PREVIEW: BTS PTD ON STAGE – SEOUL: LIVE VIEWING

The record-breaking, history-making K-pop boy band, BTS, is holding their first concert of 2022 this Saturday, March 12th. You can watch the BTS Permission To Dance ON STAGE – SEOUL: LIVE VIEWING at both 4:30pm or 8:30pm at Ann Arbor 20 + IMAX theater in Ypsilanti. The actual concert will be held in Seoul, South Korea, but broadcasted to select theaters around the world, only on Saturday, March 12th. The price of one ticket is $35.00 + service fee.

BTS is my favorite band. They’ve broken cultural barriers as a foreign group who have gained global popularity, despite singing mostly in Korean. I have been to one other BTS concert live viewing before, and the theater was loud. I anticipate that this Saturday, the theater will be filled with fellow ARMY’s (BTS fans), and for BTS lightsticks to be flicked on, waving in action.

The Ann Arbor theater added four separate shows for both viewing times – eight theaters total – after the first showing nearly sold out immediately. So there’s plenty of tickets to go around!

Something to note is that due to South Korea’s COVID restrictions, the audience is not allowed to make any noise, a quite hilarious request for fans at a concert. Instead, the venue will hand out clappers – yes, these things:

– for fans to clap with. 

Here are some priceless screenshots from official concert etiquette guides:

 

In the theater, there will be no such restraints. Cheer, dance, and sing all you want!

BTS (방탄소년단) PTD ON STAGE – SEOUL: LIVE VIEWING SPOT (trailer/ info video): 

https://www.youtube.com/watch?v=7BmDoOmLGDs

Get tickets here! https://www.btsptdlivecinemas.com

Featured image: https://twitter.com/bts_bighit/status/1493963389176999937/photo/1

‘things to know before attending the concert’ images: https://magazine.weverse.io/article/view?num=352&lang=en

https://www.weverse.io/bts/notices/2138

 

 

REVIEW: Big Thief – Dragon New Warm Mountain I Believe In You

If the music of Big Thief was a physical place, it would be a campfire nestled in a mossy forest, friends cozying up around the flame and reminiscing on bittersweet memories. Dragon New Warm Mountain I Believe In You, the American band’s fifth studio album, is the same campfire at dawn while the world sleeps, embers flickering, the sky brightening over a peaceful horizon. After conjuring this mental image, I came to realize that the cover itself is a sketchy drawing of animals around a campfire— a pure reflection of the album’s commitment to simple and authentic emotion. As the nature imagery suggests, the sonic world of the indie-folk act is anything but industrial. Even their more experimental songs are rooted in traditional folk, avoiding the mass-produced synthetic sound of modern pop. This genuine touch is what brings Big Thief’s masterful work to life.

DNWMIBIY feels more in touch with the band’s true voice than Big Thief’s 2016 album Masterpiece. The folky guitar evokes images of my youth, of rainy-day hikes in little red rain boots and curiously watching bugs move across the ground. Big Thief explores themes of adolescence, particularly the growing pains of becoming older and finding yourself face-to-face with an emotional reality no longer shrouded by naivety. Adrianne Lenker— who released successful solo music that leans toward a more delicate feminine sound— pours her heart into the vocals, her wavering voice expressing rawness that doesn’t have to be screamed to be felt. “Change” is a particularly resonant track and one of the most popular on the album; lyrically, “Change” has the same transcendent feeling as classic poetry. Like a gentle lullaby, Lenker sings:

“Change like the sky, like the leaves, like a butterfly, death, like a door to a place we’ve never been before”.

The album dives fearlessly into experiments as the album progresses, with spunky lyrics and textured sounds that stray from the calm earthy feel but still stick to the sense of adolescence. Adrianne Lenker’s songwriting is similar to a child’s wild and carelessly joyous thought process. It feels loose, freeing, and successfully exploratory. “Spud Infinity” carries on nature imagery to shout a gleefully unified message:

“One peculiar organism aren’t we all together?
Everybody steps on ants
Everybody eats the plants
Everybody knows to dance, even with just one finger”

Dragon New Warm Mountain I Believe In You is an honest tale of unbridled feeling. Adrianne Lenker’s gentle voice echoes unconditional hope, admiration, and longing; it’s a love letter to the natural wonders of human existence and human expression, packaged in a homey atmosphere. If you’re an outdoorsy person, a folk-music-listener, an indie-music-enjoyer, or simply someone who wants to dig under the chaos of daily life to reconnect with your natural emotions, give this album a listen. Dragon New Warm Mountain I Believe In You by Big Thief is available now on Spotify, Apple Music, or another music streaming platform of your choice.

REVIEW: Fiddler on the Roof in Concert

Confession: I had never seen Fiddler on the Roof prior to attending what UMS called a “lightly-staged concert performance” of the iconic Broadway-musical-made film over the weekend. 

However, I quickly wished I did–the production was so clearly made with a communal love and passion that I felt overwhelmed by the sheer amount of easter eggs and small artistic decisions that I felt I was missing out on. Even from a newcomer’s perspective, I found the story to be easily relatable, the music heart-pumping and familiar, and the actors and dancers to be absolutely phenomenal.

As a violinist, I was immediately drawn in by the opening scene: a solo violinist leisurely traveling across the stage, a single dancer with outstretched arms following along with disjunct flowy movements, the Grand Rapids Symphony Orchestra nestled comfortably in the background. John Williams’ opening cadenza is plucky, sweet, and edgy, with an almost improvised quality. The violinist played it with the practiced ease of both a street performer and virtuoso, leaning into the music’s gratuitous slides and stringy texture.

Additionally, it was a pleasure to see SMTD students share the stage with Broadway singers Chuck Cooper and Loretta Ables Sayre. Ella Olesen, Kate Cummings, and Kelly Lomonte as Tzeitel, Hodel, and Chava were charming and relatable as we got to watch them grow as characters. Chuck Cooper/Tevye’s interactions with his daughters were precious and sincere, while other times he easily commanded the stage with his character’s charisma and humorous asides. Furthermore, Diego Rodriguez and Christopher Tamayo as Motel Kamzoil and Perchik gave memorable performances as we were prompted to celebrate and sympathize with them throughout the story.

A highlight of the show I didn’t anticipate was the dancing. Only working with the sliver of stage available in front of the orchestra, the dancers launched themselves in tight spins and sharp, electrifying moves. A particular moment that stood out to me was the bottle dance during the wedding scene where the dancers linked arms and slid forward on their knees in giant, synchronized lunges whilst balancing bottles on their hats. It was ridiculously exciting. 

A beautiful collaboration between UM students and decorated professionals, Fiddler on the Roof in Concert was the production I didn’t know I needed to see. After this, I definitely plan to keep my eye out for future student theater productions!

REVIEW: UMS 101 Ballet Folklórico de México de Amalia Hernández

Going to Ballet Folklórico on Sunday, February 6th was one of the best impulsive decisions I have made this year so far. Tucked away in the third-floor balcony seat on the day of the performance, I didn’t realize that my neck is hurting so much from craning to get better until the show was finished. Awestruck by the musical inspiration that the orchestra provided and dazed by the swirling colorful skirts, I found myself registering for the follow-up seminar event, UMS 101: Ballet Folklórico, held at Cahoots on February 9th.

The event was led by Susan Quintanilla, the founder, and director of El Ballet Folklórico Estudiantil. She gave a presentation to deepen the understanding about the performance; ranging from the diversity of dance depending on region, how the dance is a fusion of different cultures and demonstration of stage costumes used in the performance. Up close, the costumes were more colorful and detailed than what I expected when I was seeing the performance. Those layers of laces in skirts! The presentation was accompanied by a band from the same organization consisting of violins, trumpets, a guitarron, a vihuela, and a guitar. Every once in a while, the audience had the pleasure of hearing live music that was mentioned in the presentation. Perhaps the instrument that caught the audience’s attention the most was the guitarron-a gigantic guitar with a convex body that makes woody, deep sounds. It plays a similar role to drum and bass in a rock band setting, although it had the gorgeous and humorous sound that only a wooden string instrument could make.

The scholastic, appreciative atmosphere of the program changed 360 degrees when Ms. Quintanilla invited everyone to learn a few dance moves from the ballet. We learned four or five dance moves and danced under Ms. Quintanilla’s instruction as the band played along. I enjoyed myself highly, although I was glad that the conference room wasn’t surrounded by mirrors as God had not granted me the talent in dancing. The opportunity to dance to great live music was a rare one, so I was highly honored that I could fumble and skip to the gorgeous sound of the band. Even though the audience consisted of people of different ages, all the people seem to be enjoying themselves a lot as they skipped, turned, and explored dance moves. Later, the session ended with a gorgeous singalong lead by the band and free and open questions and answers.

The questions were usually focused on the magical experience that the majority of the audience had experienced in the performance. We learned the secret of how the dancers could change so quickly, that the band follows the dance rather than vice versa, which is very unique, and other backstage stories that only people who have experience of performing dance could have. I couldn’t resist the urge to ask whether the shoes that make the merry ‘clink’ sounds are heavy or not and got a very sincere reply from the performers themselves that it wasn’t heavy at all.

Of course, I became to love the performance even more after learning more about it. Our little dance experience, the awe of listening to the harmony of the band once again, the experience of liveliness, all of it was great but to summarize what I really loved about this special experience in one sentence: I loved that the performance in itself is a celebration of diversity, equity, and inclusion. The ballet included diverse traditional dances from different regions of Mexico. Moreover, the conversion is not limited to the inside of Mexican borders-we watched a German dance performance the band demonstrated a piece of Mexican dance music influenced by music from the video. I’m pretty sure that anyone from any cultural background would find something to love in ballet Folklórico. Next time, if the team hit the town again, please invest an afternoon on it- you’ll have the impulsion, like me, to drive to Flint, the location of the headquarter of the company, to see more of the colorful wonders.

 

*The Featured image is the promotion image of the dance company that ran the workshop, not the image of the event

 

REVIEW: dodie

I’ve been a follower of dodie since her YouTube days—singer-songwriter Dodie Clark is a gentle ball of light who has never failed to delight with her original songs, often demoed on her YouTube page with simple acoustic guitar/ukelele and dodie’s soft voice. dodie played at the Royal Oak Music Theatre last night as part of her Build a Problem tour. It was a fantastically orchestrated concert, from beginning to end.

Before dodie, we got to see Lizzy McAlpine, a 22-year-old singer-songwriter from Philadelphia, as the opening act. McAlpine commanded the stage with just her guitar and indescribably smooth voice, playing snippets of newly released music, old top hits, a fun cover of Wheatus’ “Teenage Dirtbag,” and a soon to be released song called “Ceiling” that the audience listened to with reverent ears.

After McAlpine’s lovely acoustic set, we were ready for dodie, awaiting her appearance with great anticipation. The hints of strings tuning and lights changing signaled the show was about the begin, and soon enough a shimmery bright blue curtain was falling away to reveal dodie and her lovely band, complete with musician friend Orla Gartland backing up on guitar, keys, and sometimes percussion.

The concert was both soft and energetic, with moments ranging from the heartbreaking, pining song “When” to the incredibly fun dance jam “In the Middle” (complete with cute choreography from the band). dodie jumped from ukulele to piano to guitar to clarinet to percussion, interacting with her band and delivering short asides to the audience. It was a treat to watch such a talented, angelic human doing their thing on stage. It was incredible to see her in person.

      

dodie’s concert was a kind and open space. Crowd members were kind to each other, complimenting on outfits and hairstyles, singing along but respectfully listening as well. If you aren’t familiar with dodie, I recommend checking her out, and seeking out the experience of a concert one day.

REVIEW: Candlelight Concert

One perk of living on campus that I’ve often taken for granted is its sheer proximity to so many great music events. As a freshman living in the dorms, this proximity was made especially apparent when I was able to simply hop over next door to the Michigan Union last Saturday evening to check out the Candelight Concert—which to me, felt like a nice personal win. 

The concert featured 15 SMTD undergraduate piano students in what was a charming blend between a professional studio recital and a laid-back show-and-tell among friends. Each piece was prefaced with a quick blurb by the performer, introducing themselves with a hand-held mic and highlighting what bits of contextualization they felt were most pertinent to experiencing the music. To add to this casual intimacy, candles piled on top of the grand piano cast a warm glow on the performers’ faces as they played while even more candles lined the rows of chairs. Warm lighting typically helps to shrink the size of a room, but in combination with the extra tall ceilings of the Rogel Ballroom, created a stripped-back bubble of space. There was also a sizeable turnout—the majority of which was notably fellow students (something you don’t often see at classical concerts), which added to the welcoming atmosphere.

The program itself was designed to feel accessible to the general public, showcasing iconic classical pieces while mixing in a few less familiar ones. From a musician’s perspective, playing these widely recognized pieces is definitely a double-edged sword—they are much easier to scrutinize, and so many interpretations already exist that it is a daunting task to bring something new up to the table. However, I was pleasantly delighted by the performances of the night. Lesley Sung’s Moonlight Sonata opening was thoughtful and breathtaking, keeping the right hand triplets solid but not overpowering and leaning into the phrasing of the top melody line. Additionally, Aleks Shameti’s Chopin Nocturne Op. 9 no 2 exuded a graceful effortlessness—his dynamic control allowed for a pillow-soft left hand and a beautiful push and pull throughout the piece. Jacob Wang’s Tchaikovsky Andante Maestoso was complex and majestic, concluding the concert with huge waves of sound. 

Out of the pieces I wasn’t already familiar with, I truly enjoyed Sua Lee’s Schumann-Liszt Widmung. Her playing was bold and emotional with audible breaths between phrases, distinctly echoing the snippet of her personality I got through her introduction to the piece. Moving over to the jazz pieces, I felt that Eric Yu’s The Man I Love fit nicely into the atmosphere with rolling chords that filled the room like a warm bubble. I also loved Robert Yan’s Somewhere Over the Rainbow arrangement, which incorporated wispy, delicate Debussy-esque passages.

Overall, I thought the concert was a lovely experience. I’d like to congratulate all the performers and thank them for sharing their music!