Tony Wariner ART 1090 Tess Boone 04/2013 Music Performance Analysis: Third Analysis Performer: Thao &

The Get Down Stay Down Location: The Urban Lounge (241 South 500 East, SLC, Utah.) Date: Saturday, March 09, 2013, 9:00 p.m. Event: Alternative Rock Band

The performing artist Thao & The Get Down Stay Down, performed in front of a Salt Lake audience, in support of their new album We The Common. The preceding performance mainly focused on new songs created by the band. Thao Nguyen is the lead singer of this folkpop band, accompanied by Mckenzie Smith on the Drums, Paul Alexander playing the Bass Guitar, and Chad Stockslager stroking the Keyboard. A dazzling display of mischievous vulnerability, Thao gently exploded onto the stage with a deeming innocent presence, leaving me captivated by her creaky soft voice. Presenting a daring show, with music the audience wasnt familiar with (due to their newly released album), I was enjoying the catchy tunes before the end of the second song. By the end of the show I couldnt get enough of their brave chance of indie folk-pop music, and an encore was in demand.

The two pieces of music that I analyzed are: We the Common, the title track from her new album, and Holy Roller. The first selection offers a rhythm and beat unlike most indie-pop tracks that are broadcast in todays music. The subject of originality isnt the focus of this analysis, but the different style creates a different view that most modern music wont produce.

We the Common emanates a distant scratch of a banjo, emulating Thaos quirky yet innocent and croony voice, places the soul to a content that may seem too good to be true. The banjo places the melody in line with the drums, allowing it to float freely through each seam, throughout the song. The unsyncopated placement of the keyboard, changes the rhythm, (precisely when it should) allowing for a change from the melody. The sharp turns created exactly prior to the chorus, signals the listener to catch it in a moments notice. After the second chorus, the melody changes completely, drowning out the rest of the instruments with the drums and electrical beat, pointing directly to her uncut rickety sound. The repeated theme of the villain, throughout this track is referencing Valerie Bolden, (which is part of the track title) a girl whom Thao had met in a state prison in California, who is now serving a life sentence for a crime which she comitted. The first verse is referring to the youth of Valerie, and certainly how she wishes she could change it. She misses the sweet god in men, or in other words wishes that men treated her more kindly. The last verse faintly promotes a dedication towards a long lost affection, stating I could be yours, then you could be mine. Alas, how much do The common cry?, considering she repeats it several times throughout the song. This eulogy references a tragic event in Valerie Boldens life, to what appears to be her last plea for forgiveness. The slow solo centered around the villain theme, allows for a suspense surrounded by the succumbing tole of the synthesized strings. It encapsulated my utmost attention, then dropped my heart, leaving me feeling unresolved until she engaged my attention once more with the catchy chorus. With the polyrhythmic tone of the beat, one cant help to notice how the banjo seems out of place, but drags me right back into focus with its twang unabated by any other pop instrument used in tune with modern drum and electric piano. When I often imagine a banjo, typically its used as a more upbeat country dance tune, provoking happiness and glee. As an unfamiliar squirmy child in an adult sanctuary, the banjo brings every element together, sadness filled with a solemnity unparalleled to a common daily tragedy. The melody gathers the estranged instruments, placing them together with a syncopated force, allowing for a calm gathering of beats. It appears to place the theme afar from itself, leaving one to question if it truly allows for a solemn presence.

The andante pace of the sound, keeps you guessing if this story is one of sadness. Thaos sombre yet certain vocals dont jump or dip much, maintaining a drawl unfamiliar to most pop artists. The pace of the melody grabs your mood, suggesting a more upbeat sense, but behind the iron curtain of hurt lies a story that unsettles the soul. The sound allows for her voice

to carry in any direction, crescendo, or decrescendo, throwing the my senses off-line, confusing my analytical purposes. The volume of the chorus elevates slightly, encouraging celebration, and memorization of a simple chant, whoo hoo hoo, ho ho. Assimilated closely to each verse, a personal presentation presents a dedicated succor, which drives your attention directly to her plea. Wait! she has something more to specify, a garbled timbre, mixed with pitched tonalities emphasized at each chorus spree. Holy Roller lays out a completely different set of sounds, unfamiliar to the first piece leaving only Thaos voice the familiar instrument throughout, with the exception of the drums being common in all modern music. The melody comes after the introduction, which is repeated before each verse, creating a tricky transition between the two. These parcels of sound pop out loud grabbing my attention, providing a rhythmic sense of dance. The peculiar rhythm resonates in the background allowing for the melody to develop a key motivation in which makes for a lively piece. The sound bass sways magically across the intrinsic plucks of the banjo bouncing across each beat. Syncopated notes combined with the higher gallops of the banjo create harmony between the transitions, allowing for a sense of joy and excitement. Delicately allocated behind the piercing plucks of the banjo, Thaos crackling yet comforting voice pierces the soul, abates even the most skeptical of critics. Returning to the melody, it seems even to simple, but allows for the artists voice to set her voice directly in the middle of the somewhat hectic transitions. The melody sets the tone of the entire compilation, demonstrating a careful collaboration of different elements, sharp and subtle. With the combination of Thaos quiet yet raspy voice, after the hard declarations of the banjos loud and proud introduction, and continued presence throughout the presentation creates a symbol of animated delight. This presence creates a tranquil energy, alleviating any sombre soul. Statically allocated between assertions of devotion and commitment, Thao derives her determination of sullen leisure, declared in the first stroken phrase. This Allows me to figure shes guaranteed her own sacred peace through trials of looking for the end of want. Somewhat undetermined by her habits of the past she still yearns for comfort and solace amongst her desire for love in the aftermath. Exactly what is aftermath in consideration of love? I believe it allows one to return to the pre-determined set of mind, after the battle of searching for that mind set. What allows for this set to take place during the presented piece, is the fact that her declaration is ultimately gathered around the chorus, Holy Roller!, Roll over

me. The banjos erratic displacement, settled by the drums continuous rhythm mentions her lost state of mind, begging for certainty shell weather the storm of love searching.

This concert allowed me to feel the up close and personal description previously mentioned. It gave me a sense of comfort, allowing me to be who I am. The stage presence is a calm and yet demanding presence without any overwhelming tactics one may consider observing a musical artist. The playful talent, mixed with the instruments gathers all to come close and observe a friendly atmosphere. Although most of the crowd was an older crowd, this didnt determine the set, considering the accepted contribution from the aforementioned partner. The small venue creates this environment, (one difficult to sense at the opposing type) allowing for each instrument to demonstrate its presence without too much interference. Overall, the set and combination of the crowd and music style, the experience was pleasing.