Welsh Rich Posted May 4, 2006 Share Posted May 4, 2006 Went to see Tilly & The Wall last night and was a little bit disappointed - though they sounded more country / folk that I was expecting. Was more impressed with the support act Emmy The Great who was very good - kooky folk with polka dot skirt and a cardigan. Full review and some snazzy pictures of the lovely Tilly girls http://www.cdtimes.co.uk/content.php?contentid=2795 Quote Link to post Share on other sites
bböp Posted May 4, 2006 Share Posted May 4, 2006 Went to see Tilly & The Wall last night and was a little bit disappointed - though they sounded more country / folk that I was expecting. Was more impressed with the support act Emmy The Great who was very good - kooky folk with polka dot skirt and a cardigan. Full review and some snazzy pictures of the lovely Tilly girls http://www.cdtimes.co.uk/content.php?contentid=2795 I'm a little surprised that both you and the reviewer came away emphasizing the country/folk aspect of the Tillys as much as you did. I guess I just mean that, to me, country/folk or what people often call alt-country usually has some measure of twang and I don't get that from Tilly & the Wall. To me, they're hard to categorize (which is probably why I like them). Obviously they're not for everyone--it's just weird to me to hear some of the UK reviews using the dreaded alt-country term to describe them. That said, thanks for posting the review and pics! Quote Link to post Share on other sites
solace Posted May 4, 2006 Share Posted May 4, 2006 the new record is a bit more folky that's for sure, but live i've never really gotten that feel Quote Link to post Share on other sites
Jeci81 Posted May 4, 2006 Share Posted May 4, 2006 Saw them in '04 when they opened for Rilo Kiley in Chicago and definitely wouldn't have described them as country/folk . I haven't heard any of their new stuff though. Thanks for the review/photos!!! Quote Link to post Share on other sites
Welsh Rich Posted May 5, 2006 Author Share Posted May 5, 2006 I'm a little surprised that both you and the reviewer came away emphasizing the country/folk aspect of the Tillys as much as you did. I guess I just mean that, to me, country/folk or what people often call alt-country usually has some measure of twang and I don't get that from Tilly & the Wall. To me, they're hard to categorize (which is probably why I like them). Obviously they're not for everyone--it's just weird to me to hear some of the UK reviews using the dreaded alt-country term to describe them. That said, thanks for posting the review and pics! I am the reviewer hence the emphasising! I didn't want to use the dreaded alt-country thing, but live they sounded different to their records to me, there was a traditional element to their music whether they wanted it or not. I used alt-country as perhaps it should be used "alternative country"; it wasn't proper country and it wasn't just alternative, it was a meeting of the two different styles... Quote Link to post Share on other sites
Albert Tatlock Posted May 8, 2006 Share Posted May 8, 2006 The Times May 05, 2006 Will success go to their feet?Pete Paphides taps into Tilly and the Wall, the pride of Omaha. Towards the end of 2002, two seemingly unconnected things started to happen in Omaha, Nebraska. Two childhood friends, Nick White and Derek Pressnall, moved to Omaha from their native Atlanta, Georgia. Then, shortly after they asked a local nursery school teacher, Janie Williams, to join their band Tilly and the Wall, the local road signs started disappearing. Had anyone thought to put two and two together, they would have been well advised to start with one of the band Quote Link to post Share on other sites
Albert Tatlock Posted May 25, 2006 Share Posted May 25, 2006 Tilly And The Wall, Luminaire, London By Nick Hasted Published: 24 May 2006 They don't know what they're doing. Tilly and the Wall's two female singers, and the tap-dancer they use in place of a drummer, can hardly hear themselves on stage, as faulty mics and monitors reduce the close harmonies and tap-beats to a semi-audible shambles. It says something for the indomitable, adolescent spirit of play that is the heart of their appeal that the crowd stick around for the ride, and are rewarded with a memorably shaky show. Tilly and the Wall are the latest beneficiaries of the Omaha affect. The weird gravitational pull that Conor Oberst, the singer-songwriter also known as Bright Eyes, has exerted over his hometown in Nebraska in the last few years has seen uniformly excellent bands drawn to the label he's on, Saddle Creek, and his own label, Team Action. The latter is the US home to Willy Mason, Rilo Kiley and Tilly and the Wall, an Americana line-up defined by fragile but defiant individualism. Tilly's own attributes are suggested by their debut's title, Wild Like Children. They shun the compromises of maturity and professionalism in favour of youthful freedom. As to that tap-dancer, Jamie Williams, she is the can-do spirit of Judy Garland improbably transplanted to the indie nation. This is just what's required as the sound collapses around them tonight. Williams is a vision of breathless enthusiasm, even when you can't hear the beats she's tapping. Guitarist Derek Pressnall compensates for the stuttering mics of Kianna Alarid and Neely Jenkins, who contribute shambling harmonies behind him. Stray lyrics float out of the mix, suggesting a mystical attitude to urban adventures and romance. "The city looked wonderful," Pressnall muses on "Fell Down the Stairs", before adding, "I know in my heart I would never let you tumble to the ground"; the sort of burning devotion which will always be in fashion. Only when the sound finally kicks in near the end do we get a glimpse of Tilly And the Wall's potential. Alarid and Jenkins seem jolted with energy, and start to sing with harmonious power. By the encore, Williams' feet are back on the beat, just in time for their manifesto, "Nights of the Living Dead". A somehow still-innocent account of a night of unchecked hedonism, they drag some of the crowd onto their tiny stage as they sing, again and again: "I wanna fuck it up, and I feel so alive." In the face of such pure feelings, the earlier trials don't matter so much. Quote Link to post Share on other sites
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