Yard Act, the indie rock band from Leeds, West Yorkshire, traveled all the way to Ridgewood Queens, to join “Live from My Den” and discuss their music. The band, which consists of…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Yard Act, the indie rock band from Leeds, West Yorkshire, traveled all the way to Ridgewood Queens, to join “Live from My Den” and discuss their music. The band, which consists of James Smith, Ryan Needham, Sam Shipstone and Jay Russell, showed off their live performance skills at the eclectic venue TV Eye.
The band, whose first album “The Overload” was born during the pandemic, spoke about creating their second album while completing their first tour. “Where Is My Utopia?” was made under completely different circumstances from their first release, which gave them new ideas to play with as well as new pressures to prove themselves under less time.
Still, the British group released “Where Is My Utopia?” earlier this year, which led to a new world tour. The band compared their experiences recording vs. performing: “As a live band and on a record are quite very different sounding things. So, we didn’t play any of the songs live — fully live — before we recorded them,” said Needham. They continued to explain that their innovative sound leads them to improvise with their tracks when playing in front of an audience. “You don’t need every detail live; you just need the essence of the song,” said Smith.
Yard Act performed “We Make Hits,” “The Trench Coat Museum,” “Dark Days” and “Petroleum” from the TV Eye stage, which is known for its more intimate setting and rowdy crowds — an aspect the band very much enjoys. “The intimacy of a small room is where you can really sort of relish, and relish in the audience’s personality,” said Smith. This is not the first time the band performed here, as Smith describes their introduction to the venue as “electric.”
This episode of “Live From My Den” also features Jonathan Toubin, co-owner of TV Eye, who describes his strategy to cultivate the perfect vibe: “The best things to me are when every room has something different going on and people can go in inside and outside and all over and kind of experience different things in the grand sort of exploding plastic, inevitable New York City tradition that we all aspire to, but we never can attain.”
This season of Live From My Den is made possible by Seminole Hard Rock Hotel & Casino – Tampa.
