The exuberant circus rock of Clap Your Hands Say Yeah inspired dancing from bearded men, one hipster to crowd surf, and an encore chant that produced smiles from the band (though I have to think a lot of fans have clapped their hands and yelled yeah to get them back out).
This was a great show, despite the warnings I received from one “Uncle John.”
“Man, the last time I saw them, they didn’t look like they cared about being on stage…but that was a couple of years ago so I’m sure they’re fine now.”
True, they do produce a strange sort of awkwardness on stage, mostly from lead singer Alec Ounsworth, who resembled a pint-sized Borat saying “thank you” to the crowd in a seemingly weird accent.
Then again, something like that is expected from this band with long moniker and fuzzy indie-pop songs about, well, being weird. For them to come out and play it somewhat straight would be an incredible letdown.
And these are loyal, dedicated and insane fans. The sold-out crowd packed into the balmy Downstairs room of the Middle East and spent most of the time singing and dancing. And not the shifting the weight side-to-side dancing. This was full on, the-music-has-control-over-my-body, eyes closed and head aimed to the heavens dancing.
This is rock at its most primal and pure. And you get the impression that the band still isn’t sure why people like them.
The tour is in support of Some Loud Thunder, which was released earlier this year (I think in January) and has been an indie favorite ever since.
I bought the album purely on the strength of “Underwater (You and Me)” (which they closed with. Video below) and with all the praise I read about them in places like My Old Kentucky Blog and Audiovant (though that last one hasn’t been active in a while. C’mon man, bring it back).
Just like the album, the show was a pleasant surprise. It was as if all the indie-music pretension in the world was barred from entering the room, allowing people to be enraptured by the crazy sounds and antics of the band.
Though, now that I think of it, there was a moment when Uncle John’s comment somewhat rang true. Ounsworth tried to thank the opening bands and not really caring that he was saying their names wrong. It was funny, but also reveals that maybe Ounsworth and company are still surprised they even have a fanbase.
If you’re interested in witnessing the madness yourself, get your tickets quick. Most shows have already sold out.
I went into The Black Angels show Thursday night with pretty much every reason to hate it. Already, I had used a non-affiliate ATM machine to get cash (I loathe those charges) and had left an out-of-town friend at a bar to cover this event. That was Strike One.
Strike Two came when I waited in line and the venue, The Middle East in Cambridge, informed me my name wasn’t on the show list. Second time it’s happened in one week writing for this site. Now when people ask me at shows who I’m writing for, I say The Boston Globe.
Bitterness aside, luckily, I chatted up the guy in front of me in line, who was on the list plus one and who let me be his plus-one. A humble gesture. I thanked him and walked in ashamed and disgusted.
Over the next hour, I was subjected to a powerful concert experience. Watching The Black Angels live is like slowly descending into an LSD trip. The electronica psychedelic rock group covered most of their discography during the 60-minute set (The Angels only have one album out as of now), but they introduced new songs (Titles? Hell if I know.) likely set for their next release.
The Black Angels sounded like a modern-day Verve/Velvet Underground (the band’s name derives from a Velvet song). In concert, they’re like A Storm in Heaven cranked up 100 decibels. Lead singer Alex Maas looked like a homeless Vietnam veteran on stage, bushy beard and hair obscuring his face. Many Angels songs, too, deal with the current war and dying soldiers.
Live, even more so on disc, the Austin-based band borrows elements from psychedelic music of the late 70s, and Maas complemented his band like a drowned out Richard Ashcroft crooning over a drone machine.
The Angels achieve a unique overpowering sound, and the band’s stated goal is to flip current rock music on its ass. I didn’t take a ton of notes during the concert. I just slipped into the hypnotic sound The Black Angels produce. And considering they were dealing with someone cold sober and angry, it wasn’t an altogether bad trip.
I didn’t do too much CMJing this year. The throngs of drunken college music directors and super, super late showtimes- (yes Blender, I’m talking to you) are wearing thin. I love Spoon and Band of Horses, but it’s hard to keep me out for a 2:30 a.m. start during the week.
I did however, make it down to The Tank on Thursday evening for some free peanut butter and jelly sandwiches and the Pretty Activity showcase. PA is a local label with some talented young folks on their roster. The Subjects hail from Brooklyn and the band is comprised of two former teachers, and two of their former students. The guys have a new record out called with the ease grace precision and cleverness of human beingsand they’ve just scored an opening slot with the Walkmen on the west coast next month. Check out The Subjects in a recent Daytrotter Session right here.
Also on the bill was a band called The End of the World. The name’s a little dramatic, but I was intrigued…there was pedal steel and a cute bass player. This is one of those bands where the singer is also the drummer. Typically, if you’re not Phil Collins, this is not my bag. But, they pulled it off. So check them out. They’ve got a record out called You’re Making It Come Alive and they got a some local NYC dates coming up as well.
It was The Roadside Graves’ guitarist Jeremy Benson’s 30th birthday at the stroke of midnight two Saturdays ago and the packed crowd at the Court Tavern was in a fine mood to celebrate. The stage had been decorated in streamers and there were balloons everywhere.
The Graves opened almost abruptly with a modified take on “Family & Friends,” foregoing its instrumental intro and opting instead for an a cappella opening from lead singer John Gleason and Benson. The abbreviated version was followed immediately in blistering succession by “Jenny” and equally rollicking version of “West Coast,” the first single from their new record No One Will Know Where You’ve Been. They proceeded, at break neck speed, through a hour and a half set which mixed new material with old favorites.
The band has really evolved since I first saw the guys a few years ago at the Court. One major difference is the band now sports two new percussionists. Andrew and Colin rotated songs on the kit- but the moment one jumps off- he picks up some other percussive piece and keep the set driving forward.
Midway through, the Graves unplugged and headed out into the audience for an all acoustic version of “Jail”. Not every band can leave the PA behind and rely on their harmonies to carry the moment, but the Graves pull it off. Other highlights included new cuts like the dark percussion driven “God Touched Me (And I Didn’t Like It)” and the folky but instantly catchy “Far & Wide”. The band closed with “Radio” and as it built to a climatic finish the crowd joined them on stage singing along with the final refrains.
I never know what to do with my body at indie rock shows. Usually I just stand around and kind of nod my head along to the music. My arms desperately wish they could find shelter in my pockets, along with my hands. I tap out the beat with my right foot, but half-way through a set my legs start to cramp up. It’s a constant problem. Turn your noses up at “jam bands” (and their concert-goers) if you wish, but all that crazy drug-induced spinning and grooving seems much more natural than the stiff swaying you’ll find at a typical indie rock show.
Fortunately, Beirut is not your typical indie rock band.
I’m a big fan of a talented, ensemble band. The New Pornographers are always a solid live show, especially when all the members come out for the tour.
The set-list was comprised of a pretty even mix of old and new songs, making sure to feature Dan Bejar (of Destroyer) and Neko Case with “Testament to Youth in Verse” and “Letter From an Occupant.” With Case’s and Bejar’s distinctive vocals it’s hard to imagine the band touring without them, but they have. Bejar stumbles across the stage, beer bottle in hand, and then wails with that voice. It’s shows like this that make me think, this is why you go to a show. It’s that minute, when Neko croons backed by a full band that gives me chills. They aren’t my typical musical fare, they are peppy, and way upbeat. But they have that something that only comes from a live show. There’s an earnestness and a joy backed by all that musical talent.
Opening for the New Pornographers was Lavender Diamond, a hippy, indie, pop, folk foursome with a definite schtick…or maybe not.
The lead singer gives the impression she could be a fourteen year old, and babbles softly on stage about peace and love. “Don’t let anyone tell you that there can’t be peace on earth.” Her act is punctuated with sugar smiles and curtsies, but they are also on Matador - so how much do you believe in the act? In between the more poppy numbers there are stark near-ballads, that mixed with the naive school-girl vibe gives off a creepy Twin Peaks-esqe aire. But for all this, they totally won this listener over. Call it the magic of the live show, I wasn’t ready to be a fan, but I left one. Check them out for yourself and see what you think.
This week Peter Bjorn and John put on a surprise show at the First Unitarian Church in Philly before officially kicking off a new North American tour the next day. I already had tickets to see The National play on the same night so I had to skip it.
But I’m sure PB&J did not disappoint, The National set was great, and YouTube has video from both bands.
The National are well on their way to mainstream rock star status.
Back in June, the Brooklyn based indie rockers played to a small crowd of 300 at Johnny Brenda’s, a small bar venue in Philly. Monday night they packed the house at the 1,000 person capacity Fillmore at the TLA in Philly. The show kicked off the US leg of a new world tour that runs through the end of the year.
They opened up the set with the slow build up of Start a War. By the end of the song, everyone in the band was ripping on something furiously including singer Matt Berninger who was bashing a cymbal on the drum kit with his back to the crowd. It took Berninger a few songs to warm up to the crowd. He was suffering from a nagging cough that had him cringing away from the mic between songs.
But even if Berninger was in a Robitussin haze, it didn’t draw down his energy during songs. He jumped around in fits, eyes closed, squeezing out every lyric with his entire body. The crowd ate it up and cheered him on throughout their set of the band’s songs from their latest album, Boxer, and some from their previous, mostly Alligator. The band sounded great, anchored firmly by the understated but driving drumming of Bryan Devendorf.
The sight to be seen though was Padma Newsome, who is touring with the band on violin and keyboards. He looks a little bit like Gary Oldman playing the role of crazed indie rocker. Every time Newsome picked up the violin he played it as if he was just dosed with a large amount of amphetamines. I found myself staring at him for fear that I would miss seeing him spontaneously combust.
It’s been a sloooow day after the holiday weekend and I, for one, am finding it hard to stay motivated (though word of a new iPod being released tomorrow has perked me up).
So here is some live video I found of one of my favorite bands, Okkervil River, performing “Unless It’s Kicks” at Waterloo Records in Austin, TX.
The song is off the band’s newest album “The Stage Names” and I’m a douche for not picking up the album yet. I dunno what my problem is. Neither does my therapist.
To the people and my friends who currently live in NYC. I officially hate you. This Thursday Tim Williams will be bringing his soft, acoustic guitar indie-rock to the Cake Shop (152 Ludlow St, 212.253.0036) for a free show. You can also download the new song “Novel” off of Williams’ Myspace page.
Though I’m not too pissed. Football season is starting up and I’m heading down to B-town to watch the Bosox take Camden Yards.
09.06.07 - New York, NY (Cake Shop - Free Show)
09.14.07 - Scranton, PA (Test Pattern)
09.15.07 - Danbury, CT (Larry’s Danbury)
09.18.07 - Williamsburg, NY (Pete’s Candy Store)
09.20.07 - Philadelphia, PA (Milkboy Cafe)
09.21.07 - Alexandria, VA (Episcopal HS)
09.22.07 - Durham, NC (Duke Coffeehouse)
09.26.07 - Grantham, PA (Larson Student Union @ Messiah College)
09.28.07 - Baltimore, MD (The Gopher Hole @ Goucher College)
10.02.07 - New York, NY (Cake Shop - CD Release Show)
10.06.07 - Johnson City, TN (Acoustic Coffeehouse)
10.07.07 - Chicago, IL (Uncommon Ground)
10.09.07 - Des Moines, IA (Vaudeville Mews)
10.11.07 - Des Moines, IA (Mars Cafe - Free Show)
10.12.07 - Ames, IA (The M-Shop)
10.17.07 - New York, NY (CMJ - location TBD)
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. They proceeded, at break neck speed, through a hour and a half set which mixed new material with old favorites.
