TAM Toured the Coca-Cola Roxy and Learned About the Premium Seats

This weekend, on Sunday April 15, 2018, The Decemberists are bringing the YOUR GIRL / YOUR GHOST tour to the Coca-Cola Roxy. It will be The Decemberists’ first time playing at the venue, which opened in April 2017.

The Coca-Cola Roxy (originally located in Buckhead in Atlanta), is now in The Battery Atlanta, next to Suntrust Park, home of The Atlanta Braves. It is the newest Live Nation venue in Atlanta and was designed from the ground up for the ultimate concert experience. The Coca-Cola Roxy is beautifully painted, decorated, and boasts a capacity of 3600 people, a bit more than The Tabernacle (also run by Live Nation) in downtown Atlanta.

The theater features a large, open dance floor with four large chandeliers that can be raised or lowered, depending on the event booked for the evening. The venue has a flexible configuration, which can allow for theatre-style seating on the main floor, or a general admission, standing audience. The 53,000 square foot site has state of the art sound, lights and production capabilities for live music, corporate meetings and private events.

The second tier of the Coca-Cola Roxy is a U-shaped wrap around balcony (like the Tabernacle), which features permanent seating as well as the Premium boxes and Upgraded Premium Seats that provide the best seated view of the stage. ADA seating is available on both levels of the theatre, and both floors are wheelchair accessible.

One of the nicest features that we were introduced to was the afore-mentioned Premium Seating for concert attendees. The Premium Seating offers the following perks:

– Prime VIP Box and Seat Locations on the Mezzanine
– Dedicated Separate Entry
– EP Lounge Access with Private Restrooms and Bar
– In Seat Wait Service
– VIP Season Parking

COCA-COLA Roxy EP Lounge Photos

If you’re interested in finding out more information about the Premium Seating packages, please be sure to visit the official Coca-Cola Roxy website, or reach out to Allyson Bradshaw at the Coca-Cola Roxy.

TAM will be attending The Decemberists show this Sunday, and will be offering a review of the show and the Coca-Cola Roxy Premium experience next week. Stay tuned!

Information for this article was provided by Allyson Bradshaw and Live Nation. Except where noted, all photos by Julie Lott. All photos used with permission. 

Live Review: The Decemberists at The Tabernacle April 11 (Night Two)

Editor’s Note: The below review is by Cetoria Tomberlin and is the second of two reviews of The Decemberists at The Tabernacle (April 10 and 11) in Atlanta. To read the first review and see more photos, click here.

The Decemberists: Great Songs, Better Performances

The Decemberists played their second of two shows at The Tabernacle in Atlanta on Saturday, April 11. Doors opened at 8 p.m. and after a brief opening act by Alvvays, they took the stage close to 9 p.m. Their performance stretched almost two hours, not unexpected for a band with a large back catalog, including songs that tend to run well over the standard three minute mark, and left the crowd wanting more.

For the most part, The Decemberists played a large helping of new material from their latest album What a Terrible World, What a Beautiful World, not surprising since their current tour is in promotion of the January 2015 release. However, fans of their less recent material were not disappointed either.  Lead singer Colin Meloy was the first member on stage and began opening the show with the tongue-in-cheek “The Singer Addresses His Audience,” the first track on the new album. Joined shortly by the rest of the band, they followed that with “Cavalry Captain,” also off the new album. Next was the mainstream hit and fan adored “Down By the Water,” from their 2011 album The King is Dead. Then, the ever fun to sing along to “Calamity Song,” which proceeded “Grace Cathedral Hill.”

The band chose to switch back to newer material playing “Anti-Summersong,” which Meloy jokingly called a manifesto while introducing it, then “Make You Better,” followed by “The Wrong Year.” Changing the tone, the band decided to play the 12 plus minute ballad “The Island:/ Come & See/The Landlord’s Daughter/You’ll Not Feel The Drowning.” The audience knew every word unlike Meloy, who drew a complete blank during the beginning. He played it off well, joking afterwards that forgetting the lyrics to his own songs is part of his charm.

Keeping with the humorous atmosphere, The Decemberists then gave the audience the ever sarcastic “Los Angeles, I’m Yours,” before the somber “Carolina Low.” Staying with the melancholy tone, next came the upbeat sounding, but lyrically haunting “The Rake’s Song,” during which Meloy directed audience clapping and afterwards said, “That’s an awful song, I don’t know why you’re cheering.” More audience participation was encouraged for the La de da de da chorus of “Sixteen Military Wives” after which they played the ever popular star-crossed lovers song “O Valencia!”

Meloy, like the rest of the band members, is a comfortable, well-seasoned performer. Understandably so considering The Decemberists have been around since the early noughties. Throughout the show he joked with the audience quipping that Saturday’s crowd was “decidedly more sober” and at one point calling harmonicas the scourge of bearded people.

Seeing a live show of The Decemberists can sometimes feel like watching a game of musical chairs considering the multiple instrument changes, but it all works beautifully for them. The band sound better live than on their records, no small task in and of itself, and completely refreshing when compared to many other popular acts of today.

Fittingly, the band closed with “A Beginning Song,” the last track of their latest release. A hopeful, uplifting tune. After being welcomed back with shouts and cheers, they played an encore of “12/17/12,” also off the new album. They then ended the night with a rousing performance of “The Mariner’s Revenge Song,” during which Meloy coached the audience on when to “scream like you were being eaten by a giant whale” and included an oversized cardboard whale rushing the stage to devour the band. A fun time was had all.

The Decemberists continue their continue their North American tour throughout the spring and summer. Tour dates and tickets can be purchased at TheDecemberists.com.

Gallery: The Decemberists at The Tabernacle (April 11) – Photos by Tillman Cooper

Live Review: The Decemberists at The Tabernacle April 10 (Night One)

Editor’s Note: The below review is by Tillman Cooper and is the first of two reviews of The Decemberists at The Tabernacle (April 10 and 11) in Atlanta. To read the second review and see more photos (all from April 11), click here.

At last, Portland OR-based band The Decemberists return to Atlanta, GA.

Before the April 10 show at The Tabernacle in Atlanta, it had been almost six years since The Decemberists had played at the venue. On their “Short Fazed Hovel” tour in support of The Hazards of Love, The Decemberists played at The Tabernacle for one night to a packed house of adoring fans. However, on their 2011 tour, the band performed to a sold out crowd at the Cobb Energy Performing Arts Centre.

While the 2011 show was packed, sounded amazing, and even earned a place on the band’s live album, We All Raise Our Voices to the Air, there was an unintended distance between the band and its fans. Part of the joy of The Decemberists is their live show. The band is made up of five amazing performers, and Colin Meloy, the lead singer/songwriter, could teach a master class on showmanship.

So, it was with a large sigh of relief that Atlanta area fans greeted the news of The Decemberists’ return to The Tabernacle. This time, instead of treating the city to one night of solid performances, the band packed the house for two. All told, the band performed for four hours over two nights, and with the exception of a handful of songs, the sets were vastly different.

On Friday night, the opening band, Alvvays (pronounced Always), found itself playing to a welcoming and enthusiastic crowd. For 40 minutes, the Canadian based group played a strong set of songs from their eponymous debut album, and in between each song the crowd cheered and responded positively. At the end of the evening, it was apparent that Alvvays had earned a number of new fans, whom they greeted at the merchandise table after their set and at the end of the night.

It only took 20 minutes for the Alvvays equipment to be taken off stage and the road crew to set up for The Decemberists. The changeover ran like a well oiled machine, and at 9:00 p.m., the lights dimmed while the now-infamous Egyptian rendition of the Russian nation anthem played through the speakers. Once the off-key and jarring recording finished, a single spotlight hit the stage, and lead singer Colin Meloy strolled to his microphone carrying a large glass of wine.

The Decemberists

After replacing the glass of wine with an acoustic guitar, Meloy began the opening strains to “The Singer Addresses his Audience,” the first song off of The Decemberists’ latest album What a Terrible World, What a Beautiful World.

Slowly, over the next few minutes, Meloy was joined on stage by the remaining members of the band as each player added their voice or instrument to the song. First came the background vocalists for this tour, Kelly Hogan and Rachel Flotard, followed by John Moen on drums, Chris Funk on lead guitars, Nate Query on bass and Jenny Conlee on keyboards.

For the next two hours, Meloy led the band through selections from What a Terrible World, What a Beautiful World including “Philomena,” “The Wrong Year,” “Carolina Low,” and “Make You Better.” By the end of the night, The Decemberists had played 1/2 of the songs off of their new album.

Interspersed throughout the concert (and unique to the Friday show), the band pulled out some of their fan favorites, including “The Infanta,” “The Wanting Comes in Waves,” “Here I Dreamt I was an Architect,” “Dracula’s Daughter,” and the entirety of “The Crane Wife.”

Also in the Friday night set were other older songs that they would play again on Saturday, including “Down by the Water,” “The Rake Song,” “16 Military Wives,” “The Calamity Song,” and “O Valencia!” As he always does, Meloy conducted the crowd through a few audience participation sequences, including an elaborate series of clapping patterns during “The Rake Song,” and a competitive sing along during “16 Military Wives.”

At the end of the show, when most bands would be exhausted from their performance, the group took the stage one last time for a two-song encore made up from “12/17/12” and fan favorite “The Mariner’s Revenge Song.” Most fans of The Decemberists know how important audience participation is during “The Mariner’s Revenge Song.” The band has been playing it in front of audiences for over a decade now, but Meloy always preps the crowd for the song by walking them through what is expected of them about 3/4 of the way through. He explained that the fans would play the role of a ship’s crew that gets swallowed by a whale. Chris Funk then began to “teach” the audience the visual cue that would be used to instruct the audience to scream at the top of their lungs.

Of course, the cue was really just another joke, because this time the band brought a ten foot tall prop whale that proceeded to gobble up the entire band. At the end of the night, the group bowed, thanked the crowd, and Meloy told everyone that he would see them tomorrow.

As is their way, the band left absolutely nothing on stage. They played each song with obvious affection for the material, each other, and above all else… the fans. The Decemberists are truly a rarity in the world of music today: a band that can not only write catchy and elaborate songs, but play them to perfection on-stage. Meloy has nearly mastered the art of the frontman, and helps make sure that every concert The Decemberists plays is as unique and special as the band’s music itself.

The Decemberists continue their continue their North American tour throughout the spring and summer. Tour dates and tickets can be purchased at TheDecemberists.com.


Gallery: Alvvays at The Tabernacle (April 11) – Photos by Tillman Cooper ‎


Gallery: The Decemberists at The Tabernacle (April 11) – Photos by Tillman Cooper ‎

CD Review: ‘The Number 8’ by Annalisa Tornfelt

Annalisa Tornfelt is best known for being the lead singer and fiddle player for the Portland, Ore. based Black Prairie. With a large portion of Black Prairie on tour in their sister group, The Decemberists; Annalisa is releasing her first full length solo album, The Number 8. You can read more about the process of recording the album and her musical career in the recent TAM interview.

When an album can evoke a feeling in the listener, the artist has achieved something important: a connection. When that same album can transport the listener to a specific place and time, then the artist has created a unique and important collection of music. The Number 8 is just such a rarity.

The first song on The Number 8, “Scared You’re Gonna Leave,” is a short but upbeat piece with a distinctly country rhythm and theme. On it’s own, the song may not immediately transport the audience, but as it fades away and leads into “Afterlife,” something magical may happen. The listener might close their eyes and find themselves in a small bar, listening and watching Annalisa perform a solo show with her acoustic guitar.

The play order of the songs on The Number 8 is incredibly important because of the way it gently glides between country and folk. Songs like “One Heart at a Time” and “Tired of Saying Sorry” are reminiscent of the bygone era June Carter or Patsy Cline, and are spaced out and counterpointed with a folk dancing partner.

Examples of the Annalisa’s folk stylings can be found in songs like “June June Hot Air Balloon” and “Starlighting.” Finally, there are the quiet compositions like “Nothingness to Me” that are almost ethereal in their delicate sound.

The sensory transportation that is accomplished with The Number 8 can partially be credited to the fact that each song was performed and recorded at producer Mike Coykendall’s house in Portland in the span of one day. But, the fact that Annalisa has had some of these songs playing in her heart and head for the better part of 10 years is probably the single largest contributor to the album’s success as a whole.

The Number 8 is a rarity in today’s musical world. It is a quiet, pure and joyful collection of music and for fans of country, folk and acoustic music and cannot be recommended enough.

Find out more about Annalisa Tornfelt’s The Number 8 here.

For more Annalisa, check out Black Prairie as well.

How I got into THAT band: The Decemberists

In honor of #DecemberistsDay, TAM presents another installment in its series How I got into THAT Band.

One of the facts about my marriage is that my wife and I are perfect matches in almost every area… except musically. The old Osmond song “A Little Bit Country, A Little Bit Rock ‘N Roll” comes to mind when trying to explain the differences. Granted, in our version the title should perhaps be “A Little Bit Industrial, a Little Bit Hair Metal.” Our difference in musical tastes doesn’t change our love for each other, but it can lead to some interesting road trips.

All that said, every once in a while we do manage to synchronize our opinion on music. In 2006, one of these rare occurrences happened when my wife, Laurie, dragged me to a Decemberists concert at The Tabernacle in Atlanta. She had discovered the band while listening to college radio and when she found out that they would be playing locally, convinced me to take her to the show. Laurie couldn’t really describe what kind of music the band played and eventually settled upon a “kind of folk/rock” description. Of course, I was too obstinate to bother listening to the band in advance of the concert and instead used the opportunity to grouse about it.

When the night of the concert arrived and we were finally sitting in the balcony at The Tabernacle, I began to feel even more trepidation. The audience was filled with college students, including three young gentlemen dressed up as chimney sweeps. The opening bands did nothing to alleviate my concerns, as they were both ‘folky’ and did little to interest me. Eventually, The Decemberists took the stage and began performing selections from their album The Crane Wife. I watched and listened to the concert, absorbing it all and eventually found that my defenses had crumbled and I was paying rapt attention to each song.


At the end of the show, as we were walking out of the Tabernacle, Laurie asked me what I thought of the concert. I believe that my response was “They were very talented, musically.” I just couldn’t admit to her (or even myself) that I had actually enjoyed a band that she had introduced me to. However, for days after the concert I kept thinking about the band and their music. It had affected me somehow, but I was still hesitant to admit it. I finally swallowed my pride and borrowed her copies of The Decemberists CDs and listened to them during my daily commute. Within a few days, I was singing along to “Crane Wife” and I had to admit that they had won me over.

Laurie and I ended up seeing The Decemberists play at least two more times during that tour, including a performance at Chastain Park in which they were accompanied by the Atlanta Symphony Orchestra. During the band’s tour in support of The Hazards of Love, Laurie and I drove to Athens, GA and found ourselves in the orchestra pit, two feet in front of the stage. I looked at her and said “This is amazing, but the thing that sucks is that we will never have seats this good again.”

To say that I have become a fan would be an understatement. Like with most things that I fall in love with, I throw everything that I can into my passion for the band. During the tour for The King is Dead, Laurie and I helped out the Capitol Music Street Team by putting up posters and seeded the internet with links to their music videos. For our time and dedication to the band, we were given two tickets to see them play at the Cobb Energy Center along with a framed photo of keyboardist Jenny Conlee that had been on display in an art gallery in New York.

Now, almost a decade since that first concert at The Tabernacle, I am listening to What a Terrible World, What a Beautiful World (read my review here) and eagerly awaiting The Decemberists’ two night return performance at The Tabernacle in April. Laurie opened my mind when she introduced me to The Decemberists, so she only has to blame herself for the fact that the new CD will be on loop in our car for the next few months.

I guess it is fitting that the romantic love of my life introduced me to one of my greatest musical loves.

What a Terrible World, What a Wonderful World is available now.

Tickets for The Decemberists at the Tabernacle are still available and can be purchased here for April 10 and here for April 11.

The Decemberists tease a new music video from upcoming album

The Decemberists have begun rolling their gigantic marketing ball down hill. Last week, lead singer Colin Meloy performed on the side of a New York City street in order to debut some of the music from the new album.

This coming Monday some new information will be released as well. What we know right now is that a short teaser for what appears to be a music video was put up on Friday, Oct. 31. Make sure to keep an eye on The Decemberists and Colin Meloy’s social media on Monday afternoon. It is easy to suspect that the full music video will be released then.

The new Decemberists song is entitled “Make You Better” and is being released from their new album, What a Beautiful World, What a Terrible World.

According to the cover artwork from What a Beautiful World, What a Terrible World that Colin performed his set in front of, the new album will be released on Jan. 20, 2015.


Be sure to keep an eye on The Decemberists and Colin Meloy’s Facebook page for more information.