Last night, I again found myself completely blown away by a show at the 9:30 Club. Seriously. While I missed the first of two opening bands - Hush-Hush - I hear it was not all that much to miss (unless you like a lone nerd standing at a computer making digital music about eating pussy).
That's not to say I don't enjoy a good friendly jab at the expense of the fairer sex, as proven by the second opening band, Smith Westerns. These Chicago natives came on right at 9pm, and played a full and fun set. The lead singer, Cullen Omori, looks like he could be Julian Casablancas' younger brother (or evil twin). Young and thin with long, black locks and a shit-kicker attitude, this kid can sing, and his band is obviously down to have a good time (though most of them are underage). They sound something like a mix between early David Bowie (without the flair) and some of the newer surfer rock bands we've been hearing lately (i.e. Cults, Best Coast, The Donkeys). They have a good following mostly due to opening for the likes of Passion Pit and MGMT, and will likely find themselves doing well if they can improve their flow and sing about something other than girls.
I will make note of this favorite moment of the set. Cullen leaned into the microphone and said, "Ok, this one goes out to all the sluts out there!" Too bad for him, marked nonchalance is a game killer for the girls of that ilk, and I doubt any of them got laid (the band or the sluts). Well, except maybe the girl who agreed to make out with her boyfriend at the bar even though he was so drunk he was actually making out with her chin. Get a room!
Anyway, moving on from the children, let's talk about Yeasayer. Holy shit this band is incredible.
The core band, as they are frequently called, consists of vocalist/pianist/music maker Chris Keating, bassist/vocalist Ira Wolf Tuton and guitarist/pianist/vocalist Anand Wilder. These Brooklyn folk are an unbelievably tight band, who can not only belt out tunes so heartfelt you could cry, but also so fun that you really want to dance. And I don't dance in public very often. Seeing this band perform reminded me of a line I read in a review on We Love DC regarding the Beirut show.
Columnist Brittany wrote,
"As much fun as it is to see a great band that just learned to play their instruments play like they are flinging every last bit of themselves out onto the floor, it is a pleasant contrast to see a band like Beirut who take a more elegant, measured approach while still seeming engaged and with great presence on stage."
The same can most definitely be said about Yeasayer. Their calculated approach to making amazing music is greatly appreciated and refreshing. So much in fact, that when I emerged form the show and found myself caught in a serious down pour, I hopped right on my bike and pedaled home in the rain laughing and smiling (I may or may not have hollered a bit too).
Yeasayer played everything I wanted to hear, and threw in some new tunes that seem to be a little less Electronica heavy, and a lot more Pop (in a good way). Hits off All Hour Cymbals like "2080" and "Sunrise" were absolute crowd-pleasers, though my favorite was the closer "Ambling Amps". Hearing the live versions of songs off Odd Blood such as "Madder Red" were well received and helped solidify the rather mixed audience of old and new fans. My friend R.J. took one look around from our perch on the top level of the 9:30 Club and determined that Yeasayer draws a hot crowd. It helps that Chris Keating is really cute too.
Now that I've seen them live, I must admit I can't stop listening to them today, and if given the chance, I would really like to see them again. Maybe next time I can catch them on their home turf of Brooklyn. I bet it brings out the best in them all.
Friday, June 17, 2011
Wednesday, June 15, 2011
The Cults Sure Like Their Long Flowing Locks
Ever wary of a show at the Rock and Roll Hotel, I came into the Cults show with the sneaky suspicion that it would be packed with underage creeps. What I was not prepared for was the opening band's oozing concert fog filling the crowded space. It did not give me the ethereal feeling it was likely supposed to evoke, in fact it kind of pissed me off. That stuff burns your eyes, man! Especially if they are particularly dry from other activities of the evening (wink).
That aside, when Cults finally hit the stage, I was glad I made the trek over to H Street. This young duo (backed by several other youngsters) comprised of Brian Oblivion (great name!) and Madeline Follin are seriously talented. They sound like they just popped off an Austin Powers movie set, like we are supposed to believe we are in the 60's enjoying catchy dance party guitar riffs all the while knowing the lyrics suggest a more modern world view.
They played almost all of their recently released hit album "Cults", winning the young crowd over with their fun and laid back style. Brian Oblivion has a rare talent that allows him to both lead the band on guitar and vocals, yet manage to slip into the background and sing seamless duos with Follin. It probably helps that their obvious chemistry onstage is based on their real relationship off stage. I know, how annoying... actually, only because it trickles of stage and standing next to a ridiculously drunk couple who thought swing dancing in the middle of a sold out crowd would be cute.
P.S. It is not. Someone else's hair on me is gross. And not only does the band have a lot of hair (see below), but the drunk dancing chick's blonde locks whipped me more than I would like to admit.
But other than a few elbows and a lot, and I mean a lot, of long flowing hair, Cults is a band I expect good things to come from in the future. For now, add them to your party mix and play when you have friends over, it'll make everybody happy.
Beirut
Things were frantic when I approached the desk to pick up my ticket for Beirut at the Black Cat. Several employees crowded around talking loudly, a girl stood near tears because she had bought a bad ticket from a scammer and couldn't get into the show, and some drunk dude was yelling. I had already had a pretty crummy day (only slightly improved by a hug and a shot of Jameson from my friend Matthew), so I really was just trying to move it along.
When I finally got up to retrieve my ticket it turned out I had bought two. Oops. With the show starting within the next 15 minutes, and no one around to call and join me, I said fuck it, and handed the extra ticket to the sad, ripped off girl. Sometimes, it's just best to pay it forward.
With the load of the day slowly lifting, I found my way to the bar, found some friends and headed into the belly of the crowd. We had a great spot, four or five rows back stage left, and could see most everybody. There were four microphones stationed in a row up front, a drum kit in the middle, and a stand-up bass sitting aloof and alone. The band clamored on stage just after 10pm and took their places in front of the microphones, with lead singer Zach Condon front and center. To the left was the bass player, and a 70's porn-star-look-alike playing the Accordion. To the right were two brass musicians who seamless transitioned from song to song playing a Trombone, Tuba, Trumpet and a French Horn. If I knew more about these instruments, I might even suggest there was a Flugelhorn too!
Zach took lead vocals and mostly stuck to playing the Ukulele, though he also he also played several of these brass instruments throughout the show. They played a full and lovely set, complete with standard hits like "A Sunday Smile" and my favorite, "Postcards from Italy" (see below). Truthfully, it is hard to keep track of all the titles as often the songs blend together. This doesn't mean Beirut doesn't perform well live, they are a beautiful band (well, not in looks), and the Accordion adds a certain old world French feel to it all. Check out the video below and you'll see what I mean.
When I finally got up to retrieve my ticket it turned out I had bought two. Oops. With the show starting within the next 15 minutes, and no one around to call and join me, I said fuck it, and handed the extra ticket to the sad, ripped off girl. Sometimes, it's just best to pay it forward.
With the load of the day slowly lifting, I found my way to the bar, found some friends and headed into the belly of the crowd. We had a great spot, four or five rows back stage left, and could see most everybody. There were four microphones stationed in a row up front, a drum kit in the middle, and a stand-up bass sitting aloof and alone. The band clamored on stage just after 10pm and took their places in front of the microphones, with lead singer Zach Condon front and center. To the left was the bass player, and a 70's porn-star-look-alike playing the Accordion. To the right were two brass musicians who seamless transitioned from song to song playing a Trombone, Tuba, Trumpet and a French Horn. If I knew more about these instruments, I might even suggest there was a Flugelhorn too!
Zach took lead vocals and mostly stuck to playing the Ukulele, though he also he also played several of these brass instruments throughout the show. They played a full and lovely set, complete with standard hits like "A Sunday Smile" and my favorite, "Postcards from Italy" (see below). Truthfully, it is hard to keep track of all the titles as often the songs blend together. This doesn't mean Beirut doesn't perform well live, they are a beautiful band (well, not in looks), and the Accordion adds a certain old world French feel to it all. Check out the video below and you'll see what I mean.
Wednesday, June 1, 2011
Tuesday, May 31, 2011
Times New Viking Will Kick Your Shit (But With a Smile)
The crowd in the Black Cat Backstage was minimal last night, but they sure were full of Memorial Day fury. Well, at least by Times New Vikings' short but sonic set. Lead singer/drummer Adam Elliott took his seat comfortably behind the drum kit and asked "Hi DC! How many of you are drunk? Yeah? Ok, how many of you are on your second drunk? Good, let's party."
Party? Well, I wouldn't go that far. This Columbus, Ohio tripod of "lo-fi indie rock" sure wants to party with their rollicking mix of heavy beats and slow jams, but between the myriad of technical problems, extreme heat and lack of local support, it seemed more like a basement keg party broken up by the cops just after midnight than a rock and roll show.
That's not to say I didn't have a good time, I did. I caught The Babies entire opening set, and despite bassist Kevin Morby announcing his recovery from a bout of food poisoning, they sounded pretty great. Lead guitarist Cassie Ramone looks like she could stand to eat anything at all, but her slim figure doesn't slow down her quick-fingered sound. Adam from TNV watched most of the set and seemed genuinely pleased with these Brooklynites.
While I originally came for The Babies, I decided Times New Viking needed some support considering they likely barely cleared the cost of gas from here to tonight's show in Charlottesville. Merge Records has a pretty wicked hard on for drummers who act as lead singers (See Telekinesis), and usually they are right on target for this kind of talent. It helps when the rest of the band can amply back you, and among other things Merge likes, is a strong female pianist. Beth Murphy doesn't exactly get me going like Missy Thangs from The Love Language, but she is certainly talented.
That, and Jared Phillips is one bad ass guitarist. When his guitar simply quit working midway through the opening riff of one of the last few songs, he kicked a few things around, then just dropped his guitar and went roaring off stage for another nearly identical white fender. This guitar lasted about fours songs more before deciding to break down in the midst of the very last song of the encore. At this point, the band was over it and really wanted to party. They closed the show instead with a Indie appropriate "fuck it" attitude and made their way to find some more booze.
Not bad for a Monday night. While it was, mind you, only 11:45, I didn't stay to hang out. I imagine the gang of crowd thrashers who banged around the front of the stage managed to show these guys a good time. Happy Memorial Day from Times New Viking.
See also the images from the DCist's review.
Party? Well, I wouldn't go that far. This Columbus, Ohio tripod of "lo-fi indie rock" sure wants to party with their rollicking mix of heavy beats and slow jams, but between the myriad of technical problems, extreme heat and lack of local support, it seemed more like a basement keg party broken up by the cops just after midnight than a rock and roll show.
That's not to say I didn't have a good time, I did. I caught The Babies entire opening set, and despite bassist Kevin Morby announcing his recovery from a bout of food poisoning, they sounded pretty great. Lead guitarist Cassie Ramone looks like she could stand to eat anything at all, but her slim figure doesn't slow down her quick-fingered sound. Adam from TNV watched most of the set and seemed genuinely pleased with these Brooklynites.
While I originally came for The Babies, I decided Times New Viking needed some support considering they likely barely cleared the cost of gas from here to tonight's show in Charlottesville. Merge Records has a pretty wicked hard on for drummers who act as lead singers (See Telekinesis), and usually they are right on target for this kind of talent. It helps when the rest of the band can amply back you, and among other things Merge likes, is a strong female pianist. Beth Murphy doesn't exactly get me going like Missy Thangs from The Love Language, but she is certainly talented.
That, and Jared Phillips is one bad ass guitarist. When his guitar simply quit working midway through the opening riff of one of the last few songs, he kicked a few things around, then just dropped his guitar and went roaring off stage for another nearly identical white fender. This guitar lasted about fours songs more before deciding to break down in the midst of the very last song of the encore. At this point, the band was over it and really wanted to party. They closed the show instead with a Indie appropriate "fuck it" attitude and made their way to find some more booze.
Not bad for a Monday night. While it was, mind you, only 11:45, I didn't stay to hang out. I imagine the gang of crowd thrashers who banged around the front of the stage managed to show these guys a good time. Happy Memorial Day from Times New Viking.
See also the images from the DCist's review.
Tuesday, May 17, 2011
Dale Earnhardt Jr. Jr.
There is something so satisfying about seeing my friends succeed. This past Friday (the 13th!!), I ventured to the dark side, otherwise known as H St NE, to see my pal Josh Epstein in his band Dale Earnhardt Jr. Jr. at The Red Palace. Opened up by the Generationals, a group of youngsters so cute you could literally pinch their cheeks and not feel creepy, the evening was fabulous.
The Generationals support each other wholly (even though the band is not technically a whole) with a solid sound somewhere mashed between The Strokes and Vampire Weekend. One lead vocalist has a nice higher pitched sound that compliments the other's more mellow vocal range. They are excitable and come equipped with a rotating group of musicians including a keyboardist, a drummer, and a bass player who looked like Cousin It (though like, on vacation, as he was wearing aviators). They were a great opening piece for the aforementioned Dale and gang.
Josh and his friend Daniel started Dale Earnhardt Jr. Jr. after discovering a kinship for each other's sound around the Detroit music scene. They were both coming from other projects and were hoping to find something that would give them the freedom to experiment with new ranges while still holding onto the sounds they create so seamlessly. They just added a new drummer at the onset of this tour, and that young whip appears to be a good fit. This band has such an impressive stage presence that it is hard not to have a good time.
Above is a shot of Josh singing into, yes that's right, a telephone. He is wearing a suit, as was the rest of the band, to support their forthcoming album It's a Corporate World. DEJJ played a lot of the covers they are known for, including the highlight, "We Almost Lost Detroit" and the Beach Boys "God Only Knows". The rest of the set consisted of a slew of the newbies due out on June 7. They sounded fantastic, and I was pleased to support my friend.
Oh, did I mention they blew bubbles and invited folks on stage to sing in skeleton masks? Yeah, that too. They also had several giant wooden letters spelling out JR in bright bold lights. I know, hilarious. But don't listen to me, I had such a good time with these fellows I got kicked out of the Red Palace. If you want to get a better idea, watch the clip below, or try your damnedest to see them next time they are in DC.
The Generationals support each other wholly (even though the band is not technically a whole) with a solid sound somewhere mashed between The Strokes and Vampire Weekend. One lead vocalist has a nice higher pitched sound that compliments the other's more mellow vocal range. They are excitable and come equipped with a rotating group of musicians including a keyboardist, a drummer, and a bass player who looked like Cousin It (though like, on vacation, as he was wearing aviators). They were a great opening piece for the aforementioned Dale and gang.
Josh and his friend Daniel started Dale Earnhardt Jr. Jr. after discovering a kinship for each other's sound around the Detroit music scene. They were both coming from other projects and were hoping to find something that would give them the freedom to experiment with new ranges while still holding onto the sounds they create so seamlessly. They just added a new drummer at the onset of this tour, and that young whip appears to be a good fit. This band has such an impressive stage presence that it is hard not to have a good time.
Above is a shot of Josh singing into, yes that's right, a telephone. He is wearing a suit, as was the rest of the band, to support their forthcoming album It's a Corporate World. DEJJ played a lot of the covers they are known for, including the highlight, "We Almost Lost Detroit" and the Beach Boys "God Only Knows". The rest of the set consisted of a slew of the newbies due out on June 7. They sounded fantastic, and I was pleased to support my friend.
Oh, did I mention they blew bubbles and invited folks on stage to sing in skeleton masks? Yeah, that too. They also had several giant wooden letters spelling out JR in bright bold lights. I know, hilarious. But don't listen to me, I had such a good time with these fellows I got kicked out of the Red Palace. If you want to get a better idea, watch the clip below, or try your damnedest to see them next time they are in DC.
Thursday, April 7, 2011
The Love Language/Telekinesis/The Belle Brigade
First of all, forget anything even remotely shitty I might have ever said about Telekinesis. They were awesome. Completely energetic and rocking... kind of like they are here. Ok, so "rocking" is not the adjective I would normally use to describe their sound, but they kind of did! Not only were they having a lot of fun on stage, they seemed to have formed quite the tight community of sound up there too.
To be fair, the first time I saw Telekinesis, Michael Lerner had a different set of band mates and wasn't really established as a touring performer yet, so it's not entirely his fault. The second time I saw them, the new band, and the still current one, had been added, but they weren't as tight as they are now. This new album, which makes up the bulk of their set, was written in short order in Berlin, mostly on Bass, which is not Lerner's instrument of choice. He's a drummer, ya'll, so having the talents of someone like Jason Narducy, who is known for playing with greats like Robert Pollard of GBV, on with the band to round out the sound, is truly amazing. Plus, I forgot, er well, didn't realize that I recognized the guitarist, Cody Votolato, from his days in Jaguar Love (who I saw at The Black Cat in 2009). I have a thing for guitarists, and he is no exception. He is great. But don't take my word for it... or you know, do.
In addition to the aforementioned talent and seeming growth of this band over the course of a year, the tour itself must have amplified all this. We were also introduced to The Belle Brigade, a brother-sister duo (which never gets old for me) backed by a full band, who aptly prepped the audience for a hell of an evening. It was air apparent that playing with these guys as well as fellow Merge members and ridiculously fabulous The Love Language had everyone on a tour high. Telekinesis and The Love Language feed off each others' sound and energy and made one hell of a night.
To top it all off, I met Bob Boilen of NPR's All Songs Considered at the bar. I managed to squeak out my appreciation for his contributions to the music world by way of public radio.I literally skipped home from the bus stop.
Overall, this was the best of my five night run. I literally skipped home from the bus stop. How could you not? NPR, Merge Records, guitar crush?? Seriously. I dare you to judge me.
To be fair, the first time I saw Telekinesis, Michael Lerner had a different set of band mates and wasn't really established as a touring performer yet, so it's not entirely his fault. The second time I saw them, the new band, and the still current one, had been added, but they weren't as tight as they are now. This new album, which makes up the bulk of their set, was written in short order in Berlin, mostly on Bass, which is not Lerner's instrument of choice. He's a drummer, ya'll, so having the talents of someone like Jason Narducy, who is known for playing with greats like Robert Pollard of GBV, on with the band to round out the sound, is truly amazing. Plus, I forgot, er well, didn't realize that I recognized the guitarist, Cody Votolato, from his days in Jaguar Love (who I saw at The Black Cat in 2009). I have a thing for guitarists, and he is no exception. He is great. But don't take my word for it... or you know, do.
In addition to the aforementioned talent and seeming growth of this band over the course of a year, the tour itself must have amplified all this. We were also introduced to The Belle Brigade, a brother-sister duo (which never gets old for me) backed by a full band, who aptly prepped the audience for a hell of an evening. It was air apparent that playing with these guys as well as fellow Merge members and ridiculously fabulous The Love Language had everyone on a tour high. Telekinesis and The Love Language feed off each others' sound and energy and made one hell of a night.
To top it all off, I met Bob Boilen of NPR's All Songs Considered at the bar. I managed to squeak out my appreciation for his contributions to the music world by way of public radio.I literally skipped home from the bus stop.
Overall, this was the best of my five night run. I literally skipped home from the bus stop. How could you not? NPR, Merge Records, guitar crush?? Seriously. I dare you to judge me.
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