That artist has been around for a while, working really hard on the underground and breaking through. Ironically, I had no idea he was selling out shows or anything, and all of a sudden, I hear he's number one in the U.
That was phenomenal! You had another album recorded before Sounds Of Nowheresville , called Kunst , and you scrapped that because you didn't like how everything else on the radio sounded like it Me and Katie were really tired. We'd been on the road for two and a half years. To be an artist, you have to have something to write about. You need to have an emotion, a feeling.
An artist needs that emotion, that inspiration, when we put pen to paper we mean what we're doing. What we did in Berlin -- we moved to Berlin because we didn't want to relive all the great times we had in Manchester. We would go back to Manchester and our friends would buy us drinks, and we'd act like stupid celebrities in our hometown. We wanted to get new a challenge as artists. So we moved to Berlin, and the problem we had was that we were exhausted from touring and we had nothing to say.
We held our hands up. You don't put a record out for money. You put a record out because you want to make something of it. You want to make a piece of work, piece of art, where people are going to say something, react to.
And we couldn't find that at first. We made ten songs, and our record company went crazy and said, "These are the biggest records, these are the biggest hits and radio is going to love it! And, of course, one day we looked at each other, filled with excitement and all of this advice that is going on around us, and we said, "What the fuck are we doing, man?
This is not writing at all. This is painting by numbers. It just felt kind of weird. We realized that we couldn't live this life; we couldn't go tour these songs. We didn't mean what we were singing. It was bullshit lyrics, bullshit sounds, every drum pattern was so -- we had a form about it. And, of course, one of those tracks did make it ["Hands"] and went out on radio.
It was going to be a dance hit for us; we were going to have some fun on the dance floor. Then it got out of hand and started crossing over to mainstream radio.
And we pulled it. At the end of the day, it was between us and the label, and we were like "You know, we're not going to go and promote this record," and we just dumped the album. We erased it off our drive. It made us feel like we were in control again.
By erasing these songs, we felt like we were making a statement. That's when we started to become artists again and the band really had something to say - ironically, when we actually stopped doing what we were doing. You and Katie have this chemistry on stage where you can just look at each other and know what each other is thinking.
Where did that come from? Now try to understand, there's definitely that energy between us. If one of us is off You have two people at percent all through the whole gig. You can't lay off it. You can lay off it and you can start to deteriorate. It changes all the time; we make mistakes. But we never rehearse. We have rehearsed, but we never over-rehearse. We go in and we rehearse for two days and everything is up in the air.
We don't know what pick is placed where. There's no instrumentals or backing track. It's all us and our peddles and our floor and our feet. Every gig has a bit of a spontaneous moment in it. Saturday, March 31, Ogden Theatre, E. Join the Westword community and help support independent local journalism in Denver. Pounding in time with the lights, De Martino's drum kit thundered along as he and White added more and more musical complexity: More guitar, more synths, more snare. Like all of the songs they played from Sounds From Nowheresville , "Silence" sounded even better live.
Before charging into "Great DJ" next, White proclaimed the modus operandi of the evening: "We are the Ting Tings, and we want you to fucking dance. In fact, no one ever really stopped moving, the Ting Tings included. For the ninety-minute show, the duo never stopped going hard: There were a few microphone cord tangles, but there were no lulls, no slow songs -- even "We Walk," a piano-led track on record, received a rock makeover, awash in guitars and energy for the live offering.
Halfway into the set, the Ting Tings showed no signs of slowing down, except when White would take rips from an oxygen tank. White was still very much the focal point, especially during her solo, but it was interesting to see De Martino and White, used to functioning as a duo on stage and doing everything themselves, play so well with others. While the music itself wasn't transformed much, the showmanship aspect was miles ahead of their show three years ago.
Even their same gimmick, White pounding on the bass drum, was more theatrical and interesting: Midway through "Shut Up," De Martino and White stopped playing entirely to build the anticipation. Do you wanna hear it? You can guess how the audience answered. While playing, however, White managed to knock the drum over; intentional or not, this act, and her playing cowbell thereafter, just added tension to an already high-energy sequence.
It was hard to keep up. Switching gears before the encore, the Ting Tings played their one and only song from the album they had scrapped before recording Sounds From Nowheresville , called "Hands. This remix of "Hands" was easily the standout of the night.
A one-woman show, Amanda Warner -- like the Ting Tings -- proved you didn't need multiple people on stage to make it feel like there were multiple people on stage. It was just MNDR, her girl-group hand gestures, and her synthesizers and loop pedals, but that's all we needed. Silence Great DJ Hang It Up Give It Back Gugenheim Hit Me Down Sonny We Walk Fruit Machine Hands Remix.
Personal Bias: This show was a full-circle moment for me. Seeing the Ting Tings' show in Denver was what made me want to write about and review Denver concerts as a music journalist. Random Notes: Yesterday's beautiful sunny day carried through the night, and it became hot as all hell on the floor in front of the Ogden stage. I'd imagine it was equally hot, if not hotter, on the stage itself -- but you couldn't tell; at the end of the show, White still hadn't broken a sweat.
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