Line-up

Venue

Red Rocks Amphitheatre

18300 W. Alameda Pkwy., 80465, Morrison, CO, US

www.redrocksonline.com/

Capacity: 9,450

View upcoming concerts

Additional details

Doors open: 19:00

Concert in your area for Indie & Alt, Electronic, and Rock.

Find out more about Electronic and Rock.

Feist biography

Born 13 February 1976, Leslie Feist is a Canadian-American indie pop singer who is known individually as a vocalist and as part of band Broken Social Scene.

Though she made her solo career debut in 1999 with album “Monarch (Lay Your Jewelled Head Down)” Feist had previous experience as a singer and guitarist for various bands. She was the lead singer of punk band Placebo as a teen living in Calgary, Canada. Having damaged her voice from singing so loudly and forcefully with punk rock music, Feist moved to Toronto the following year to rest her vocal instrument. She played bass for alternative rock band hHead and then rhythm guitar for the band By Divine Right. Before the release of her first album she was featured on several Peaches songs and also collaborated with Gonzales.

Gonzales inspired Feist to move to Europe and, whilst in Paris, Feist appeared as a guest vocalist on Norwegian music group Kings of Convenience’s album. She sung and recorded her second album “Let it Die” in 2002 and supported her work by touring the next few years. The album won Feist a nomination in Canada as “Best New Artist” at the Canadian Grammy awards.

Feist reached international fame with the album “The Reminder” released in 2007. The single “1234” was inspired by her participation as a performer in the opening ceremony of the Calgary Winter Olympics at age twelve. The song was featured as the song in an iPod nano commercial in 2007. Her song "Mushaboom" was on the soundtrack of feature film "500 Days of Summer."

Critics have compared Feist to singers like Norah Jones and Ella Fitzgerald. During an interview with NPR in 2007 Feist revealed her music is inspired by Toni Morrison’s writing and the color indigo blue.

Live reviews

Even though it's highly unlikely that anyone will ever get to witness a true LCD Soundsystem show any time soon, they are one of the very best live acts I've ever had the privilege to experience. An LCD live show is unbeatable and visceral.

What do I like about LCD Soundsystem? I like that they created their own sound out of the sounds that came before them, paying homage to the material from which they borrow while creating something that will one day get an homage of its own.

I like them because they put on a live show that I can see five times in a week and never get sick of (true story). I like them because they know what they stand for and make no apologies.

I like them because their music speaks to me in the same way that the music of The Beach Boys and The Doors speaks to me - through songs that are carefully crafted from bass to vocal and everywhere in between, and I know that that care has not gone to waste, because I am there to appreciate it with every listen. I like them because I feel connected to them through their art.

Report

vesper385

Leslie Feist isn’t really known in Britain for her prodigious touring schedules, so it tends to be the bigger rooms she’s playing when she does make it over; that, in itself, provides the Canadian with a unique problem. A sense of intimacy has long been crucial to her recorded output - particularly on key albums Let It Die and The Reminder - and replicating that in yawning theatres is likelier easier said than done. Not that she makes it look particularly difficult, though; on her last UK jaunt, in support of the criminally-underrated Metals, she put together a terrific live band that included vocal trio Mountain Man. The new tracks - many of which, like ‘Graveyard’, ‘A Commotion’ and ‘Undiscovered First’ - sounded thrillingly huge, thumping percussion providing an anchor for group vocals, but the decision to huddle the extensive live lineup around the centre of the expansive stages proved a masterstroke; when the classics were aired - ‘I Feel It All’, or a reworked version of ‘Mushaboom’ - you felt like you could have been watching them in the back of a bar. So impressively did Feist pull off that delicate balance on her last tour, in fact, that it almost seems a travesty that we don’t get a chance to bear witness to it too often; with any luck, she won’t leave it quite so long before she returns.

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