was up and coming local group Bad Bad Hats. While they were short the bass player that they normally perform with, they absolutely shined at this type of show. They opened with the title track from their EP “It Hurts”, an upbeat song that was a perfect example of great indie-pop (with an excellent use of the kazoo). Lead singer Kerry Alexander’s voice provided a very familiar experience for those who are acquainted with the genre,  and yet she definitely added her own refreshing twist.

She introduced the next song by saying “this song wouldn’t normally be played in this type of setting”. This turned out to be an acoustic cover of “All the Small Things” by Blink-182, and I can easily say it was one of the most enjoyable moments I’ve had at a Sofar gig to date. This was followed by two more songs from their upcoming full release

Their “It Hurts” EP can be downloaded for free from the groups bandcamp page, and I definitely recommend checking it out. I’m personally really excited to see what they have in store for us over the next year.

The final performers of the evening were The Hummingbirds. A three piece group composed of local musicians Lynn O’Brien, Kestrel Feiner-Homer, and Sarina Yospin.

They opened with a song called “Sign Language”, and their harmonies were instantly striking. It was really unbelievable to hear three very distinct voices that were each uniquely beautiful come together to produce that kind of sound. Gentle and soothing are probably the best words to describe it.

They continued with a song called “Mama Told Me” followed by a beautiful song that Sarina Yospin said she had learned at a laundromat. The band each used different instruments including a guitar, banjo, and ukulele. I feel like this really helped to propagate the idea that while they were three  individuals with different sets of talents, when they make music they come together to create something truly beautiful.

All in all it was a successful evening that really couldn’t have gone better, thanks to the great bands and our wonderful host (she even made food for us, what a cool lady). It really all goes to show what can be accomplished by a group of people coming together to do something like this, and not for any kind of reward but for the sheer enjoyment of it. Sofar Minneapolis is running pretty strong on that fuel.

Words by Xander Grzywinski

Photos by Kelsey Simpkins

The rain was constant, the annoying type that establishes a presence with its ongoing pitter-patter.  After emerging out of the metro, I spotted a mirage of instruments being carried by hooded individuals filing one behind the other into a narrow doorway.  Anxious to get out of the rain, I quickly joined the parade and accompanied these strangers and their drums up the staircase.  Just as I was rounding the second flight of stairs (progressively getting more nervous that I was approaching a “point of no return,”) I saw a door opened to a vibrant apartment, filled with music enthusiasts and signs for 1euro beer.  Anxiety subsided and was replaced with excitement for my first Sofar show, and the first ever in Barcelona. 

It was a full house.  Amigos, lovers, groupies and strangers all gathered in a characteristically Barcelona apartment with its tall ceilings.  There was cheap beer, instruments being tuned and lots of smoke looming overhead.  It felt like the intimate, legendary rock-n-roll concert that is covered years later by a journalist from Rolling Stone.

Our introduction to the first band was a slow-clap in unison, which contributed to the intimate feel of the night.  Then the beautiful, melodic folk-sound silenced the audience and Olivemoon took over. 

Olivemoon is an alternative folk-rock group assembled of Spaniards and Swedes that got started in Barcelona in 2007.  Marc Navarro’s steady vocals are accented by an array of sounds from many different instruments.  Olivemoon’s lyrics are in English - this offers the listener a poetic journey, but the accompanied instrumentals represent another journey even more lyrical.  Olivemoon’s, “The Cliff” begins slowly like a train steadily moving forward with Navarro’s soulful voice at the lead.  The drums pick up, and the instrumentals transition into the storyteller.  Olivemoon is the perfect combination of solidity and experimentation, and this is a recipe for a beautiful musical adventure. 

After a five-minute break, the audience was introduced to the second band of the night: La Sentina.  La Sentina is a small band on the Indian Runners record label with sincere lead vocals, instrumentals and Catalan lyrics. 

 Catalan is a beautiful spoken language and even better when put to music.  “Plàstic,” the third song by La Sentina, has a powerfully instrumental refrain that gives the piece a roller coaster feeling. 

For someone who cannot speak Catalan, I felt like I understood the song’s meaning perfectly.  La Sentina was the perfect first-introduction to Catalan music.

The set-up of the third group was interesting to watch unfold.  There was a diverse range of instruments, including harmonium, multiple keyboards, autoharp, marxophone – the list goes on!

Berlinst is a “band that dreams about music and makes music about dreams.” Just as diverse as its instruments are the nationalities represented in this group.  Berlinst has six members from Poland, Italy, Spain and Chile.  Their sound is breathtaking, especially the vocals of Barcelona’s Gemma Gamarra. 

Berlinist has an echoing sound comparable to that of Sigur Ros, and violinist Natalia Bednarczyk strikes a lasting impression.  During all four songs, the audience was completely entranced; a pin-drop could be heard throughout their entire 20-minute set. Berlinist created magic.

The final performance came from Mates Mates, five Catalan boys that are re-inventing the meaning of “jamming out.”  Their set began with a beautiful cover of Bob Dylan and Johnny Cash’s, “Girl from the North Country.” 

It was the calm before the storm, because the rest of the set was an energetic ending fit for a rock-n- roll concert.  Playing to their strengths, these boys got the crowd going and engaged in the music – dancing rambunctiously around the room with guitars and trumpets in hand into the smiley-eyed audience.

Mates Mates has the sound of an eighties garage band with a big personality.  They appropriately ended a night (which began with slow clapping) with foot-stomping excitement.  

The first Sofar show in Barcelona was not only memorable for the 75-person, hand-picked audience and musicians, but for Barcelona as well.  The evening showcased local talent and allowed a new city to join in on an international music movement.  Sofar, without a doubt, has a bright future in Barcelona.

Photos by Yulia Syresenkova and Mary Elizabeth

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The last set of the night came in the form of The Lonely Wild. They kicked off their set with the heartbreakingly beautiful Over the Hill. The vocals that came from The Lonely Wild were beautiful, yet chilling. By the time the band performed The Right Side of the Road the audience was completely hooked.

The next song, Closer than the Needle is a rather tragic song, but you could feel the audience’s excitement while they played. During the last song, Everything You Need, The Lonely Wild had everyone up and moving to their music. It was an amazing performance that most won’t forget any time soon.

The entire night was more than successful. The bands were amazing, and the audience was charming. Add in that the location was beautiful, and the hosts were amazing, and you have a night that was pretty much perfect. It was another night that proved that SoFar Los Angeles knows what they are doing.

Words and Editing: Rachel Stephens

Photos by: Elli Papayanopoulos

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