Yves Tumor at Bottleneck
YVES TUMOR SETLIST
DOSS SETLIST
YVES TUMOR TOUR DATES 25 MARCH Old Rock House St Louis, MO
26 MARCH Headliners Music Hall Louisville, KY 27 MARCH Big Ears Festival 2022 Knoxville, TN 29 MARCH El Club Detroit, MI 30 MARCH Metro Chicago, IL 31 MARCH The Opera House Toronto, ON 1 APRIL Club Soda Montreal, QC 3 APRIL Royale Boston, MA 8 JUNE Ment Ljubljana, Slovenia 9 JUNE Stadtgarten Cologne, DE 9-12 JUNE Melt Festival 2022 11 JUNE Trauma Bar & Kino Berlin, DE 12 JUNE Gretchen Berlin, DE 12-16 JUNE Plissken Festival 2022 15 JUNE O2 Academy Glasgow, UK 16 JUNE Sideways 2022 Helsinki, Finland 17 JUNE – 19 JUNE festival 8 2022 18 JUNE Eden Project St. Austell, UK 20 JUNE O2 Apollo Manchester, UK 21 JUNE O2 Academy Brixton London, UK 22-27 JUNE Glastonbury Festival 2022 Pilton, UK 23 JUNE Electric Forest Festival 2022 Rothbury, MI 6 JULY Mad Cool Festival 2022 Madrid, Spain 7 JULY–14 AUG Poolbar Festival 2022 8 JULY Pohoda Festival 2022 Trencin, Slovakia 8-11 JULY ARTIVIVE Festival 2022 Soliera, Italy 10 JULY Disconnect Code Florence, Italy 13-14 JULY Slottsfjell 2022 Tønsberg, Norway 15-16 JULY Positivus 2022 Riga, Latvia 16 JULY Dour Festival 2022 Dour, Belgium 4 AUGUST Trädgården Stockholm, Sen 6 AUGUST OFF Festival 2022 Katowice, Poland 8 AUGUST VEGA Copenhagen, Denmark 10 AUGUST Sziget Festival 2022 Budapest, Hungary 12 AUGUST Paradiso Amsterdam, NL 13 AUGUST Hangar34 Liverpool, UK 15 AUGUST Boiler Shop Newcastle Upon Tyne, UK 16 AUGUST The Castle and Falcon Birmingham, UK 18 AUGUST Green Man Festival 2022 Brecon Beacons, UK 19 AUGUST All Points East 2022 London, UK 20 AUGUST Parades De Coura Festival 2022 26 AUGUST Sacred Rose Fest 2022 Bridgeview, IL 26-28 AUGUST THING 2022 Port Townsend, WA 27 AUGUST This Ain't No Picnic 2022 Pasadena, CA 30 AUGUST Wonder Ballroom Portland, OR 31 AUGUST Commodore Ballroom Vancouver, BC Read More
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Music is still an experiment--
Even though the rock era is over sixty years old, there’s still room for de-construction, re-assembly, genre and gender-stretching boundaries, and further innovation.
Often, acts that eventually end up as musical trailblazers, begin that kind of journey under the radar: under-appreciated, under-reported on, and considered too “fringe” or “artsy”. Think of early David Bowie, Prince, Talking Heads, and even Madonna – they were all first thought of as too odd for the mainstream, too eclectic for radio, and too controversial for the hoi polloi.
Enter Yves Tumor, the recording alias of Miami-born Sam Bowie, an experimental art pop musician/producer now based in Italy, who stopped by The Bottleneck in Lawrence, for a sold-out show in support of fourth studio album, 2020’s Heaven to a Tortured Mind and the more recent The Asymptotical World EP (both on Warp Records).
The night began on a beat, make that many beats, as DJ/musician/producer Doss (not to be confused with a Glasgow musician with the same name) spun a forty-minute set of tunes that worked in her own originals (culled from her 4 New Songs EP- her first new music in some eight years, along with new single, “Jumpin’”) alongside house, rave, trance, and shoegaze bits, and parts of other tunes.
She remains a bit of an enigma, playing secret locations, and keeping most personal info close to the vest, but the capacity crowd was clearly won over by her DJ skills. No grandstand posing, egging on the crowd, or purposely holding back on that inevitable bass drop; if anything, she was hard to clearly see, even from up front amidst the dry ice smoke and minimal flash and strobe lighting.
The mostly student-age crowd initially seemed like they had forgotten how to dance (you’d think everyone was locked in their homes for the last twenty months!) until a couple songs in- her own “Strawberry” and “Puppy” were musically intermingled with a hyper-fast version of Madonna’s “Music”, squeaky vocals and all. By the end, a collective dance energy was formed, and the room temperature was on the rise.
A new layer of dry ice smoke crawled across the stage as band members (Chris Greatti- guitar; Gina Ramirez- bass; Rhys Hastings- drums) and Yves Tumor strode to the stage to begin their hour-long headlining set with “Jackie” the opener from last summer’s A Symptotical World EP and Tumor crooning, “These days have been tragic” which almost everyone in the now-humid room, could relate to.
Tumor stalked the stage, not afraid to showcase his gender-fluid stage presence and (like early Prince) his potentially controversial attire- a “69” emblazoned on the back of his studded vest, and “sex” on his front waistband. Not to be outdone, guitarist Greatti had “lick me” on his front chest, and played roaring guitar all night, sounding (and looking somewhat) like 80’s-era George Lynch from Dokken.
Many in the crowd were already fans and very familiar with the songs, singing along loudly on “Dream Palette” and “Gospel for a New Century” with shouts of “We love you!” throughout their set. Their sound is a meld of post-punk, some goth and darkpop, occasional R&B leanings that flow into feedback and distortion with stadium-sized guitar riffs, that all echo their influences but never directly lift from them – in other words, often indefinable, which is a good thing.
The pace slowed for “Kerosene”, his studio collaboration with singer/songwriter Diana Gordon and featured blistering guitar work from Greatti (fun fact: the cinematic music video was shot last year somewhat covertly during the pandemic, in five days in nearby Kansas City). “Licking an Orchid” is a song about… you know, and the main set ended with the curiously named “And Loyalty is a Nuisance Child” had Tumor singing, “I see a sign within your mind, I decide it’s a nice day”, to end things somewhat positively.
Chants and stomps brought the band back, beginning with Greatti who laid down a stadium-worthy guitar solo, then Greatti himself was laid down, into the crowd atop a throng of audience hands and Tumor smiling as he pushed him off.
911 is still a joke decades after Flavor Flav declared it, reinforced with the lyrics of 2018’s “Noid” and the evening would end with the Bloc Party-esque jagged guitar riffs that anchored “Secrecy Is Incredibly Important to the Both of Them” with Tumor repeating, “How can I miss you if you won’t go away?” - so they did, disappearing into that dry ice smoke and back upstairs, to rave applause.
Their musical experiment continues, with progressively successful results and the UK/Europe (as is often the case) has already further embraced Yves Tumor with upcoming high-profile gigs at Glastonbury and also The Eden Project, in support of Nine Inch Nails.
It’s musically interesting and challenging to know that some artists still want to further expand boundaries as they discover an innovative sound that reflects who they truly are- Yves Tumor is such an artist.
(note- Tumor uses both he/him and they/them pronouns, so we’ve kept it simple with he/him)
(click on any image to enlarge and see in full)
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Yves Tumor at The Bottleneck, Lawrence KS (2022-03-24) |
| john ([email protected]) ♥ weheartmusic.com ♥ twitter.com |
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