Ra Ra Riot has been a consistently strong voice in the world of indie-rock, part of the reason being a case of “right place, right time.” The group has continued to release uplifting and vibrant albums without ever hitting a slump, all in the Golden Age of radio-friendly indie. The New York-based band got their start playing house shows at Syracuse University in 2006, refining their stage presence well before releasing 

 in 2008. Over the years, Ra Ra Riot repeatedly collaborated with Rostam Batmanglij, previously of Vampire Weekend, and their signature sound and high energy shows began to garner media attention, eventually catapulting the group into the mainstream following their debut.

The band proved their mastery of live performances throughout the night at The Sinclair in Cambridge. Vocalist Wes Miles — crucial to constructing Ra Ra Riot’s unique style — was just as potent live his live tone and range sounds almost identical to their recordings. His control over his vocals were evident in the effortless belting over running synths and sharp percussion.

Many of the songs the group played were filled with even more spirit and life than their studio recordings. Rebecca Zeller played a violin adorned in multicolor gemstones that complimented the rich colors of the performance. Zeller’s lush and bright tone completed their signature sound. The live strings added to the nostalgic tones that many of their songs have come to possess.

In honor of the 10 year anniversary of their debut, Wes performed a few songs from the album using only his voice and a ukulele. Songs like “Can You Tell” and “Winter 05’” were stripped down, highlighting Wes’s beaming voice and poetic lyrical content. It seemed as though these songs had the greatest impact on the audience, consisting of slightly older, dedicated fans. The timeless songs from 

still had the same emotional impact on concert goers more than 10 years later.

Even as the night came to a close, Ra Ra Riot maintained the undivided attention of the audience. Performing a set of songs carefully picked from their extensive repertoire led to a concert that had something for everyone. After 10 years of playing together, the band has developed a cohesiveness that many bands spend their entire career trying to perfect, which makes the group must-see entertainment whenever they come to town.

Ra Ra Riot @ The Sinclair

Nothing is more satisfying than watching a multi-instrumentalist and songwriter successfully prove their musicianship on stage in front of a crowd. The thing that is special about Seattle-born Kishi Bashi is the joy and effortlessness that he exudes while doing it. After failing out of Cornell’s School of Engineering, Kishi Bashi switched directions and began studying film scoring at Berklee here in Boston. Originally a member of “Jupiter One” and “of Montreal”, Kishi Bashi embarked on a solo career in 2011 to much success. As a renowned violinist, many of his songs feature lush, string accompaniments with experimental violin loops that act as much of the percussion for many of his records. The unique sounds he is able to create using his violin have allowed him to evolve his music over the years.

The band’s presence transformed the traditional nightclub atmosphere of the Royale into a much more intimate venue. The usual heavy bass and disorienting lights were replaced with much more gentle sounds and colors. The flutist was covered in blooming flowers that poured down her 70s-esque attire as she confidently holstered her instrument on her back after each solo. The stage was complimented by a bird mid-flight painted quietly on the backdrop, echoing the imagery used on the cover of the band’s most recent album 

The Japanese word roughly translates to having compassion for others simply by thinking about them. Bashi continually refers to this idea on his new album to express the struggles of the current socio-political atmosphere in the United States. As a Japanese-American, he embraces his cultural ambiguity and blends Japanese influences with traditional American folk, resulting in an unexpected sound that transcends cultural boundaries.

Perhaps where he shines best is when Bashi is left alone on stage. As his band exits midway through the show, he enters his element. Performing as a solo artist for much of his early career, Bashi is a master at looping, distorting, and layering his violin live on stage. He begins with a simple arpeggiated riff on his instrument. Suddenly, within seconds, he has pitched it up 2 octaves, doubled its speed, and distorted the sound. The simple string of notes is now an upbeat electronic groove. He adds melodies, harmonies, and layers of his voice until the room is engulfed in an orchestra of sound, all created from one person. A natural musician, the songs performed solo are just as lively and captivating as the rest of the set with his live band.

As if the venue was not already intimate enough, the band came back for an encore, but this time playing in the middle of the crowd. The audience formed a tight circle as each band member navigated their way to the center of the crowd with their instrument. Playing acoustic versions of their songs, the audience could see and feel the joy of each band member as they finished off the night with a bang.. As they finished their last song, it was easy to forget the audience was full of strangers and not lifelong friends reuniting after years apart. The show left viewers feeling lighter than before, a feeling one doesn’t experience after just any show, and anyone who has the chance to see Kishi Bashi live should not pass it up.

Kishi Bashi @ The Royale

Anytime an FKJ song plays, his unique style is almost instantly recognizable. Heavily inspired by jazz and blues, Vincent Fenton is often described as the pioneer of the New French House genre and has modestly inspired a new host of “Low-Fi” producers and musicians. Known professionally as French Kiwi Juice, it’s often hard to describe his music in one genre. On the surface, FKJ utilizes elements of jazz, rhythm and blues mixed with a hearty dose of electronic influence – even sometimes bordering on experimental. Although, while his music is enough reason to buy a ticket and experience his set live – the real artistry stems from his impressive musicianship.

Not only did FKJ start his set at the Royale by showcasing his impressive skills on the piano, Fenton has also mastered the guitar, drums, bass, and saxophone. FKJ is a renaissance man in its true form, comfortably juggling multiple instruments the entire set. As an audience member, you’re able to witness the entire composition of his music live on stage, truly appreciating the number of sonic layers he incorporates. After laying down the chords to ‘Skyline’, Fenton effortlessly loops and transitions from each instrument all while mixing the tracks in real time. Creating music is hard enough – it’s truly impressive when the artist can display their musicianship on stage; treating the concert almost as a masterclass rather than a live performance. A few minutes into his set, a translucent screen quietly descended in front of the stage. His shadow magnified from the lights behind him painted the canopy adding a whole new dimension to his set. In most of his songs, his silhouettes were projected on to either side each playing a different melody or riff from his music – essentially transforming his one-man-band into a stylish enable of musicians.

The most spectacular use of his unique set was displayed during tracks that featured various artists and producers. On Losing My Way, Tom Misch is teleported to Boston, appearing on the screen and lending his smooth guitar riffs while FKJ complements on bass. Using this set to display other artists like Masego on his popular track Tadow is easily one of the most unique ways to give credit to other musicians that I’ve ever witnessed. Adding this third dimension to the live set is captivating and often magical. Rain seemly cascades down the screen onto Fenton’s array of gear while his shadow softly plays a jazzed chord progression.

FKJ mixed his usual set of well-known songs like “Go Back Home” and “Better Give You Up” with a few tracks of new music and dozens of improvised licks. After looping a few synth tracks, FKJ effortlessly begins to DJ – mixing and rearranging the sounds into his own creation all together. The audience was continuously captivated over and over, watching FJK switch from instrument to synth as if his mind was lost in his own music. He ended his set with “So Much To Me” a track showcasing everything he does best. Fenton composes a simple guitar and bass riff with modulated vocals and plenty of electronics, all while improvising piano over his melodies. Listening to FKJ perform live truly allowed the audience to witness the genius in his arrangements and gaining the respect as a musician he deserves.

FKJ brings an exhilarating set to the Royale

Living in Boston, I often take the bustling music scene for granted. It seems as though each weekend a new act I’ve been listening too magically decides to appear in one of the local venues – all of which no more than an uber ride away. However, every now and then a band which I’ve grown to love decides to skip Beantown in favor of one of New England’s quieter settlements.

 Minnesota born indie rock band has left the timid Midwest and are traveling across the country supporting their new repertoire of music. Hippo Campus quickly rose to fame slightly after the Radio-Friendly indie rock boom of the late 2000s. The group attracted fans with their vibrant melodies, bouncy instrumentals, and catchy lyrics that won’t seem to leave your head no matter how hard you try. With the release of their acclaimed debut album, Landmark, Hippo Campus had already secured the fan base and admiration many small bands could only dream of in their career. Their second album still contained the charm of their original songs, yet showed their growth as a band featuring tracks with dark themes and heavy, jarring production. Overall, the group dodged a sophomore slump, releasing another meticulously written sonically cohesive work.

A few hours south of Boston, Hippo Campus delivered an intimate set away from the noise of a big city and rather in a small venue in Providence. Filled with students from neighboring colleges, Hippo began their set with a string of hits like ‘Bambi” & “Way It Goes” that raised the energy in an otherwise indistinct part of town. The set was complimented by seemingly gothic chandeliers and grand windows that emitted a faint red light from back stage rather than the brisk night outside. The performance was consistently authentic to their subtle roots – emulating an intimate college band rather than a group currently on a world tour. The charm of the band was felt more so on their older hits like ‘Baseball’ & ‘Monsoon’ which showcased their musicianship and confidence as a live band. While most of the songs transitioned well on to the live stage, the heavier production on a few of their newer songs seemed less genuine when performed live due to the acoustic nature of their sound. Hippo made up for the loss of zeal by subtle rearrangements that allowed the group to showcase their strengths as a live band. The occasional trumpet or guitar solo reminded the audience that the strength in their musicianship stems from their gift in song writing.

Following an emotional display of their slower songs, the group finished off their set with another surge of energy. Tracks like ‘Suicide Saturday’ and ‘Buttercup’ breathed life and vibrancy into the crowd transporting the venue from a brisk Rhode Island night to a warm summer music festival. The band was summoned back on stage for the final jam of the night ‘Buttercup’ which contained another buzzing trumpet solo and a few more improvised guitar riffs.

Hippo Campus played to their strengths and ultimately delivered an understated complexity taking the small band from their Midwestern roots into a group learning the art of captivating a crowd. If you haven’t already added some Hippo Campus tracks to your summer playlist, you might want to add a few for your next day in the sun.

Hippo Campus at Fete Music Hall

While in some parts of the country March can be synonymous with the start of spring, Boston is still enduring the insufferable winter. Given the cold, the electro-indie duo Cherub was the perfect band to lift people’s spirits. The energetic act warmed up Paradise Rock Club on March 1st with a set list that made the audience question whether or not they were at a concert venue or a house party. Throughout the concert, Cherub certainly had no shortage of high-energy music to captivate the audience.

Formed in Nashville in 2010, Cherub consists of Jordan Kelley and Jason Huber. Both passionate about music production, the pair decided to combine their skills and release free music. Cherubs popularity really began to grow as word of their electrifying live performances spread. Without any label promotion, Cherubs key to success stemmed from their ability to put on a captivating and vibrant show that. Their electronic-indie music not only forces you to dance, but has melodies that stay in your head for days. In 2014, the pair finally got their first well-deserved hit with Doses and Mimosas. The track, with thumping beats and comical lyrics, is arguably still a favorite for many. If played at a party it is more than likely to end in a sing along.

Paradise Rock Club in Boston is arguably my favorite venue to see artists in an intimate setting while still offering the benefits of a large music hall. This type of space is where Cherub thrives. The closeness of the music hall offers the intimacy needed to connect with the audience. It seemed as if every person in the crowd was a die-hard Cherub fan, creating an energy that only made the performance that much more enjoyable. The duo opened with the fan favorite “Chocolate Strawberries.” The subtle synth lines slowly but surely intensified into the break down and had nearly every soul in the crowd jumping just one song in to the concert. Each song played had an intense energy. Seeing them a second time not only reassured my dedication as a fan, but also earned them a lot of artistic respect for there consistently animated live performances. The pair are simply masters at producing their music, both in recordings and live performances.. They used their musical skill to truly give the audience an experience that was irreplaceable.

Surprisingly, the duo never lost their spark throughout the entire concert, churning out all of their hits, including “XOXO” and “<3,” while still incorporating their new releases. Cherub has slowly been releasing new music since the end of 2018 rather than releasing a full-length LP. Their new music has evolved, but never lost the original charm of their early hits and is still as danceable as ever. If you haven’t seen Cherub, add them to your must-see concert list ASAP.

Cherub @ Paradise Rock Club

Seeing STRFKR has always been at the top of my concert bucket list, but despite my (mediocre) planning, sold out tickets or scheduling conflicts always seemed to get in the way of my plans. When I saw that they were coming back to Boston this year, I knew it would have to take multiple broken bones to force me to stay home. Thankfully, my ski trip a week before resulted in only ONE broken leg, so I was good to go. I may have been the only kid climbing the stairs with a braced leg outside The Sinclair in Cambridge, but it definitely added character and proved my determination. I was going to see this concert.

The indie rock band started as a small solo project in 2007 led by Joshua Hodges. Since then the band has gained a few members and thousands of followers filled with unwavering loyalty to the delightfully odd group of musicians. Trying to classify STRFKR into one genre is nearly impossible, and takes away from the vast range of music they’ve created. The group has been successful in fusing electronic music with indie rock/pop while still continuing to demonstrate artistic growth over the years. The surprisingly complex compositions often sound straightforward without being redundant or boring – a feat that is not always gladly met in indie pop music today. STRFKR is one of the only bands that can evoke a feeling of unexplainable nostalgia when listening to almost any of their dozens of songs. Maybe it’s the combination of old school synths with modern production or the recurrent samples of British-American philosopher Alan Watts recorded over their music. Either way, they’ve perfected a sound that stir up feelings of reminiscence and sentimentality.

Before the band came onstage in baby pink bob wigs, the psychedelic synths filled the venue. The group then played a surprising 30 songs without losing energy or charisma. After five full length LPs and three vault albums containing various samples and demos from over the years, I wasn’t sure what the set list would be like. Not only were the hits played, but the group also made sure to play deep cuts that blended with the concert’s flow. There was never an uneventful moment and the arrangements of the songs were unique to the studio recordings, giving the tracks new life. About halfway through the set, the members dethroned themselves from their respective instruments and traded spots on stage – a literal game of musical chairs that further proved their substantial talent and appreciable artistry. The stage presence and exceptional musicianship stood out to me during the entire concert. Even after switching instruments, each member was able to listen and produce a cohesive and unified sound as a group rather than playing as individual musicians. Between dancing astronauts and a bright pink inflatable duck that was used as a vessel for crowd surfing, the music never wavered under anything than exceptional.

Liam Morgan