Old Digster Michael Brodeur's New Dad & 'PLAYLAND' come to Boston in March
Fitchburg's own Michael Brodeur is bringing his music project New Dad to Boston and it's going to be a real hoot!
You know Brodeur from his work at such local publications as DigBoston, Boston Phoenix, and currently, the Boston Globe.
And, duh: Brodeur penned that brilliant satirical taxonomy, "Fake Massachusetts Towns", that ran in McSweeney's. The stuff of Massachusetts Memes legend:
(from New Dad's Instagram)
Hey, Boston. Heads up. I'm playing two dates in...you.
A live techno set of post-mimosa house and techno with @nottodaysatin on Sunday March 24 at Boston's greatest queer dive, @jacquescabaret, for @djbrianh 's wildly fun sip *tea* dance (COME!) and this here queer AF installation on Friday March 29 at Dorchester Art Project:
"PLAYLAND restores two rooms of vital queer space to Boston for one night, with a rotating cast of musicians providing live scores with an overlapping melange of protected footage documenting queer spaces, lost and found, real and imagined - from movie scenes to surveillance tapes.
Meanwhile, responsive music performed by ever-changing combinations of players will move between ambient soundscapes, blurry techno memories, dark cruisy passages, mantric chants, and occasional blessings from house divas."
More info on both Boston dates coming @newdadnewdad + @lefeelingpvd
New Dad on IG: http://www.instagram.com/newdadnewdad
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"PLAYLAND" is a one-night installation
"ENTER DAD MAN" interview in DigBoston
NEW DAD links:
What was your next big leap?
When I was in the Farleys it was about being in a band that was so loud I could drown out the fact that I was gay. It was just this way that I could insulate myself from the inevitability that I would one day have to come out and participate in gay culture. Because there was nothing less gay than being in the Boston noise rock scene at that point. Not to cheapen the experience, but it definitely served a function.
When I was in Certainly, Sir it was like a house-meets-Pet Shop Boys type of thing. That served its own function—it was me busting out and saying, You know what, I love George Michael, I love Sade, so fuck y’all, we’re going to start doing some George Michael-Sade sounding shit. It was a way of getting in touch with that gay side and acknowledging that I like pop music.
From 2000 on, me and Nick Hubben, who at the time was in a band called the Ivory Coast, started an electronic duo thing, which ended up being a template that a lot of people were doing at the beginning of the aughts. I think the ease of recording technology that was becoming available was helping people move into electronic music.
When did you become New Dad?
New Dad comes from a chat I was having with a friend when I turned 40, and he was like, You’re a new dad. Because one thing that happens is on the apps, there are guys who, if they’re a daddy chaser, they’ll just sort for 40-plus, and their first message to you will be like, Hey dad! So when I turned 40, like overnight, that was the nature of the messages I was getting. Who knew all I had to do was get old?
The New Dad name is kind of a reference to this point in my life. I don’t think you can be in your 40s and be making dance music for people in their 20s without a voice in your head being like, What are you doing? Or, Why are you here? You start to scrutinize what this is all about.
It’s easy to doubt yourself and call it a midlife crisis, but really the kind of interactions I’ve had, especially with younger gay folks, is something that when I was that age, I didn’t really have. If you were part of Generation X, you wanted to learn about yourself as a gay person, but all of those people [you would have learned from] were dead. AIDS wiped out an entire generation. My generation is the generation that didn’t have someone to help figure it out.
I’m getting more actively interested in showing process over necessarily having results. So I’ll show songs in progress, write about booking the tour. I’m not a fan of how opaque electronic music tends to be—lots of nameless producers, software tricks, secrecy masked as sorcery, and I think the end result is that it makes electronic music feel off-putting or out of reach or maybe even elitist. The price of so much of the gear doesn’t help this.
Part of the Dad thing for me in a lot of ways is realizing that I have a responsibility to hand things down and lead younger LGBTQ folks who feel lost or don’t have the access or confidence just to emerge fully formed. I also think that social media cultivates a very bad and dangerous emphasis on results over process—there doesn’t seem to be any room more mistakes or “becoming” something, you need to arrive and survive as a brand.
This is a mentality that I think I can help work against by being very honest about music, my motives, my mistakes, and my audience.
(Link source: https://digboston.com/enter-dad-man/)