#lucy dacus’s No Burden of course !

[ticketsqueeze]

Describe the concerts of Lucy Dacus? Why do we go to her shows?

Evoking emotion, whether it is happiness or sadness, excitement or meditation, is the primary goal of music. Music has the capacity to pull at the heartstrings. Music is engaging, exciting, peaceful, delightful, and moving as a result of certain melodies or lines, falling phrases, and the delayed reward of resolved harmony.

It goes much beyond a purely physiological reaction. Particularly in the case of classical music, it follows a strange course through our senses, evoking unexpected and strong emotional reactions that can result in tears—and not just tears of grief.

When tension is released, perhaps towards the conclusion of a particularly captivating performance, tears often fall on the own. Certain musical compositions have the energy to create back memories and the feelings they're associated with. Other times, we're able to experience tears of wonder at the magnitude or unfathomable beauty of the music.

If you intend to head to most of these concerts that you simply feel cry and become emotional, so you should try to watch lucy dacus concerts.We help to book your tickets and give the all information about lucy dacus tour time to time at our site

Lucy Dacus, one of many pioneers of the indie folk rock movement, started off without the support from a major label. A friend who also happened to work assisted her in recording her debut album, No Burden. Dacus spent a week putting the songs as well as a hurriedly assembled band after having already written all of the tunes. Lucy Dacus has established a lucrative profession for herself because of her creativity, aptitude, and ambition. She eventually launched her second album. The album received a score of four out of five stars in Rolling Stone. Historian demonstrates Dacus's wide emotional range and depth through her velvety voice. Don't shun the chance to see Lucy Dacus perform live. Get your Lucy Dacus tickets from Ticketsqeeze right away.

[undisclosedhonesty]

Favorite Albums of 2016

I’ve changed a lot in the past year. The albums i’ve chosen for this list are a reflection of myself now, looking back on my experiences in the past year. These albums are landmarks on my path through this life. This is where I am at the beginning of this new year, 2017.

listed with links to listen:

1. Cardinal - Pinegrove 2. Holy Ghost - Modern Baseball 3. When You Walk A Long Distance You Are Tired - Mothers 4. No Burden - Lucy Dacus 5. 22, A Million - Bon Iver 6. It Made My Teeth Hurt - Jasmine Kennedy 7. Orphée - Jóhann Jóhannsson 8. Swiss Army Man OST - Andy Hull and Robert McDowell 9. Standards - Into it. Over it. 10. Under Summer - Yndi Halda

Also I need to include the song “Decorated Lawns” by Julien Baker (which was released on a Punk Talks compilation) because it is as important as anything else on this list. (lyrics for it here)

Below I’ll go deeper into what makes this music important to me

Immediately, one who may have paid attention a year ago may notice a departure in my tastes. Gone is any trace of heavy-metal and its release of aggression. I know that this is a reflection of how much I’ve mellowed out with age. Now I find myself valuing sheer honest vulnerability and emotional weight above all else in music. This is mostly mellow music about coming clean, letting go, and finding freedom to grow.

Beyond that, it’s funny that songwriter Bob Dylan was awarded the Nobel Prize in Literature in the same time period that I elected to take a Literature class, one intended specifically for English majors, simply to fulfill a gen-ed credit. It was a more advanced course than i was required to take, but I loved the class and I really learned a lot, and as a result of this experience, i find myself appreciating more literary depth in music. But that doesn’t detract any value from clear and honest vulnerability in music, as the two concepts aren’t necessarily exclusive of each other.

The most significant thing about these albums is that I’ve found something of myself in them. Obviously everybody likes relatable subject matter, but this is the kind that I’ve gone far out of my way to seek out. At this point in my life, I’m having a hard time communicating and expressing myself to others. I want opportunities to allow myself to be vulnerable as a way to connect with others and form meaningful relationships, but naturally I tend to avoid such expression for fear of being hurt, always inevitably winding up hurt anyway for the feeling of failure and shame in my lack of self-efficacy. Ergo, most of these albums deal with this sort of subject matter, and other similar themes such as love and loss, etc. At the same time, a few of these albums are mostly instrumental, in which case there is no real subject matter other than that which you may create for it in your head. If nothing else, it’s just beautiful music.

As I said: coming clean, letting go, and finding space to grow. And another common theme, specifically with certain songs in my top two albums, is the struggle in songwriting itself. I aspire to express myself through creative means, but I most often fail to do so for the fact that I don’t know how to explain myself. Songs like “Aphasia” explain this very struggle far better than I ever could. Other songs similarly showed me explanations of inner conflicts that I could not otherwise put into words. I don’t know if I’ll ever be a songwriter, but this is the kind of material I would aspire to create if I were. Until such a time may come, this music is what I have. It gives me a sense of clarity, and maybe even hope. If nothing else, this music is beautiful, and helps me find beauty in life. And isn’t life poetry beyond words?

Honorable mentions - other albums I really liked this year, that maybe weren’t quite as poignant to me, but still worth sharing:

The Dream is Over - PUP

MY WOMAN - Angel Olsen

Puberty 2 - Mitski

Beyond the Fleeting Gales - Crying

Glass Citizen - Agnes Obel

Cody - Joyce Manor

Tired of Tomorrow - Nothing

[theworstbob]

the thing journal, 5.7.2017 - 5.13.2017

capsule reviews of the cultural things i took in last week. in this post: manchester by the sea, 2.0, old baby, no burden, we cool?, the far field, after laughter, stories we tell, brooklyn nine nine s2, hopeless romantic

1) Manchester by the Sea, dir. Kenneth Lonergan: So in one of the first couple Thing Journals, I gave a glowing review to PWR BTTM. I won't say something stupid like "I wish I could take them back," because I can't take back how I related to something at the time, but I do love it less than I did even just last week. So now I have to ask myself why I'm okay disowning PWR BTTM, but I still made time to watch and think about this movie. Casey Affleck isn't the whole movie, of course, there's several minutes' worth of credits showing that this movie is more than just one person's contributions, but he's the main part of it, this movie is about his character, this movie is about a dude who did something horrible and has to face up to the consequences, and Casey Affleck, who did something horrible and had to settle a case out of court, is playing that dude. It's a film about redemption, and everything about it (save the score, which, you're gonna make a film about lower-middle-class Boston and set it to opera? why...y?) is masterfully done, the teen boy isn't a whiny puke he's a person that does shitty teenager things and never has illegitimate angtsy feelings, the way people react to the Casey Affleck character coming into town is perfect, I would say this film is worth pushing past any discomfort one might have with the lead actor. It asks questions that one can argue require casting someone with a checkered past, namely, how do you decide when a person who did something awful deserves redemption? But: there are women who are permanently scarred by what Casey Affleck did to them, and if you can't push through that to see an A- film, that's a choice I can agree with. Art should be difficult, but everyone has limits, and all limits are valid.

2) 2.0, by Big Data: Well now that THAT'S out of the way, hey, this was just nice and good! This was a fun indie/electronic album with which I spent 40 minutes on a nice Sunday! I don't have much else to say, I don't do a lot of indie/electronic so I don't have a lot to compare it to, and it's just shallow enough that even when listening to it I couldn't come up with a lot in my mind other than "this is nice! this is also nice! just so many nice songs!" Which brings to mind one of the flaws of Thing Journal, which is that I'm turning each experience into a sort of solo thing, when I probably should be discussing the things I take in with other people so that I can develop more informed and better-rounded opinions on the things I enjoy, rather than bandying my opinions about in my own mind and growing all the more self-involved. So hey if anyone else wants to discuss a two-year-old indie/electronic album I've already forgotten, HIT ME THE HELL UP.

3) Old Baby, by Maria Bamford: If there's even a list of comics better than Maria Bamford going right now, it's probably a pretty short list. It's the same material as 20%, which means we get the joke about Maria Bamford telling her husand he CAN swim great distances if he really wants to, but I love the spin on the traditional stand-up setting: I think anyone coming to a Maria Bamford special understands what stand-up looks like, so this special devotes itself to the process, testing out jokes in front of smaller audiences or even just yourself, seeing how people react up close before you put them on a stage where you can't so easily gauge how an audience responds to them. It's just a treat. Maria Bamford's just a treat.

4) No Burden, by Lucy Dacus: It's funny how we come to albums sometimes, right? This came to me via Julien Baker's Twitter, via Dan Campbell's Twitter, via Grantland all those years ago. I really dug this one. I should have either taken more notes or put down these thoughts to WordPad before the day I needed to post a Thing Journal, HAHAHA REMEMBER HOW I FUCKED UP LAST WEEK WELP DID IT AGAIN Y'ALL, but I'm definitely down with what she's doin'.

5) We Cool? by Jeff Rosenstock: One of my favorite genres of music is "world-weary punk scene veterans who're still making music," and I thought this was a dope enough entry into that genre. I might revisit this, connection issues on the bus ride home meant I had to restart my phone twice while listening to it, but there's a lot I like here, like a less-folky Frank Turner sort of thing. Two sentences, that's enough, right, that's why this dude made an album to score two sentences on some dude's recap of things he barely thought about last week?

6) The Far Field, by Future Islands: I resisted listening to Future Islands for a long time because I wanted their Letterman performance to remain Perfect. I didn't want that thing, which is something I believe in whole-heartedly, to be sullied by knowing that Future Islands as a whole was something I might not be terribly into. But! I need to do 7 things a week, and they dropped a new album not too long ago so AWAY WE GOOOOOOOO I thought it was fine, mostly. I think it's quite obvious that this is a band that makes their trade performing live -- albums at this point are just flyers for live shows, but with this band, and that Letterman performance from several years ago, it truly feels like albums are perfunctory for this band, and what's great about their songs comes out in the live performance. So, hey, maybe one day I'll actually go to a concert? What a weird idea, to actually support artists! Might be fun tho

7) After Laughter, by Paramore: this is such a fucking amazing album about being depressed, about saying "fuck it" and being impatient with optimistic people and not knowing where to go or how to extricate oneself from the darkness. every song on here is amazing, and the new sound is great without being that dramatic a departure for paramore -- it's new, but it's also a logical next step, if you can't be pop/punk forever hey guess what POST/PUNK, and the cheery '80s backdrop is the perfect set for this album about feeling empty and seeing no way out. It's not even an album about a way in; there's never any reason given for being depressed, no one died, nothing was lost, it just happens, which is true to the reality of mental illness. This is a classic, and it's gonna take a hell of a thing to supplant this as 2017's #1 album.

8) Stories We Tell, dir. Sarah Polley: This is a brave piece of art. The effort it must have taken to get all the parties to agree to do this, to tell their story of Sarah Polley's mother and her parentage, is just unfathomable, convincing all these people that the project is a good idea and that there is a clear vision and that their voice is needed to paint the whole picture. And, man, they really nail it -- I love the way everyone's accounts inter-mingled, people contradicting each other, people all agreeing that one person did something and that person saying someone else was responsible, it's all woven together to create something beautiful. One of the best moments in this film is maybe one of my favorite moments in any film, something that made me sit up and say "Oh, fuck yeah" to this documentary on my laptop, when one of the storytellers rails against the very idea of this movie by stating exactly why this film needed to exist, it was this beautiful, Real moment. The more i think about this, the more I find I really dug it.

9) Brooklyn Nine-Nine s2, cr. Michael Schur & Dan Goor: This made a leap, yep. I thought the Peralta/Santiago romance worked a lot better this season, mostly because they accentuated Santiago's teacher's pet/hall monitor tendencies -- they took steps to paint Santiago as someone who isn't that much more mature than Peralta, but without completely tearing her character down, only down enough that it made the romance more believable. Rosa in a relationship was great, giving Andre Braugher an enemy and letting that character seethe with rage was always gold, and the show used guest stars perfectly this season. I love Craig Robinson as a recurring thing, Kyra Sedgwick was outstanding as Wuntch, and I always forget that Eva Longoria's a talented comic actress. It didn’t quite make the leap into greatness; the show thinks that Hitchcock and Scully are funnier than they are (and it’s really hard to derive humor from incompetent white cops in 2017 when the cops that are committing atrocities are the Hitchcocks and Scullys of the world; there was a way for them to know this when the show started, if not in a way that was readily apparent, and as time goes on and we learn more, those characters are really tough to accept as harmless boobs), and Joe Lo Truglio sometimes seems like he’s on a different show (he’s great I love him, but even on this show he is way too cartoony, he and Andy Samberg aren’t the chillest comic duo in the world y’know?), but even if it’s not one of The Greats, I don’t think I can point to an episode from this season I would grade lower than a B. Solid stuff.

10) Hopeless Romantic, by Michelle Branch: This is kind of like the Acceptance record from a couple months back: it is lovely to hear seasoned professionals doing the thing they do best. I am unlikely to revisit this, I think I've pretty much nailed down how I feel about this (I feel it is nice and the songs are fine), but the thing Michelle Branch is best at is writing songs, and it was a pretty much okay way to fill a walk on a nice Saturday afternoon.