Festival coverage, including that from SXSW 2017, can be read through here.

SXSW 2017 | 2016 | 2015 | 2014 | 2013 | 2012 | Live at Leeds 2016 | 2015 | 2014
Sound City 2016 | 2015 | 2014 | 2013 | 2012 | Great Escape 2015 | 2013 | 2012

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Video of the Moment #2408: DJ Shadow (feat. Steven Price)

By on Tuesday, 25th July 2017 at 6:00 pm

DJ Shadow has been a busy boy. Earlier this year, he dropped a collaboration with Nas, the incredibly catchy ‘Systematic’, my vote for this year’s best single so far, part of ‘Silicon Valley: The Soundtrack’, out now on Mass Appeal Records. Just this month, he released a new EP, ‘The Mountain Has Fallen’, naturally featuring a beguiling cast of guest stars. These include English film composer Steven Price, who won an Oscar for scoring the 2013 sci-fi thriller Gravity. ‘Corridors’, their ghostly-sounding, extremely atmospheric collaboration, has now been made into a music video, and boy is it spooky. But you can’t stop watching or listening! Watch and enjoy it below. For much more on DJ Shadow here on TGTF, come through.

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Live Gig Video: Everything Everything play 4th LP title track ‘A Fever Dream’ at London Heaven

By on Tuesday, 25th July 2017 at 4:00 pm

Next month sees the release of Everything Everything‘s fourth album. ‘A Fever Dream’ has so far been previewed by ‘Can’t Do’, unveiled last month (read my thoughts on that taster through here.) The band have now revealed a live video from their performance last month at London Heaven of the title track. The song has a frenetic energy that we’ve enjoyed in the past from Everything Everything, but with an extended intro to start it live, anticipation building to a no-pun-intended fever pitch. Watch it below. And because I’m so good to you, I’ve included a live version of ‘Can’t Do’ from TRNSMT 2017 in Glasgow earlier this month too. For much more on the Manchester-based band here on TGTF, check out our archive on them through this link.

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Video of the Moment #2407: Grizzly Bear

By on Monday, 24th July 2017 at 6:00 pm

Grizzly Bear will be releasing their fifth album next month. ‘Painted Ruins’ will be released by the Brooklyn band on the 18th of August on RCA Records. ‘Neighbors’ is the latest track from the upcoming LP to be unveiled, and it now has its own music video. The treatment is a bit kooky, but when have Grizzly Bear ever done anything by the book? Watch it below. For more of out coverage here on TGTF on the alt-rock group, go here.

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Live Gig Video: watch Kodaline perform single ‘Brother’ in Warsaw acoustically

By on Monday, 24th July 2017 at 4:00 pm

Last month, Dublin group Kodaline wowed their fans with a brand new single. ‘Brother’ was accompanied by a tearjerker of a video, and you can read my extended review and essay on the single through here. Still no word on what the name is of the upcoming album that this single is associated with, nor when the long player might see the light of day. Hopefully we’ll get those details soon.

In the meantime, you can console yourself with this acoustic performance of the single, filmed and performed on the streets of Warsaw, of all places. (Like, really? I guess it’s something off the beaten path from, say, London or Dublin, right?) And when I say on the streets, I mean literally on the streets: instead of being stood in one place, they’re singing and Mark Prendergast is playing his guitar as they’re walking through the town. Th performance is a reminder of just how tight their harmonies are. The band have announced a series of four live shows for the UK in mid-December, listed here. For more much of Kodaline here on TGTF, head this way.

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These Wounds, They Will Not Heal: Chester Bennington and the Spectre of Depression and Suicide in Music

By on Monday, 24th July 2017 at 11:00 am

“Crawling in my skin
These wounds they will not heal
Fear is how I fall
Confusing what is real

There’s something inside me
That pulls beneath the surface
Consuming, confusing
This lack of self control I fear
Is never ending, controlling
I can’t seem to find myself again
My walls are closing in…”

– ‘Crawling’, Linkin Park, released March 2001

Life was very different in America in March 2001. This was pre-9/11, too, remember. Having grown up pretty much on what my parents listened to (unoffensive ‘60s and classical) and my brother (what’s now classic rock and ‘80s bands), then having been sucked into the boyband craze, the last thing I wanted to listen to were a rap rock/metal hybrid band called Linkin Park. I felt no connection to the growing popularity of emo and punk and the continuing rise of hip-hop. Seeing Linkin Park on Total Request Live on MTV, covered in tattoos and piercings, wearing all black and looking pretty aggro, a band like them were just about the furthest you could get from my conservative upbringing.

Although I couldn’t relate with their look and fashion aesthetic – I suspect I’d have had a different opinion of them from the start if I hadn’t seen them on MTV and in their music videos – Chester Bennington’s vocals impressed me in the depth of their emotions, the pained wailings of a man in crisis, through. You just didn’t expect a voice like that to come out of a gangly white dude with glasses. The lyrics of Linkin Park managed a good balance between measured tones to tell a story in the verses and confrontational screaming matches in the choruses. In hindsight and in the wake of Bennington’s suicide last week, this combination probably mirrored what he experienced in his own life: an existence of two extremes.

Something important we should all take to heart in his death, and also in the death of his friend Chris Cornell 2 months prior, is just how deceptive and insidious mental illness can be. Most people who are struggling with depression aren’t trying to kill themselves every waking moment of the day. By hiding how they feel from everyone else, they look okay to you and me from the outside, while struggling under the surface. Bennington had everything to live for: Linkin Park had released their seventh album, ‘One More Light’, in the spring, had completed the South American and European legs of the LP’s promotional tour and were to begin their North American campaign less than a week later in Boston. Bennington hung himself on what would have been Cornell’s 53rd birthday. While we’ll never know for sure, it’s hard to imagine Cornell’s own suicide not contributing to Bennington’s own mental state.

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If you are reading this and have never contemplated taking your life, the best image I can give you to get close to the feeling is one of utter hopelessness. Imagine arriving at the lowest feeling you’ve ever felt, that you feel the future is so bleak that there’s no point in going on and seeing tomorrow. Bennington admitted in an interview with SPIN in 2009 that his battles with drug and drink had a positive side for him creatively: “I have been able to tap into all the negative things that can happen to me throughout my life by numbing myself to the pain so to speak and kind of being able to vent it through my music.” In Linkin Park’s massive 2001 hit ‘Crawling’, he explained the song was written “…about feeling like I had no control over myself in terms of drugs and alcohol.” Still, in the interview he went on to say that he was proud to be sober, so we had every reason to hope that his demons had been laid to rest. Unknown to me until doing the research for this essay, Bennington was a survivor of sexual abuse as a child, and he was bullied in school for looking different. He told The Guardian in 2011, “When I was young, getting beaten up and pretty much raped was no fun…No one wants that to happen to you and honestly, I don’t remember when it started.” There’s no doubt that his angst-filled lyrics came from the dark places his mind had gone to, and it’s likely he entertained the idea of suicide before the end.

On another megahit from ‘Hybrid Theory’ and also their highest charting single in America, ‘In the End’, the lyrics speak of trying so hard but in failing to reach success, the only option left is to give up. One of the things Bennington did better than anyone else through his vocal delivery was his way of connecting with their fans on an emotional level. You felt his pain when he sang. To the misfit, the outsider, the marginalised, the comfort they felt that someone finally understood what they’d been through was priceless. The inescapable melancholy in Bennington’s voice, calm and measured, simmers in the prechorus, before he fixes his gaze on the heightening rage into the chorus:

“I’ve put my trust in you
Pushed as far as I can go
For all this
There’s only one thing you should know
I’ve put my trust in you
Pushed as far as I can go
For all this
There’s only one thing you should know

I tried so hard
And got so far
But in the end
It doesn’t even matter
I had to fall
To lose it all
But in the end
It doesn’t even matter”

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Chester Bennington’s story isn’t unique in the music business, or in the rest of society. After I heard the news, I read through the comments on Stereogum’s Facebook post on his death. What a mistake. I was appalled by the people making jokes about Linkin Park’s music or even saying they weren’t surprised to hear of his suicide in the context of the dark material he and bandmate Mike Shinoda dared to broach in their lyrics. Some of you may say that that’s life, that there’s always going to be losers who want to be insensitive, no matter what the situation is.

But I want to believe in the best of humanity and choose to be positive. This is neither the time nor place to talk about them, but I’ve dealt with my own struggles and can say from personal experience that it’s a hard road back from the brink. And it’s also hard as hell when you’re living in a world where you’re surrounded by societal stigma for trying to get help and people telling you should buck up and quit complaining. It’s like trying to stand up straight while facing a tidal wave. It must be infinitely more difficult and frightening to cope with when you’re a celebrity and the pressures are exponentially higher and from so many different directions.

I think the worst part of this, for me, is thinking about Chester’s last moments on this earth. He was a man who gave so much of himself, laying out all his suffering for the world to hear in his lyrics. And at the end, he was alone. As TWLOHA founder Jamie Tworkowski wrote on his passing, Bennington was surely “knowing death came in a truly hopeless moment, knowing that single second steals the hope of every moment more, the words take on a different weight.” While we have lost a legend, we have the opportunity to come away from this tragedy and make a difference to not let this happen again. Let’s pledge to listen more, to be more understanding, to provide more support to our loved ones. Let Chester Bennington’s death not be in vain.

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The Script / August 2017 UK/Irish Tour

By on Monday, 24th July 2017 at 9:00 am

Dublin megastars The Script have announced a series of live dates for the UK and Ireland next month. It’s all in anticipation of the release of their fifth album, ‘Freedom Child’, which is slated for release on the 1st of September on Columbia. Check out the first single from the album, the dancehall-flavoured ‘Rain’, after the tour dates below. A fans’ presale for this tour will commence on Wednesday, the 26th of July, with the general sale to follow on Friday, the 28th of July at 9:30 AM. It’s been a while since I’ve written on The Script (I wasn’t fond of their last two albums), but you can read my archive of posts from 2013 and before through here.

Monday 21st August 2017 – Dublin National Stadium
Tuesday 22nd August 2017 – Derry Millenium Forum
Thursday 24th August 2017 – Birmingham Academy
Friday 25th August 2017 – Swindon Oasis
Saturday 26th August 2017 – Plymouth Pavilions
Monday 28th August 2017 – Bridlington Spa
Tuesday 29th August 2017 – Edinburgh Usher Hall
Wednesday 30th August 2017 – Blackpool Empress Hall
Friday 1st September 2017 – London Brixton Academy

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About Us

There Goes The Fear is where we tell you about the latest music, gigs, and tours we love and think you should too.

We love music that has its heart on its sleeve, tells a story, swims around our head all day or makes us dance like no-one's watching.

TGTF is edited by Mary Chang, who is based in Washington, DC. She is joined by writers in England, America and Ireland. It began as a UK music blog by Phil Singer in 2005.

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